Tim Sewell

It does (if you switch it on). 

I'm using a Sandisk V30 170.

I'd add nothing except to say that I'm not certain the extra cost of an FSii, over the mark i, is worth it. You get an extra PP, RAW out and FHD120 continuous, if memory serves.
Unfortunately the extra PP probably isn't one that you'd use unless you need a really quick turnaround, the RAW from this particular cam isn't all that great and the FHD120 is kinda soft too.
Same as @kye I'm mainly a hobbyist (although watch this space!) but if I was earning my living shooting video I would go FS7 without a second thought, given the kind of budget you're looking to put in. I think it will be a long while before that camera isn't a money-earner - and if a client wants something that it can't provide there's always rental.

Thanks for this, had never heard of cinematch, seems like a gamechanger if they keep updating it...

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

Before spending the money, maybe download some sample files and see how you get on with matching them. I've heard good things about https://www.cinematch.com/.
 

The only EOS-M with fully working ML is the original one. It's a nice image, to be sure, but an absolutely awful camera to work with.

R5?

Maybe not most underrated but the Panasonic S1 is definately underrated outside of this forum. It's giving an FX9 quality image for peanuts. I would say it could compete with the C500 MK2 and C300 MK3 as well. The C500 can see into the shadows better by 2 stops or so, but it doesn't have dual native ISO. The Panasonic S1 can do 4000 iso with 4 stops of headroom in the highlights and a couple in the shadows. That punches the C500 dynamic range in the gut at the same ISO. 

The colourist in question was probably referring more to chroma noise, which I think we can all agree is pretty ugly and 'video' looking. I've seen a couple of videos showing how drastically improved even quite clean-looking clips can be once it's removed.

Time to give up and go home, anyway

Cinema camera's what? Jeez. Guy can't even write English.

Time to give up and go home, anyway

Come on. Rolex ad above the header'd look luvverly!

Have you ever considered pro-actively going after non-industry advertisers to pull in some relatively easy cash? You have high page impressions, a large number of regular registered users and an audience mainly composed of solvent men with relatively high disposable incomes - there are a lot of companies who would definitely like to get in front of such a bunch.

Cinema camera's what? Jeez. Guy can't even write English.

Dammit.
I was just heading down the bookies to put a quick tenner on this and...too late, the results have already been announced 🤑

No.

Nice. And really stable - is the IBIS really that good? 
I plan to use it mainly with my Super Taks and with a couple of EF zooms.
Waiting for the postman! 

Having just acquired a Panasonic S1 (with which I have immediately fallen in love) I'm actually quite happy to hear that the AF isn't so good as it means I don't have any urgent reason to buy any of their very expensive native lenses!

The way it works in the camera industry is that you sign an NDA, with an embargo date. This way the manufacturer can orchestrate a coordinated release of reviews for maximum clicks on the announcement day. There is a select few - a handful of people - in each country that are privy to the camera launch details about 2 weeks before the release date for the public and are legally bound not to say anything until the embargo is lifted. However usually always 2-3 weeks before or even earlier, the scumbag rumours sites will leak it all out anyway. So that effectively mutes you on the topic, whilst everybody else is free to talk about it. So the only advantage of signing that NDA is you get the info from the official source rather than the same info from a rumours site. For sites like Camera Labs or DPReview then, it is 100% necessary to get the actual camera early and do your review in time for the launch, otherwise be left out of the circle jerk and launch day manufacturer publicity drive... The review would have to come out a week or 2 after most customers have got the first batch of stock in their hands. Also you save money this way naturally, by not buying anything and just taking loans that go back. There is no enjoyment for me in this, as for me the camera is a personal item and a long-term investment in my work. I only accept a loan if it is long term with no strings attached.
The manufacturers never stipulate that you have to write only good things about a camera. It is an unwritten rule that if you're too honest of course you'll be phased out of involvement in future. Even in feedback sessions and market research you get the sense that some marketing people only want to hear from the yes men. The marketing approach of each company differs. Panasonic is more honest and straight forward. Sony have a tendency to play the big hype game with social media influencers. Canon seems to delegate a lot of their marketing to outside PR companies.
What I enjoy with Panasonic is the technical side, the ability to send feedback direct to the engineers in Japan. I value this very much. I deal with Panasonic in the UK who do a very good job on all fronts and sometimes Panasonic in Germany who just aren't as helpful at least in my experience. After 11 years in this industry, Panasonic are the only company who have stuck by EOSHD and made sure our voices get heard in the development of their cameras. Almost all the other companies I have dealt with see this community as purely a marketing channel to be exploited for their own gain, and not for the advantage of us. Fujifilm in particular, once sent me an interview in a fucking spreadsheet of one line answers and expected me to publish a strictly censored version of it with key questions taken out. Needless to say, I sold both my GFX 50S and 50R afterwards and GFX 100 is next.

As long as you don’t expect it to be a replacement for a gimbal, it’s superb.
The IBIS on my S5 is good. I like to shoot subjects pretty statically ie, rarely track, pan, zoom or anything but allow my subject to provide any and all movement.
On the S1H, it’s fantastic.
If I use an OIS lens, it’s not far off a tripod and unless you cock it up, you just don’t notice any movement. In fact you don’t even without an OIS lens.
I was previously an XT3 and freestanding monopod user.
I am now handheld (other than long static stuff that needs a tripod obviously) and I am so much faster and have so much more flexibility to just shoot and not faff trying to get the height and the angle and the level or even to get the thing standing up by itself on an uneven surface.
Gamechanger is an overused term. For me, in this instance, it isn’t. It is 100% a gamechanger.

Yes.  Fringing can sometimes be an issue with some ellipsoidal fixtures.  Instruments that use lenses made for slide/film projectors usually exhibit minimal fringing.
 
Use an open-face tungsten or HMI source with a snoot.  Add a tube of blackwrap if the snoot is too short.  That should eliminate most of your spill, and the open-face filament/arc will give you sharp shadows if the fixture is set to full flood.
 
Both open-face and Fresnel fixtures always give their sharpest shadows on full flood.

From my personal experience it is amazing at around 28-40mm. Its a little wonky on the super wide end like 20mm or less. 50mm is good though iffy for moving shots, past 50mm starts to get iffy in general. The boost mode IBIS works great for locked down looking shots even at longer focal lengths though. 
 

That´s a mini Varicam for 1000 GBP! That´s a steal! @Tim Sewell
I am curious to test some primes with it. So far I have used my S1 with little cheapo zooms. The 35-70mm F4 Canon FD is indeed a little beauty. Mechanically it´s flawed. Lens alignment is shaky once the rubber pads inside get worn out. Here is some footage for location scouting with the kewl Tokina 25-50. Sun was very harsh. It was a beautiful summer day, to say it with other words.:) The mellow contrast of the Tokina gives the S1 image nice smoothnes. Anyway, this camera is fun. Hard to believe what kinda quality we get for around 1500EU if bought used. Grading is a bit too greenish. Was trying to built a greenish Lut I guess.:)