Mark Romero 2

ARRIRAW is supported natively in Resolve but with a limited number of settings. 
Best workflow is to use the official ARRIRAW converter.
Never claimed resolution would fix those specific issues, just saying there are real benefits to high resolution for other real-world requirements.
There is always a trade-off somewhere. I have great respect in ARRI for their overall dedication to IQ across the pipeline but there are other companies doing interesting if not better achievements in other related areas such as Komodo's global shutter for instance. That said, I do think ARRI's Dual ADC tech is absolutely key to their DR and latitude, and that is certainly something I'm glad to see trickle down to more affordable cameras.

If we are both thinking of the same video (the one from Japan) then the saddest part was that the autofocus tests were shot at 60fps / 1/100th shutter speed, and in a high-contrast profile, which normally is the BEST case situation for Panasonic Autofocus.
Which means that autofocus when shooting V-LOG at 24 / 25 / 30fps is going to be... not good...

Coming from Fuji myself (XT3), not as good.
For stills, no problemo…in fact there are several bonuses with stills for a camera having contrast detect.
But for video, with static subjects or side to side movement, pretty OK and yes, native Panny lenses have an edge over Sigma.
Reliable tracking forward or away from you. Forget it. Pretty crap.
It CAN do it, but you don’t get to decide when those times are.
Toss a coin up in the air and the probability of heads or tails is 50:50.
That’s S5/S1 tracking as things stand for you.
 

Rolling shutter, battery life, weather sealed body, superior Ibis, compactness of lenses..

If we are both thinking of the same video (the one from Japan) then the saddest part was that the autofocus tests were shot at 60fps / 1/100th shutter speed, and in a high-contrast profile, which normally is the BEST case situation for Panasonic Autofocus.
Which means that autofocus when shooting V-LOG at 24 / 25 / 30fps is going to be... not good...

I just replied to Andrew's tweet: "I'll go the opposite direction and it will be sold out by the shipping date."
Here's what @Mattias Burling just said: "I visited my local camera shop. The owner was surprised at the high interest in the OM1 among his regulars, that are mostly still using pro DSLRs. The low price was what made them consider it. I haven’t read a single article about it so I don’t know. It’s just what he told me."

Ha, just read Andrew's tweet:
"OM-1 is a nice camera but will sell exactly 0 units at £2000"
Well one muppet has pre-ordered a pair so we're 2 up on your 0 already 😉

Have you tried WBing GH5 10bit VLog in an ACES colour space? You should be able to do it with relative impunity.
I know there's no GH5 IDT, but you can sandwich Vlog to ACES to VLog and get your footage back to what it was, but with WB fixed.
Incidentally, I don't think that GH5 VLog should be treated as Rec709 gamut. Admittedly, converting to V-Gamut gives slightly wonky colour (slightly pink skin) but leaving it as is gives much worse (horribly green skin). 

Ok rather than blame Sony or high-resolution etc.. Let's try and actually tackle the actual IQ/CS situation to understand the bottlenecks and what's at stake shall we?
There is much more to CS than sensor manufacturing. Sony make sensors for Sony/Nikon/Fuji/Panasonic yet they all fine tune to their respective CS through image processing. 
And CS evolves.. for better or for worst depending on personal preference. Some people prefer pre-GH5 color gamuts. Same with Canon, some miss the 5D3/C100/1DC CS.. fortunately Canon bodies allow to set the log color matrix to "Cinema EOS original" or the more ARRI inspired CS "neutral". You get to decide.
Every camera manufacturer has its own golden standard. For Sony its Venice and A7S3/FX3/FX6/FX9 allow proper Venice S-gamut3.cine in log but also S-cinetone profile for a baked-in Venice look. 
For Panasonic, their gold standard is obviously Varicam. But what some may not realise is that GH5's Vlog-L doesn't operate in V-Gamut but in Rec709. So it's kind of a fake Varicam CS. Also seems to dead-end ACES workflow with no appropriate IDT support from Panny AFAIK. You have to step up to S1H for proper V-Log/V-Gamut.
ARRI -the Hollywood gold standard- Log C uses Alexa Wide Gamut (AWG) with either 10-bit ProRes 422 or 12-bit ProRes 4444 XQ. AWG works in a much larger colour space than Rec709. The encoding was done with a complete and deep ACES workflow in mind. This whole relationship is what makes for a class-leading grading platform.
Other important IQ related aspects are in-camera sharpening and NR. Both seemed to plague GH5.
Will be interesting to see if GH6 tackles some of these issues.. we still know nothing of the actual ProRes flavours or if Log is still Vlog-L or proper Vlog/VGamut...
 

I wish I could disagree with you. But I can't.

OM-1, GH6, in 2022, both overpriced for what the competition is offering these days. My phone is shooting ProRes at this point, it’s not exactly a killer feature anymore, esp with how good hevc is these days.

All I can think about is imagining this camera with the OM-1 autofocus and how good it would be even at $2500.
Love the tilt OR flip screen. Can they license that to Sony in exchange for PDAF please? 😂

I believe the ARRI and Canon DGO method is reading two gain circuits at the same time.
Kinda sounds like they are doing frame blending from a super fast readout.

