Thpriest

That seems kind of strange...
On the S1, if you put an EF-S lens on the MC-21, the camera will automatically default to APS-C mode, both for stills and for video. In fact, you can't get out of APS-C mode.
The exception to the above is something like Tamron EF-S lenses since I guess even their crop lenses had the EF mount. 

Ooops!

I use the entire Flashpoint system, and they really do work great! I use the Flashpoint XPLOR 600 and the Zoom LiOn.

Yep, should have switched roles with Christopher Lambert in Highlander 😉
He will always be best known and remembered as Bond, but of course was in so many other movies.

Looks good!
It's very hard work working on any low or no budget project especially one that takes months/years to complete.

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. 
As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard!  This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer,
There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok".
As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up.
Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

Emanuel, clearly you fell in love with the dasssshhing Sean😜
As a Scot I'll say we will miss having a real A star like him. He was a great Bond but The Hill was his best film for me.
Only actor who got away with never losing his accent!

No chance of renting here in rural SW France.
Paris or other big city maybe but not here.
My set up going forward really is 3 identical cameras, 5 lens options including 2 zooms and all working on a single day as hybrids:
35mm f1.8, 85mm f1.8, 45mm f2.8, 20-60mm and 70-300mm. Three of which don’t quite exist yet...
Also have the drone (Mavic Air) a tiny bag of audio gear, 1 carbon tripod, 1 freestanding monopod, 1 lightweight light stand and 1 dimmable & directional LED and that is it. OK, a couple of spare batteries and a power bank plus some ND’s but that really is it.
All fits in a single 30 litre backpack except the monopod which fits in my hand.
It’s the minimum I need for providing photo & video at a wedding, event or for my documentary commercial work with the essence being I get out of the car and pick up 1x backpack, 1x monopod and still have 1x free hand to lock the car but not shake hands with people as we don’t do that any longer.
But then I might want to go into the mountains and shoot a 96mp raw landscape and can also do that with the S5 and the lenses I have (or will have) for proper work.
I have found that for stills it’s as accurate as anything out there...but not tested that at a wedding of course and no amount of testing or other work can really test gear like a wedding!

EF-S lenses will not work on the S5. Even though the S5 has an APS-C mode for video it did not seem to make a difference, you could still see the lens barrel in the image I even tried PIXEL:PIXEL mode (no idea what that mode is but it sounded interesting) and I still couldn't use the EF-S lenses.
I don't know about the Godox O line but I can tell you the Godox C line (Canon) works with the S5. I'm not sure about the TTL features since I never use TTL and only shoot manual flash but the Godox C multi flash triggers and the flashes themselves mounted to the hotshoe work just fine. I'm waiting for Lightroom and Photoshop RAW support for the S5 to start testing the photography features. I don't feel like hacking the metadata just to process the RAW images.

Hopefully they don't go the Nikon route on quality and pricing. Nikon's 1.8 optics are perfect, but that causes them to be wildly expensive. Hope the Panasonic ones are "good enough" and affordable. 

The GX85 thread helped me decide to try a 4K camera with IBIS. That lead me to leaving Canon (C100 and 700D) for a GH5, GH5S and GX85 (Hong Kong no recording limit). On the whole I have been happy as although I loved the C100, the Panasonics are a lot lighter and I can carry a 3 camera kit in a back pack.
So that was my favourite thread.

Between the previous VLog L and the Full VLog. It's apparently increased Dynamic Range by 1 stop, which is what everyone was saying the GH5s' sensor is capable of. 13 Stops. 
The autofocus also seems to have something different from DFD (which I am guessing has some sort of ToF/Laser autofocus module to circumvent the Sony Imaging's Monopoly).
HDMI is full sized, and it has fast enough Type-C usb. 
 
Looking pretty impressive, if you ask me. Autofocus, ergonomics and price seem to be the questions left, for now. 

So here’s a quick iPhone snap of my new stills  and manual focus video unit (the S5) and my old but repurposed XT3 with battery grip plus Fringer plus Sigma 17-50mm f2.8 which is my ‘new’ static manual focus video camera and occasional autofocus (because I do not yet trust the S5 and may never do so).
Battery grip with the XT3 because it needs so it has some power and can record for more than 20 mins (albeit 30 max) and for the ergos those very rare times it will be handheld.
500g which is nearly a lb in old money difference in weight and obviously the XT3 combo is a lot bigger in the hand.

At present I only have the 20-60mm kit lens.
It’s quite impressive actually and will principally be my wide angle for stills. Pretty dreadful in low light at the long end being just f5.6 however! Not that I will ever use it like that...
I should have the Sigma 45mm f2.8 but Panasonic are so far refusing to honor the preorder offer. Also refusing to even correspond in regard to it which is totally bizarre as all my communications have been extremely polite...
But that aside, my plan is the 35mm f1.8 and 85mm f1.8 next Spring. Pretty sure that for my needs they will be the sweet spot for size, weight, shallow enough DOF and price, plus being native, play the nicest with the AF!

