Mark Romero 2

I tried one single outdoor tracking sequence from around 50 feet away (face tracking mode) and it locked on body immediately, went to face as the subject got nearer and then eye at about 10 feet.
Pre new firmware, if that is going to make any difference...
Locks and tracks nicely indoors.
I will give it a proper run this afternoon with one of my unwilling subjects but it’s looking good.
Will I use it for stills?
No, but only because I moved from Fuji to the L Mount system for a reason and that is so I could continue to shoot S35 video and full frame stills in one system.
Will I shoot any APSC stills at all?
Yes actually, but not with any of the Sigma APSC lenses and I will be getting all 3 as part of a single camera/3 lens dedicated video set up.
I made a final decision on my stills lenses late last night after wrestling over every possible combination and came to the following conclusion and that is neither the f2.8’s or the big/heavy f1.4’s (such as the Sigma 105) are going to work for me.
Instead, I am going to weld a Sigma 35mm f1.4 to one body and the new Sigma 85mm f1.4 to another, but when I need to (ceremonies and speeches) flick to crop mode to get a ‘130mm’ in camera crop.
I need small and light and fast and portable as possible and for my needs, I have cracked it now.
Final line up:
 
Static video = S5 + Sigma 30mm f1.4 + tripod + power bank. This unit for ceremony & speeches only otherwise 20-60mm kit lens goes on and unit lives in my belt as my wide angle stills lens.
Filming = S5 + Sigma 16mm f1.4 (dancing), Sigma 56mm f1.4 (indoor) and Pan 85mm f1.8 (outdoor) giving me 4K 50p focal lengths equivalent to: 24, 84 and 127.5mm. This unit lives on the freestanding monopod.
Stills = pair of S5’s mated to the Sigma 35mm f1.4 and Sigma 85mm f1.4 which can be extended in crop mode to 127.5mm. I also have the super-wide 20mm focal width of the first unit all day except ceremony & speeches when I don’t need it anyway.
4 bodies + 7 lenses and it’s all still one backpack and one small camera bag with the monopod in hand, including my tiny folding carbon tripod, light stand, lighting, audio and drone.
Phew. A lot harder than I thought but I remain convinced there is no better system for my needs right now than the combination of L Mount Sigma glass with S5 bodies.

Well... did you try instead to focus on the BACKGROUND??? Maybe that way it would lock focus on you by mistake ¯\_(ツ)_/¯

Canon EF lenses on an MC-21 Adapter on Panasonic S-series cameras only provide AF-S. There is NO AF-C available using EF lenses on the MC-21, neither when shooting video nor when shooting stills. Maybe if / when metabones comes out with an EF-L mount adapter there will be AF-C available on Panasonic S-series cameras.
I only have one EF lens and that is the 16-35 f/4 and it seems to work fine when using AF-S (haven't tried it with the new Ver 1.6 firmware though). Even when shooting video in V-LOG at 24fps (where the Panasonic S1 struggles the most) the AF-S is fine. However, I normally shoot large, stationary objects, since I shoot real estate / architecture / travel. Houses and mountains don't move too quickly 🙂
As a side note, most Canon and Sigma EF-S glass will automatically set the camera to crop mode, and you can't change back to FF mode. I don't have any EF-S glass but I heard that some lenses might not, such as the Tamron 12-24 will let you shoot in FF mode. Apparently at around 16mm that Tamron 12-24mm lens will cover the full area of the FF sensor.
Hearsay: I've read on other forums from people who own both an a7 III and an S1-series of cameras that EF glass performs a lot better on their Sony cameras than on their panasonic cameras. I've actually heard people say that their EF glass performs better on their Sony a7 III than on their Canon 5D III. Again, just hearsay, so don't quote me on this.
Bottom line: as @MrSMW noted above, If AF is really important to you using Canon EF lenses, then go with the Sony.
Just one last bit of food for thought though...
While I realize and can see your reasoning for not wanting to buy L Mount glass, the Panasonic lenses are truly capable video lenses. Each lens varies, but most of them offer minimal focus breathing, are parfocal, have the ability to set the focus ring to linear, and allow you to customize the focus throw from about 90-degrees to around 270-degrees (as best as I can remember). They also have beautiful rendering, minimal flare, minimal ghosting, minimal CA, minimal LOCA. They were designed for hybrid shooters, while I think most Canon EF glass was designed for photographers.

Well... did you try instead to focus on the BACKGROUND??? Maybe that way it would lock focus on you by mistake ¯\_(ツ)_/¯

Well... did you try instead to focus on the BACKGROUND??? Maybe that way it would lock focus on you by mistake ¯\_(ツ)_/¯

I think it’s going to potentially get interesting when the full lineup of f1.8’s are available; the 24, 35, 50 and 85, the latter of which is now shipping.
Hopefully by the weekend for me and then I will know more.
A few have reported MUCH improved AF after the firmware upgrade, but they may be smoking something...
I really need to experience it to believe it as I’m pretty sure it’s marginal at best.

