Mark Romero 2

You can see what I mean about them not standing still; RED just announced this:
https://www.newsshooter.com/2024/01/25/v-raptor-8k-vv-x-v-raptor-xl-8k-vv-x-global-shutter-cameras/
Has all of this: global shutter, mirrorless mount, 8K, TC, genlock, SDI, etc etc etc (you kinda sort of ish "have built in NDs", but not really. As the EF adapter can have NDs built into it, but you won't have the clear ND option. And of course no NDs if working with RF Mount lenses) 
Yeah ok, the  RED V-RAPTOR 8K VV [X] is however a $30K camera. But it will still have a knock on domino effect pushing down the secondhand prices of all the RED models below it. Making it even harder for a future Panasonic BS2H / EVA2 (or Varicam LT mk2) to compete against it. 
My bad, I totally forgot about the box-ish style cameras with NDs which are:
Sony VENICE (all versions) + Sony BURANO
Still, it doesn't change my point much, as the cheapest of those is the BURANO at US$25K. 

I’m going to politely disagree with you there.
For video, the S1H is not the greatest for tracking forward motion. Depends on the lens, depends on the aperture, depends on the settings. For everything else AF, I’d class it as good/good enough. Again, with the caveats above.
For stills/photo, zero complaints or issues. Shooting sports, well yes, there are better options but I shoot events, hybrid, 2 years with the S1H and it’s my favourite body for this that I have ever used. At no time have I ever considered the AF or said, “I wish it was better”. 
My only gripe is lenses. Or at least lack of what I ideally need. Yes there are lot’s of lens options for L Mount which if they fit someone’s needs is great. But sadly they don’t provide for mine.
EVA1, no experience and not my kind of camera for my needs so cannot comment.

Eva1 might look creamier than the S1H regarding sharpness due to a 100% video focused oplf. @IronFilmhas had some projects with an Eva I think. I imagine the color science to be nicer. But that's in my imagination. Youtube shows that people love the image they are getting out of the Eva but so say S1h users or BM lovers. One guy put it right inbetween S1H and Varicam with the latter giving a true high end image. S1H beats it handsdown in lowlight though from the comparisons I've seen.

I'd just go with a used S1H which are fantastic value now.
Unless you absolutely must have exceptional forward tracking AF and/or full frame 50/60p, it's an exceptional piece of kit that is a joy to use with stellar output.

One downside I can think of is how long the OLPF might last?
The ones that people put into their OG BMPCCs have some sort of problem - IIRC they go foggy?  Anyway, people are always talking online about replacing them.  It might just be isolated to that time-period or manufacturer, but something to look into.  Otherwise, yeah, why not.

Or in my case, very, very badly...

Being serious, it's mostly 'simply' a case of starting out as a 100% stills photographer who through a process of trial & error technique-wise plus balance of tools used, added X% of video per annum at the approx following rate:
Year 1 = + 10% (just static single camcorder on tripod ceremony & speeches)
Year 2 = + 20% (as above plus a tiny amount of handheld or other bits and bobs on a tripod)
Year 3 = + 35% (adding more elements and volume)
Year 4 = + 50%
Year 5 = + 75%
Year 6 = + 100%
Since that time, more refinement/evolution than revolution.
The principle skills are probably determination combined with the ability to multitask whilst being prepared for quite a few setbacks, especially financial ones as there is no official guide or handbook, just self-education/experimentation.
If anyone really wants to know the specifics, they can book and pay for a workshop. But it ain't cheap. Various competitors have been trying to weasel info for years, but I protect my niche like a cornered weasel myself 🤑😈

Ok, so this thread reminds me of when I was young and we were going through all of my dad's old slides and we came across one where, well... it wasn't so much a selfie as it was really him just not sure which end of the camera to look through when taking a photo. 

Does This count as a selfie??? 
I was on a job (real estate photography) and I had climbed to the top of the backyard to photograph the view. Unfortunately, it had rained earlier in the morning and when coming back down I slipped and fell on my keister. My new(ish) Panasonic S1 - which I was holding - fired off a shot at the moment of impact with the ground. I do NOT recommend doing this.
 

