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Panasonic has added a new S9 firmware update 1.2 to replace the withdrawn FW 1.1:

Interestingly, in the Optyczne.pl 'Movie Mode Test' of the S9, they found some changes/improvements have been made to the video processing compared to the S5ii, so maybe that will turn up in a firmware update for the S5 ii? S9 test: https://www.optyczne.pl/94.4-Inne_testy-Panasonic_Lumix_S9_-_test_trybu_filmowego_Jakość_obrazu.html S5 ii test: https://www.optyczne.pl/70.4-Inne_testy-Panasonic_Lumix_S5_II_-_test_trybu_filmowego_Jakość_obrazu.html Z6 iii test: https://www.optyczne.pl/91.4-Inne_testy-Nikon_Z6_III_-_test_trybu_filmowego_Jakość_obrazu.html There are also some downloadable sample clips on the next "Summary and sample videos" page of the tests. The S5 ii is a 'good value' camera, making the best out of an old, slow (and cheaper) sensor which limits 4K60p to an APS-C cropped region of the sensor. The Z6 iii is nearly twice the price of the S5 ii and has very recent, much faster, sensor allowing full-frame 4k60p with low rolling shutter (and it supports internal RAW recording). It's not really a fair comparison. I had a play (in a camera store) yesterday with an S9 fitted with the APS-C Sigma 18-50mm f2.8 DC DN lens. Quite a nice combination at less than 800g total weight and I thought the handling was OK. As I normally shoot at 50p/60p the S9 would basically be an APS-C video camera for me anyway. Not sure yet if I actually want to buy one (versus other 'compact' possibilities like the ZV-E1, A6700 and ZV-E10ii, which have a much wide range of lenses available) so I think I might sit on the fence for a while and see what happens with the S9 pricing - in what has become quite a 'hot' area of the market.

Or just buy an X-S20 instead, which has IBIS and EVF.

Video quality is the same on both E-M1 ii and iii. Video-related differences are basically better C-AF and IBIS on the iii. Note the E-M1 ii got a major firmware upgrade in June 2019 (to rev 3.0) so if you buy one, check/update the firmware (latest version is rev 3.7). See https://support.jp.omsystem.com/en/support/imsg/digicamera/download/software/firm/e1/ for firmware details. 'OM Log400' on E-M1 ii & iii is only 8-bit, so isn't as 'gradable' as the video from modern cameras with 10-bit Log. Probably better to shoot in 'Natural' or 'Flat' (low-contrast, but not as low as OM Log). As for previewing the image before shooting, don't forget that you can connect a large-screen monitor or TV to the HDMI output of the camera, *but* that might not be available when the camera is 'tethered' to a PC.

I remember looking at the E-M5 ii for video some years ago (due to it having IBIS, which Pana didn't have at the time). I downloaded a few test clips from reviews, saw how bad the aliasing was and stayed with Panasonic... I think I'd agree (based on my E-M1 ii & iii versus G85 & GX85 experience), but the GH5 & G9 are at a higher level of quality. especially in 1080p. Yes, video is definitely the 'poor relation' to the stills side on Oly/OMDS cameras (even on the OM-1, which is otherwise a much improved video camera over its predecessors). I'd love to be able to reduce the sharpness in 10-bit video on the OM-1 but you can't (it's close to being over-sharpened) and have a 10-bit 'Flat' or 'Natural' picture profile available. On the other hand, the simple three-level IBIS adjustment and being able to turn on and off magnify/movie tele-converter while recording are really useful. The on-camera audio is better than the Pana G85 & GX85 (which are particularly bad)... I agree. The official 'OMSYSTEM_OM-Log400_BT.2020_to_WDR_BT.709_v1.0.cube' conversion LUT seems to produce odd colours, and I've never found any 3rd party LUTs for the OM-1. After a lot of trial-and-error (and learning about LUTs) I made my own OM-Log400 BT.2020 to BT.709 LUT which I use most of the time.

If you can live without 4k 50p/60p, the fixed-lens Sony ZV-1 is tiny but only goes up to 4k 30p max and the battery life is terrible (I use one as my 'pocket' video & stills camera):

I think the (APS-C) Fuji X-S20 is one of the smallest MILCs that can shoot 4k 50p/60p, but with a 1.18x crop (on the left, fitted with the small 15-45mm power-zoom kit lens, S5 on the right):

I didn't try it with any of the footage in that video, but I have tried a trial version of Topaz in the past on other 'railway' SD DV footage. Basically I found it not much better than using FFMPEG upscaling and sharpening, so I've never convinced myself to buy it.