This could be interesting.
It probably tries to steal sales from P4K and Z cameras, but we have to see the whole unit, maybe it is just another failed Panasonic half-right experiment with the GH5S sensor.
External raw means nothing to me. Either have it internal, or not at all. Sorry, that's what I think. 4-2-0 internal?
4K/60p is just right for me, I have used 120 frames a couple of times the last 5 years, and I used to do high speed clips for TV ads at one point (specialized cameras of course).
Timecode and audio I/O will be very important for this cam. ND?
It seems like a very low cost version of an GH5S, I just wished for a XC or C70 design, that would be perfect, the boxy thing has some limitations.
I would like to see a specialized m43 video cam competing against the C70 for half the price. That would be my market, and I can live with. I am expecting the usual Panasonic AF crap.
Too many unknowns for now. To be Continued..

...and a few days later, I'm keeping it after all.
In fact, a pair of them are going to be my main workhorses as I intended.
I have been trying to find a workaround and not just a 'kidding myself' fix, but something genuine.
I looked at both the HC-X1500 camcorder and the bridge camera (for my static manual and occasional but important AF needs) but just know that based on my current 1" sensor Sony camcorder, the footage is going to be shite. And it's still contrast detect, so nah.
Back on to the stage comes a used XT3 body and I already have a Fringer and 17-50mm f2.8 Sigma so for all my static manual focus needs, et voila and for the 1 minute or so on each job when I also need AF, et voila encore.
As I may have said before, I love this camera (the S5) in every way except the weird pulsing in AF mode but otherwise there is something just 'right' about it. That combo of size, weight, ergos, dials, buttons, operation and of course quality of both video and stills files.
Just need some projects to use the bugger on now...

The GX85 thread helped me decide to try a 4K camera with IBIS. That lead me to leaving Canon (C100 and 700D) for a GH5, GH5S and GX85 (Hong Kong no recording limit). On the whole I have been happy as although I loved the C100, the Panasonics are a lot lighter and I can carry a 3 camera kit in a back pack.
So that was my favourite thread.

Suddenly the Canon C70 makes one imagine whether Panasonic should feature their next M43 with a dual gain sensor, to ensure greater dynamic range. Also, dual mini xlr, internal ND, among other features would be a great feature set.
I find no reason why the next GH can be a cinematic powerhouse. 

Panasonic...please.
Arguably some of the best video orientated features in the business: menu, on screen info, custom mode buttons, IBIS, full v-log, with updated colors, robust anamorphic support and modes, decent wireless phone app, one of the best images in the game, balanced and non-compromised codec options, great handling and ergonomics with lots of custom buttons and very practical dedicated ones (WB, EC, ISO), robustly built, practical camera bodies.
It’s all let down by the AF. All the hard work in all those other areas...completely destroyed by the AF. Unsold cameras because of the AF.
The reason I’m hesitant to give you anymore money, and I’m sure I’m not along, is the pulsing AF. The tracking is much improved, great! Awesome step forward. DfD can work in some situations in a pinch and a few reshoots. But, I’m not going to drop $4000, $5000, $6000 on a system with shitty AF in 2020 and beyond. Not with so many other good choices. It just doesn’t make sense anymore. AF is now very, very useful and reliable (On Sony and Canon anyway) for 90% of what people want and MF is only a tiny switch flick away for that other 10%. The market has shifted. Your competitors now have 10-bit log with good color. AF in all modes including 4K120p slow motion and above.
It’s time.
I’m a huge Panasonic and MFT fanboy but you gotta do something different or your cameras will go unsold and your L-mount will fail. And that will, with all honesty and sincerity, be a sad day.

Good news in 2020???
Is this a dream? 

My cameras get butchered out on the field, they are hardly sellable once they've had a few years with me.  Buying new gear is part to replace worn out gear and partly to add new features that make my work easier and more to my taste.

True, but I’d rather have a worthless GH6 to shoot 6K or 8K and HFR 4K with my paperweight MFT lenses before they float to the top of the water belly up. 

I can see the GH6 big selling point being 8K.  Whether we need it or not, the R5 has shown its very marketable.  I prefer more internal RAW, ND Filters, punch in focus during recording, SSD recording via USB, AF at PDAF quality, recording 2.35 ratio and full Vlog.  Give me that and its a winner for me.

They 100% do.

The GH6 will need to be an absolute monster now the A7SIII offers up to 4k120 10bit full frame with no cripple hammer, and ProRes RAW. 
I think they should use a Super35 sensor but with MFT mount with 6k60p 10bit, external RAW and internal ND filters for less than $2000. 
That would be very relevant and head turning enough.