My methods that seem to work ok, 2 options
There are two main options i have found, to grade OM-log-400 in Divinchi Resolve.
1. Color management or alternately 2. In Manual (better as you can turn off/on LUT)

1.Select in "project settings" "color science" select color manged" select "output color space"= rec709 (standard stuff). Under "look up tables", select OM-log-400 LUT. (this needs to be pre-loaded into Divinchi) Make sure it's the "output table" you have selected (NOT input table). This enables you to grade before the LUT . With this option Divinchi applies the LUT for you at the end.

2. Manual ( all in your own node tree) same as above in outcome but you do the work.
In "project settings" select "color science" Davinchi YRGB".
Select timeline color space rec709 or Davinchi WG/intermediate. (DWG is better for some color tools) Select "output color space" = Rec709 Gamma 2.4. Do not select any LUT's in the look up tables section.
Now add the OM-log-400 LUT in your node tree at the end. Grade before the LUT, for best results.

Note the full color space gamit (range of CIE chromaticity) is preserved. To prove this, (experiment) set "output" in project settings to Divinchi wide. Save, then view CIE chromaticity viewer, you will see an huge color gamit over shooting rec709 boundary markers, reset "output" to rec709 and you can see the CIE chromaticity viewer indicating the gamit inside the 709 color space boundary markers. Therefore we know the full color gamit is available and is only suppressed to rec709 at the end. Please comment if you add more to this

Thanks for doing all the work, @kye
Probably the thing that is most surprising to me was looking at the scopes between the P2K and the Alexa. 
When I look at the skin tones, the P2K looks a lot more magenta and the Alexa a lot more green. So I thought the SATURATION levels would be much different than they are on the scopes (i.e., P2K have more saturated magenta, Alexa having more saturated greens).
But in the scopes, the main difference seems to be the P2K has magenta rotate more CCW and greens rotated more toward Cyan, while Alexa greens and magentas are more "true" and the yellow is really heavily saturated.
Unless i am missing something (I often do)...
Oh, and there is a luminance difference between the two captures, which leads into the other part of the equation, which is how bright or dark a profile captures a particular hue. If I understand correctly how the scopes work (and I probably don't), and how the human mind works (I definitely don't understand that) a color checker would show the same saturation levels even if the luminance levels varied somewhat, but the human eye might PERCEIVE more saturation in the darker level. 
I mention that because it is an old lightroom / photoshop trick that if you wanted to make a bright sky look more saturated, instead of going overboard saturating the blue channel, you would saturate some and then darken the blues to make it look like a deeper blue sky.

BTW: Saw a test from the S1H done by The DP Journey and he noted that shooting in 6K then downrezzing to a 4K timeline reduced more noise than shooting in 4K from the full-width 6K sensor.
It wasn't night and day difference, but it was noticeable.
FWIW.

Yes, I would / do sacrifice AF first. The major drawback for me though is that my manual focusing skills are still suspect and the weight of the S1 means that my footage is shakey if only one hand is concentrating on supporting the camera and the other is pulling focus.
I'm not sure if the answer is shooting more on the weebill S and using the wheel on the weebill S to pull focus or not. 
True, I think that most of the work i do (and hope to do) falls under videographer.
 
Or... they get a real sharp lens for shooting commercials, and then fill the room with haze ¯\_(ツ)_/¯

More impressive than the camera (which looks great) is that XF18-120mm. Parfocal, minimal breathing, weather-sealed, and a power zoom built into the lens! Fantastic. Lenses make or break a system and Fuji just laid down the gauntlet to other manufacturers. Sony and Canon have some impressive cine options, but no lenses that are equally at home in photo and video mode. This XF18-120mm is a new breed. Panasonic have some incredible lenses in both m43 and L mount, but I sure do wish the Lumix division would work with their video division and turn some of their beautiful stills glass into cine versions. 

Well there is our GH6 killer!!

If you like Fuji just go with that. You'll never really be able to get Canon to look like Fuji.

I personally love the Canon look and the R6 is a great choice overall.

Two cameras for family stuff seems annoying. I think Fuji is very usable up to 3200 iso which is enough for most things. Get some fast lenses.
 

