Thomas Hill

No offense, but I never understand these ‘feel a bit cheated’ comments every time a new camera comes out.
New camera should = new & improved spec even with ‘cheaper’ models as tech is both passed down and improved upon.
The S1 has been out over a year I think which though is not that long, you can’t really be peeved at Panasonic for bringing out a new camera for the end of 2020?

Voigtlander 40mm f2 on Panasonic S1

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now?  The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. 

Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5. 

According to the leaked press text on L-rumors "The powerful Dual Image Stabilization with 5-axis enables 6.5-stop slower shutter speed."
https://www.l-rumors.com/panasonic-s5-will-cost-1999-and-here-is-the-full-leaked-press-text/

Here is the latest build which I was using for the recording test above:
https://drive.google.com/file/d/144TxEEVYpHpMK0t77y3sKj_ZeTGRuY3L/view

I can confirm that the Magic Lantern build I am using does bypass the factory record limit on the Canon EOS M!
I was able to record continuous 2.5k Raw (2512 x 1190, 16:9 format) for 33:51 minutes, reaching the capacity limit of my 128 SanDisk Extreme Pro (170MB/s).
See snapshots below: 

This has turned out to be an amazing camera and the best $150 I've ever spent! I purchased it pre-owned a few weeks ago just wanting something i could quickly use on the go for quality shots and now I have a cinematographic beast on my hands thanks to this latest ML build!

That looks really good on my phone. What's the max clip length in 2.5k raw?

Updated video using higher quality export settings workflow:

RAW MLV clips from EOS-M ---> CinemaDNG lossless ---> Edited and Graded in Davinci Resolve 16 (free version) --->Final delivery codec for YouTube Export was .mov / PhotoJPEG w/ 250mbps bitrate.

Still some noise due to high iso settings (3200+ for the indoor shots) but better than initial export above (h264 codec)
 

If anyone wants to see cam test of EM10III footage with vintage glass, autoWB, and a speed booster:  https://vimeo.com/path88/review/444427937/9888f03bd9

So I came into a little bit of money recently and ended up ordering this camera (preowned of course). I've only had it for a few hours now but I'm pretty excited. The capabilities and ease of use of this thing are pretty incredible. I'm primarily using this for stills but the video has good potential for casual usage. The crop modes actually work in video (both 1080 and 4k) and the detail is pretty good, although in 4k and 1080p120 there is obvious aliasing. 

This is a still from a DCI 4k capture. As you can see from the blockiness of the shadows the dynamic range is limited but I'm impressed with the colour, which looks quite true to life. One thing I used to dislike about the Fuji's is that the different hues and shades of plants would get lost and merge into an ugly green. 
Because the crop mode works in video, you conveniently get a 28mm f1.7, 35mm f2, 50mm f3 and 75mm f4.5 in a small body (although 1080p at 75mm looks terrible). It should be a great camera for taking on hikes or going to social events. 

I’m excited - got my camera cage sorted and ready to go! 
 

Surprised no one is talking about what the 12K BM cam means to S16 lenses.
6K S16 on a digital RGB sensor seems like a HUGE thing to me. The frame rates on the S16 crop are icing on the cake.
 
There are a fair few S16 enthusiasts out there with a good selection of S16 PL mount lenses. Seems like this camera could be a game changer for them.
Thoughts?

I think, based on information on the gamma of a sensor and tests of the color gamut of the Sigma fp, which showed it was close to REC2020, that the best base for grading 12bit CNG RAW is using Resolve Color Management, starting with a linear gamma and REC2020 gamut transformed to REC709. Here is a video I shot of flora, of different colors. Sure videos of flora are boring, but you see colors you know from real life, and the video is less boring than that of a color chart. And, of course, videos with added distorting "cinematic" LUTS (Kodacolor!), just obscure, so this does nothing but increase color saturation.  It pretends not to be cinematic, but there is a chicken in the video. I think the colors are fine.
 

I second the DR10L. I've used them as regular lavs and as plant mics. You could crank the gain to hi+ for the interviewee and have the -10db safety track for the interviewer. Or better, yet, use two of them.
As far as ethical worries: Impractical Jokers, What Would You Do? and Candid Camera. Nothing new there.

I have the gx85 and love it as a travel camera. Went on a trip with the gx85, g7, 12-32mm, 45-150mm, 14mm, 25mm, and more all in a smaller/light backpack. Had a great time.
The kit zooms are slow, but they really are nice and compact. Definitely worth having around IMO
But I also have the nx1 and nx500.
It doesn't make sense for most people to buy samsung nx stuff at this point, but you might be an exception.
The nx500 is pretty sweet. It doesn't have all the feature of nx1, but feels very similar. It has the 16-50 PZ lens that is super tiny. It's slow, but it's a good kit lens. You could also get some of the NX Prime lenses, which are faster, but with slower/noisier AF. 
The nx500 also has a pretty crazy crop in 4k. It is hackable, but out of the box the 4k is really zoomed in.
Again, it might not make sense for most to buy more NX gear, but it depends on how you like the nx1 and how long you plan on sticking with it, and also what samsung lenses you currently have. If you keep an eye out for a good deal, the nx500 may be a worth while addition to your NX gear

This is why I think it's worth seeing what Sony comes up with this year for its A7 line; there are lots of rumors of new cameras to be released soon but regardless if you're not in urgent need of a new camera it might be worth waiting to see what Sony has to offer; if the video specs are improved it could tilt the balance toward Sony.

So does the ARRI Alexa 

Congrats! And the doc looks great.

I’m very grateful to be connected with JVC! They posted an interview they did with me on their IG profile talking about my film Marcy Made and how it was filmed with the JVC-GYLS300!
 

I have been using the A9ii for a number of months ... filming a podcast, and services for my local church while in lockdown. Multihour sessions without
any heat issues just works ... record to a Video Devices PIX-E5 with a PIX-LR to get around the 4:2:0 internal spec ... but the times I have used the internal
100MB/S codec it has looked good enough.
Color is very good, skin tones accurate and DR acceptable. I rarely use AF ... mostly use Zeiss Loxia lenses but for stills outdoors it is perfect and video
with the 70-200 GM is very good. Here is a booring look at the garden ... lockdown not rigorous in Texas but too hot to do a lot of outdoor filming after 800AM. Watch in 4K ....
It looks like the AF speed is a bit faster here than necessary ... and I will use a slower setting in the future.
This camera makes me want Sony to give us the specs for the A7SIII and the FX-6 ... 10bit more robust codec and I would have nothing to complain about ...
the new Venice colors work for me.
 

Agreed. I'm a relative newcomer to video (~3 years) after almost 5 decades of photography and I got into it reluctantly because I like keeping things simple. But as a creative outlet I don't think anything else can match it. I get to conceptualize and tell a story, compose my own music, solve lots (and lots) of problems, and learn new skills like color grading. The technical details and nitpickery can be overwhelming, but it's good to remind myself that I don't shoot videos for cinematographers and colorists. They're not my audience.

Except for the static wide shot at the beginning, this was shot handheld with the 18-55 kit lens on the x-t2 (pretend that it's a Marvel movie and watch through the credits).
 

Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles.
I actually quite like the Portrait one as a flatter profile myself.
STANDARD
VIDID
NEUTRAL
PORTRAIT
LANDSCAPE
CINE
TEAL&ORANGE
SUNSET RED
FOVEON CLASSIC GREEN
FOVEON CLASSIC BLUE
FOVEON CLASSIC YELLOW
MONO

Now there's a phrase you don't hear every day.