In the UK, I've also found Wex to be quite good for buying and selling used gear - https://www.wexphotovideo.com But for something quite niche like a Bolex D16, as others have said MPB might be more interested in it (but based on my experience, major used dealer buying prices are about half their typical selling price, depending on demand etc. for the item).

If a Panasonic G9 will do what you want, then at the 2nd hand prices they sell for today it's a steal - better video quality (8 and 10-bit) than any of the Olympus/OMDS cameras I've owned (E-M1 ii, E-M1 iii, OM-1), good IBIS, and 'clean' HDMI output on a full-size connector. Note it can't be powered over USB (only for battery charging), but third-party 'dummy battery' adaptors are fairly cheap - I use my G9 powered by one, connected to a projector for meetings with no overheating issues. I certainly wouldn't even think about paying $1800 for a new E-M1 ii or DC-GH5S - as MrSMW said, buy an 'as new' or 'excellent' grade used camera from a major dealer that provides a 6 or 12 month warranty and returns if you're not happy with it when it arrives. All the cameras on that Panasonic list (and the E-M1 ii, E-M1 iii and OM-1) are pro-grade cameras so even a cheaper 'well used' example should be fine - my E-M1 iii was bought 'well used' from a dealer, with some deep scrape marks and a couple of (easily replaced) missing port covers, but it works perfectly. Yes, it's harder to decode than AVC/H.264, but any decently modern PC/Mac should have hardware decode support in the GPU for it (up to 10-bit 4:2:0 4k at least). Note some of the Panasonic cameras can record 10-bit AVC/H.264 if it's a problem for you.

I agree. (For the OP) The best quality video mode is 'C4K' (DCI 4096 x 2160) at 24fps - the other 4k frame rates only support UHD which is noticeably softer. The E-M1 iii is not much more expensive second hand now and has better video C-AF and IBIS. Video quality is the same as the E-M1 ii. You need to use 10-bit mode on the OM-1 to get the most detailed video - then it at least matches the E-M1 ii/iii C4K level of detail but offers 25 & 30 fps as well as 24 fps (and the UHD is pretty much as good). Downside is that 10-bit is HEVC only and either OM-Log or HLG - no 'normal' picture profiles or adjustments. 8-bit UHD & C4K is about as detailed (i.e. a bit soft) as UHD on the E-M1 ii/iii.

I've still got a fair amount of firewire-captured footage from mine - it's OK viewed from a distance (it is interlaced SD video, compressed with an early realtime compression codec, after all). The first part of the video below (in 4:3) was recorded with my DX100 24 years ago, the second part (from 12:32 onwards) was recorded 5 years later with a Sony TRV33 single-chip camcorder in 16:9. Both have been de-interlaced, stabilized and adjusted (as far as I thought was sensible!). The content is niche nostalgia stuff for railway enthusiasts like me... https://youtu.be/p-u7CGdcXn8

...and the dpreview news item: https://www.dpreview.com/news/9525732938/canon-announces-the-eos-c80-cinema-camera

I agree (and is what I do - I'd never render to interlaced output today, even if all the source material was interlaced). I was just pointing out that modern GPUs (and TVs) have very good (and fast) deinterlacers built-in, so using a GPU-based hardware deinterlacer in the editing software if available is a good, easy way of exploiting that.

It's two interlaced (upper & lower) fields per frame, with a field being captured (for 25 frames per second) every 1/50 second. Probably using a 1/100 shutter speed by default to get 180 degree shutter per field. Normally I deinterlace that to 720 x 576p at 50 fps for editing (but I'm a 50 fps person, not 24/25 fps 😉 ). A modern adaptive deinterlacer (e.g. in a PC/Mac GPU or modern TV) will try to give you the best combination of resolution and motion smoothness depending on the picture content. So static content should retain the full vertical resolution but fast moving content requires interpolation from a single field or blending from both fields to avoid getting horrible 'comb' effects on edges. Basically if you play 720 x 576i content on a PC (or Mac etc.) you'll be watching an adaptively deinterlaced version of it. The editing software I use (Vegas Pro) has an option to use the GPU adaptive deinterlacer (as an alternative to simple interpolation from each field or blending) - don't know about Resolve etc. as I don't use it.