The answer, from looking at the manual, is no. There is an EX Tel Conv. mode but it doesn't work for video on the GH6. So there's no sweet 2x mode for HD shooters.
It looks to me that the only thing that comes close for 1080p is to set a custom mode to shoot 4K pixel/pixel and then scale it 50% in post to give a clean 1.5x zoom on a HD timeline. Or you could scale it to 75% which should give you a clean 2x digital zoom.
But of course, then you end up dealing with 4K files anyway which defeats the purpose of shooting HD. And also there's a bit of post work involved. And if you're aiming for the 2x then framing will be wider than what you want.
The beauty of the GH5's 2x Digital Zoom for HD was you just pressed a function button and the reach of your lens doubled.

Your WB might be slightly off there Tom? 😜

I did a musicvideo last week. I figured what I would shoot with, big F3 to test that baby Alexa sensor, BMMCC to drool over RAW beauty and magic or what not. Thing is I choose my favorite GH5 rig, rented the cam, rigged it up with my stuff. In the end, the camera needs to work for you. BCam was my S1. And it was a great shotgetter. That is much more important than making an impression with size.

Normally my clients are people that saw me work first hand, so they know what to expect, but this one had never seen me work. I didn't really think to do more than bring my lights, camera, tripod, and audio gear since it was a pretty simple sit down set up... Making it all look like a beefed up cine camera didn't even cross my mind! 
I guess it wouldn't hurt to add my SmallRig mini matte box lite, wooden hand grips, and external monitor in the future? I just never really saw the point in controlled conditions. 
I think I'd just buy another S5 or an S1.
When I got home I did this. 
I guess that does look better. 

When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag.  When they see me pull that rig out of the bag, they think they think I am a total pro!

So today I had a shoot for a new client and when she saw me take out my Panasonic S5 she was a bit taken back. She thought that I had a more "professional camera." She wasn't mean about it, but she genuinely seemed surprised. It just was kind of an awkward situation, I guess in part because this was my first new client since the pandemic made me scale back, and I'd kinda forgotten what that was like. It did however make me wonder if I should've rigged out the camera more, if for no other reason than to make it look more "professional" and to make the client feel as though she was getting her monies worth.
How do others handle this, and is it a consideration at all? I know many will scoff at the idea (I always have in the past), but is this something I should consider more, especially as I work with new clients? I'm interested in how others handle this!

This is a great nonbiased review of a few cameras. Go to 27:00 minutes if you want to see the winner for filming.
 
 

This is from Facebook (from a reliable source).
The streaking runs across the flag upper left.
As others have pointed out this is a pretty extreme situation, but i do still think its a concern.  Stuff like this catches you out when you're not expecting it.
 

If it helps, you can go to a hardware store and grab a bunch of highly-saturated free paint swatches with the brightest colours you can find (and grab some skin-coloured ones too while you're there if you don't already have a colour checker) and you can experiment with those.  
Assuming you're setup with a calibrated monitor and neutral studio lighting (I recommend MediaLight https://www.biaslighting.com/ and have lit my studio with their bias light and plug-in globes) then you can shoot some test shots (I recommend in full-sun for best colour accuracy, or a halogen / incandescent globe if it's not sunny outside) and then you can bring the switches into the studio and compare them to your monitor (if you have a portable high-CRI light you can light the swatches with that - keeping any spill off your monitor) and literally compare then side-by-side, which is by far more brutal a comparison than anyone would ever have looking at your work in isolation.  
Much easier to do that than convert your studio into a rainforest habitat!
What are your thoughts on RAW vs Prores and how good Prores is at matching the capabilities of RAW?
I ask because lots of folks here have only shot with h26x and RAW and the differences are obvious, but may not be aware of where Prores sits in that spectrum.
lol.... 
Are you able to provide any examples?
I've seen a number of tests that don't have these issues, so interested in seeing how people are testing this.
I'm seeing random idiots all mouthing off without having any thought (or even fact) behind their opinions all the time at this point.  I think I saw one person declare that the GH6 was useless because it didn't have PDAF and then raved about the S1 for a while, I was thinking "um.........??"
lol..  
I find that when shooting with the family on trips there's a few things that solve lots of problems.  Unfortunately one of the ones that gets used most often is a credit card!!