Time will tell but this isn’t the same mirrorless market than when GH5 was released in 2017.
GH5 got many budget conscious pros on board back then as it was the only mirrorless offering 10-bit at an aggressive price.
Today, most S35/FF cameras offer 10-bit, some RAW and Sony & CaNikon have flawless PDAF systems.
BMD does ProRes/RAW and has ND’s to boot.
I don’t have numbers but I suspect many users have switched, even to Pannys own FF system and I don’t see them going back to MFT. Not at that price and with AF still lagging behind.
Just seems like a tougher market for Panny to expand outside leftover GH fanatics heavily invested in M43.

You never used the old Sony menus, huh?

You never used the old Sony menus, huh?

I will be the first to admit that I am a dynamic range junkie. I can't get enough of it. (Hence, why I went from Sony aps-c to Panasonic Full Frame).
I am really, really looking forward to seeing some / any dynamic range and low light video tests.
In particular, what the 4K 60p DR and Latitude is going to be like.
Having said that, I will probably just end up buying an a7 IV 
¯\_(ツ)_/¯
 

Good job @jgharding
I decided just a couple of days ago to bump up my ZV1 to gimbal duty for those occasions when I need reliable AF.
Matching it to the S1H and S5 will be even harder I suspect, but it’s currently my best and only option so…
I tried the S5 with small/light lens in the Crane M3 but it was pushing the limit really…not that I really know much (anything) about gimbals, but the ZV1 is a much better fit. And the results are always in focus which means I don’t wish to smash it to bits.

It sounds like it might be a camera for adventure photographers, but also now would be "enough" if that person decided to do video or start a YT channel on the side.  I can imagine someone new to video being told "if it has 4k60p 10-bit HLG then that's all you need".
I see quite a few outdoor photographers on YT who started their channel to talk about their photography and started by using their main camera.  
The HLG wikipedia page is worth a review: https://en.wikipedia.org/wiki/Hybrid_log–gamma. Maybe I mis-spoke about it not being a real standard?  But I think "HLG" being used to market a product is more like saying something is "HDR".
I shoot HLG on the GH5 and then convert from rec2100 to rec709.  In Resolve you can do this via a CST in the node tree, or you can enable Resolve Colour Management (IIRC in the project settings) and then set the Input Colour Space of the clips to rec2100.  The colour management behaviour of Resolve is complicated, so that's kind of a different subject.
I know it's not either rec2100 or rec2020 because I took a controlled test scene and shot three clips at -1, 0, and +1 stops.  I brought them into Resolve and converted them with a CST like described above, and adjusted the exposure on the -1 and +1 to the 0.  If the colour space I was transferring them from was correct the shots should have all matched, but they didn't - IIRC there were strange differences in the gamma curve.  That's how I knew they weren't actually those standards.
However, when I set Resolve to Colour Managed and Input Colour Space to rec2100 (I think I use "Rec2100 (Scene)" - not completely sure) then certain controls in Resolve become "colour space aware" and adjust their behaviour to act appropriately for that colour space.  IIRC this is things like WB and the LGG wheels, and the WB definitely does a pretty good job in that mode, so I'm actually really happy with how that works.  
I have a bunch of "hero" shots that I've copied to my SSD in my laptop that are from basically every camera I've ever owned, so include 700D, 700D + ML, Canon XC10, BM OG BMPCC, BM BMMCC, iPhone 6, iPhone 8, GoPro Hero 3 with Protune, Sony X3000, GH5, and probably others.  I tried that mode by setting all the input colour spaces on those and then grading all the clips and it did a pretty good job across all the various colour spaces and various colour science of those, and made it pretty straight-forwards to match them pretty easily, which is a pretty good test IMHO.

That’s IP666

Almost all OM System videos are people on the outdoors, covered in snow to the waist, shooting under monsoons, base jumping inside an active volcano...their intended demographic for this camera is well defined.

(the last one is a joke, IP53 is not rated for volcano swimming)

Thanks for the elaboration.
I'm a bit confused here (nothing new, really).
So in the GH5, if you shoot in HLG, you usually use a CST with Rec2100 to 709 transform? Or you are setting the color space in Resolve to rec2100 in settings and then output color space to 709?
I guess part of my confusion was that I thought HLG WAS a standard, but it was limited to certain TVs. Is that not the case? I guess I thought this because I thought I remember saying that you could use HLG and then just plug the SD card in to some of their TVs and watch things in HDR easily.
So is HLG more like a "knock off" of something like rec2020 / rec2100???

I will be the first to admit that I am a dynamic range junkie. I can't get enough of it. (Hence, why I went from Sony aps-c to Panasonic Full Frame).
I am really, really looking forward to seeing some / any dynamic range and low light video tests.
In particular, what the 4K 60p DR and Latitude is going to be like.
Having said that, I will probably just end up buying an a7 IV 
¯\_(ツ)_/¯
 

Internal ND filters

The GH5 has "HLG" but it turns out that HLG isn't a standard, it's more like a concept.  Rec2020 and rec2100 are standards, but unfortunately the GH5 HLG isn't either of them (I tested it myself).
I use rec2100 in Resolve and it does a pretty good job, but having HLG isn't worth nearly as much as it actually being a standard.