Thpriest

Panasonic could also do with getting a move on with their 1.8 primes as that could sway a lot of people.

Well the the 24-105 has a wider FOV and a longer one, but is 'only' F4 vs 2.8
Sharpness-wise, not a lot in it and I'm not really a pixel-peeper, but maybe a very slight edge to the Panasonic?
The Panny has OIS which improves stability further, but the Sigma is smaller and lighter and doesn't extend as much when zooming.
The Sigma is a nicer fit on both my S5 and S1H whereas the 24-105 IMO is a bit large for my liking on the S5 without a grip. Useable? Sure, but all day shooting a wedding... nah, grip.
I'm still waiting to test the Sigma 65mm f2 (hopefully within the next couple of weeks) before committing to that as my principle video lens and then I'd flip the 28-70 over to the S5 full-time and that will be my pairing (S5 + 28-70mm f2.8, S1H + 65mm f2) but if that doesn't wok out, then I'll keep the Sigma zoom and use it as a 'dual prime' on the S1H and either get another 28-70 for the S5 or just keep using the 24-105.
I do like the output of the 24-105 and it's flexibility and if it was either smaller and lighter by 25%, or same size & weight, but f2.8, it would be a definite keeper...but currently it's the size & weight that is preventing me from committing.
And I know, I know, it's hardly a massive lens at just under 700 grams anyway, but by my standards, it's fking huge!

And then fine tune it even further with AF speed and sensitivity.
No user should need to do this though and this has been Panasonic’s Achilles Heel.
Not so much the fact the AF is contrast based, but there has been little to no instruction in regard to how to make it work best which has been left to the community to try and resolve.
It’s cost them market position and countless millions in sales. Marketing and reputation is everything.
The entire L Mount system; Panny, Leica and Sigma have virtually all the ingredients needed to have the best product in the marketplace bar none and it’s slightly frustrating that they do not.

This is how I work. Unless you are doing really high end stuff nobody pays enough to grade everything and many times it's just not necessary.

As a matter of a fact I do:
 
 

The 4K on the S5 is the same as the 4K on the S1, as far as I can tell. I am surprised at 150Mbs h.264 how "pushable" the files are in post. 
Also, I have zero issues with shooting at ISO 4000 in 4K and delivering in 1080p. Whatever noise is in there isn't really a problem and the dynamic range is still quite good.

S5 would look the same, same sensor, same digital pipeline, same codecs. That open gate 6K from the S1 will be something I will love to check out though. Full height for my lenses, awesome!

Camera looks amazing. Is there a real difference in image quality/look over the S5? (Other than internal 6k). I mean, does 4K 25p and 50p 10bit look the same?

You are quite right! Phew! Thanks

You really turned this into a rant about trans folks?

(Speaking as an electronics engineer) the turn-on problems sound like the extra 'startup' current drawn by the phantom power circuitry on power-up (if it's on when the XLR module powers up) is 'tripping' some protection system - which then cuts off the power to the XLR module because it thinks it's faulty.
'Staging' the power up by first turning on the module (with phantom power off), then turning on the phantom power probably keeps the peak 'startup' current draw low enough to stop the protection tripping.
Unfortunately I think the only way to find out if it's the XLR module or the S5 having a problem is by trying another XLR module or S5.

It works perfect on the GH5. I'm not an audio person, so to me the audio sounds fine.  I've never had a problem with noise from the module and anything minor I've been able to clean up in Fairlight; but since I'm not an audio person it is possible what sounds good to me isn't actually that good. The XLR module was one of my favorite GH5 accessories, and the fact that it worked with the S5 was a major selling point for me. 
I do wonder if maybe the lav mics I am using is causing the issues. But I remember I had a problem with the module and my Sennheiser wireless receiver as well. Very annoying problem to say the least. I am going to do a lot more testing before my next job to see if it is something that is my fault.
Personally, I've always found audio the most difficult part of videography, between placing the mics, dealing with room treatment or lack thereof, trying to keep the audio from peaking, trying to keep the mic from rubbing against clothing, trying to block ambient noises like the wind; etc......its very obvious why it is a whole specialty in and of itself.

Back button focus works great on the S5 and S1. I set the AF switch to MF, and leave the AF switch ON for my Canon EF 16-35 f/4 L. Hitting the AF on button then focuses the lens. I have it set up so that rotating the focus ring on the lens then brings up picture-in-picture for fine tuning focus.
No idea about sigma lenses and linear manual focus.

I don’t BBF so don’t know but believe you can?
I tried the Sigma 56mm f1.4 and it could not autofocus to save it’s own life.
I ‘assume’ the other two in that line would be similar...
The new 28-70mm f2.8 is quite good. Not as good as native Panny but then define ‘good’ in this context anyway! It’s OK, good even for anything but serious tracking.
I am still waiting to push the button and test the lens I am most interested and that is the Sigma 65mm f2.
If that works out OK, I will probably trade the 45mm f2.8 for the 35mm f2 as it will make a better pair for my needs.

On the S5 there is a dedicated AF ON button on the back of the camera. One-shot AF is the way I think about it. I find it essential as the screens are small and focus peaking not that great (though that can be useful it depends on the light) plus my eyesight is not that great these days!

Do you mean use the autofocus button when in MF? If so then yes, I use this method all the time when shooting video. You can also use the MF ring when in autofocus.

There is a feature on the S1/S1H/S5 that you can determine which setting carry over from video to photo. This does exactly what you need it to do!
 

Ah, I don't have one but assumed that because it has a stills/cine switch, it could store different settings. My bad.
XT3 (as above), I used the silent video mode and flipped all the time.
With my S5 and S1H, I simply have an indoor stills mode set to C1, an outdoor mode set to C2 and then 3 video modes, C3 1-3 (4k 25p, 4k 50p and 1080 100p).

1.5 crop unfortunately. The sensor cannot do full frame at 4k 60p, though it may be possible line skipped ?

Well if you only shot the wide end of the 20-60 @ 50p it’s going to be a 30mm equivalent FOV and at f3.5.
For me, it’s about as wide as I would ever go and at f3.5 isn’t too bad even in low light.
I’m really enjoying the 28-70, but on the job I did last week (lockdown 3 starts here today for the next month...) but I used it stills only on the S5.
For video, I went Sigma 45mm f2.8 on the S1H and it was much better than I thought it would be, which bodes well for the 65mm f2.
There are a few options to go wide(r) native L Mount or adapted but the 23mm f1.8 should be coming soon that is; compact, light, reasonable price, fastest AF and decent aperture?

Binned the S1R and pushed the button on a used S1H!
It doesn't specify, but with this particular dealer it's usually 'open box' kit when it's sold 'like new'.
It's not the best time for me to be buying kit ideally as my entire wedding season is still in question, but at the same time, I have a number of commercial projects and styled venue shoots to do over the next few months.
I also would like to spend time getting familiar with using my entire kit as I intend to use it for at least the next >4 years.
I could at a pinch, use just the S5, but after nearly 6 months of wrestling with my 'perfect' minimalist lineup of bodies and lens combos, I have settled on:
S1H with the Sigma 28-70mm f2.8 as a my video-centric workhorse, principally because a lot of my long work days are in high temperatures and some ceremonies and some speeches can go on for a bit so the unlimited recording is a bonus.
I hate flippy screens but the S1H is perfect in that it can just be used as a tilt.
The Sig 28-70 keeps the overall size & weight down but still a flexible focal range that is perfect for my needs; approx 42-105mm as I shoot 4k 50p.
The S5 is going to get a battery grip to add more continuous battery life, but mainly to balance out the 24-105mm f4.
I'm not really a zoom kind of person, so anticipate using the Sig as a 42 or 105mm and with the Panny lens, FF as a 24 or 105mm to give me the same focal length for stills and video at the long end which I work a lot with.
F4 is not my ideal, but then it's equivalent to the Fuji f2.8 that has been my previous workhorse so...
The Panny 85mm f1.8 remains as an option lens for video, - purely back of church or low-light outdoor speeches, because in APSC mode, it's like a 130mm.
The Panny 20-60mm kit lens remains also, purely as a 20mm wide angle for stills and it's my hiking lens on the S5.
The Sigma 45mm f2.8 I'm not sure. I love this lens but have next to zero use for it. I think I'll probably sell it and replace it with another option lens which will be the Sigma 65mm f2 for church and low-light speeches, I have a 100mm equiv, still f2 light gathering instead of the F4 zoom.
2 bodies, 2 workhorse zooms, 1 option zoom, 2 option primes. Sony ZV1 as a backup ceremony & speeches video unit. That's as minimalist as I can go and still cover all my bases and within a certain budget!
Ideally, Panny will pop out a 47mp version of the S5, ie, an S5R as there are times when the hi res mode doesn't work for me but I want more than 24mp.
Otherwise, I'm sorted and look forward to shooting more than the last miserable 6 months!

sooo, any idea if or when a GH6 and "special lens" are going to be announced?

I think the problem is there are lots of options out there and if we are honest, there has been no clear indication of when or if there will be a GH6 and whether it's worth waiting for.
If it's over 2000-2400€ and doesn't have 6K 50p, eND, good AF and lowlight then I'm nor sure what the point of m43 as a pro camera is. And I have a GH5 and GH5S and loads of lenses. Whilst it's been a great camera for me I really feel my GH5 doesn't cut it anymore on quite a few of my jobs. Mainly due to lowlight, noise and af issues. GH5S only solves lowlight problem.

If the GH5S had good AF it would have been an insanely popular camera I think for many creators.
A GH6 with good PDAF and decent lowlight and features that rival BM Pocket cameras would be an insanely popular camera.
If they added internal ND and PDAF to anything it would be an insanely popular camera.
I would like to see it, because a GH6 with oversampled 4K, internal ND, PDAF, full vlog and one of those fast but cheap MFT primes would make a great b-camera for me and I suspect a lot of others. The total package would be small and fast to deploy 

GH6 kinda has to have some giant features to compete in a full-frame world. 
 
PDAF and internal NDs seems to be the two big ones for sure, but timecode, high frame rates in 4K and 6k, and black magic and ProRes raw would all help.