Canon EF lenses on an MC-21 Adapter on Panasonic S-series cameras only provide AF-S. There is NO AF-C available using EF lenses on the MC-21, neither when shooting video nor when shooting stills. Maybe if / when metabones comes out with an EF-L mount adapter there will be AF-C available on Panasonic S-series cameras.
I only have one EF lens and that is the 16-35 f/4 and it seems to work fine when using AF-S (haven't tried it with the new Ver 1.6 firmware though). Even when shooting video in V-LOG at 24fps (where the Panasonic S1 struggles the most) the AF-S is fine. However, I normally shoot large, stationary objects, since I shoot real estate / architecture / travel. Houses and mountains don't move too quickly 🙂
As a side note, most Canon and Sigma EF-S glass will automatically set the camera to crop mode, and you can't change back to FF mode. I don't have any EF-S glass but I heard that some lenses might not, such as the Tamron 12-24 will let you shoot in FF mode. Apparently at around 16mm that Tamron 12-24mm lens will cover the full area of the FF sensor.
Hearsay: I've read on other forums from people who own both an a7 III and an S1-series of cameras that EF glass performs a lot better on their Sony cameras than on their panasonic cameras. I've actually heard people say that their EF glass performs better on their Sony a7 III than on their Canon 5D III. Again, just hearsay, so don't quote me on this.
Bottom line: as @MrSMW noted above, If AF is really important to you using Canon EF lenses, then go with the Sony.
Just one last bit of food for thought though...
While I realize and can see your reasoning for not wanting to buy L Mount glass, the Panasonic lenses are truly capable video lenses. Each lens varies, but most of them offer minimal focus breathing, are parfocal, have the ability to set the focus ring to linear, and allow you to customize the focus throw from about 90-degrees to around 270-degrees (as best as I can remember). They also have beautiful rendering, minimal flare, minimal ghosting, minimal CA, minimal LOCA. They were designed for hybrid shooters, while I think most Canon EF glass was designed for photographers.

I would definitely keep the Panasonic since you already have it especially if the barrel doesn't fall out and in like the Canon. Also, you get to use continuous AF with the native lens. If I did not have so much Canon glass I would probably have gotten native lenses because no matter what everyone says about Panasonic's continuous AF, its still better than none at all which is what I get with EF glass.

I am using version II and honestly its not great. Its not a very fast lens so I mostly use it during daylight and outdoors only but the worst part about it is it won't hold its focal length if you point it up or down unless you hold onto the lens barrel. This isn't a big deal for photography but for video its really annoying having to hold the ring to keep the front element from sliding in or out, with a little more friction it would be way better.
I still like the range though and as long as you hold the camera level it works well and is definitely sharp enough, it also has a good weight to it which helps for hand held shots.  If I did not already own it though I definitely would not buy it for the S5. Its a great walkaround photography lens, but even then it should really have a barrel lock to keep the extension in the barrel when not in use.
On a tripod though its perfect, it could be used at the back of a conference or other event like that.  My favorite two lenses so far are the 50mm and 24mm primes.
That is good news I'm going to update today, I've been missing the shutter angle feature in the GH5. I do wish they would add false color capability though, it would be much easier to do it on set vs in Davinci Resolve like I am doing now.

Apple should buy Nikon and bring all their innovative technologies to professional cameras. 

For S5 (and S1-series owners), the new firmware update is out. Ver 2.0 for S5 owners, Ver. 2.2 for S1H owners, and version 1.6 for us owners of the S1 and S1R cameras.
https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html

You are correct, I rarely go below 2.8 with it so I forget sometimes just how fast that lens is.

Its also as expensive as an S5 with larger files. 

I appreciate your thoughts and experience on this.
I guess my concern is how much I can tweak things later if I don't nail the color balance, or if I really have to deal with a heavy blue cast from window lighting, or avoiding color shift if I really have to raise the shadows a bit.
I am much more of a ham-fisted colorist than a perfectionist, so the appeal of 10-bit is not so much that I am going to create a masterpiece of color, but more like I have a bit more of a safety net when i mess things up on location.
So in certain respects, a BMPCC6K would appeal to me because of BRAW (since I edit in Resolve anyway). But the ergonomics and lack of photo ability makes it less appealing.

I really only film in 10 bit when I am doing commercial or narrative stuff where I'll push the image hard. 8 bit is more than enough for basic little tweaks for my corporate and event work. I love 10 bit, it's why I went with the GH5 to begin with, but I think a lot of people/projects don't really need it. Most clients don't see the difference anyway! Maybe I'm just being silly though! 

@FreshGiantand @RogerRabbit are correct.
The same image is hitting the sensor whether you  are using full frame or crop mode (or pixel to pixel). 
The only difference is in crop mode, the camera is throwing away pixels.
When 6K shooting comes to the S5, you can (I am assuming) just shoot in 6K and then crop in to 4K in post and get the same effect as shooting in 4K aps-c mode.
I think the actual crop amount depends on the camera, so with an S5 it would be a 1.5X crop, not 1.6X, but who's counting???

Well... I really like the image from VLOG and having more flexibility in post, but that is mostly for my real estate videos where I have basically NO control over the lighting and color casts. 
I guess I should try shooting some other things in 8-bit on the S1 so I have an idea of what 8-bit would be like on the S5.

Yes, I think it is just about aesthetic. Most viewers will probably not consciously notice the amount of camera shake / movement but will subconsciously notice it. 
If you are interested in different cinematography styles I suggest you go to youtube and look for the https://www.youtube.com/c/InDepthCine/videos In Depth Cine channel and watch the Cinematography Style videos on there.

it was just about aesthetic the main reason of my post. Being graduate at cinema studies ( in my univesity the sutdies are all about thery..not practices)  i am interested , a part of all the techniques parts, also about all the question regarding language, ahestetic and so on. My main think about this kind of shooting i am talking about here is that most of the time, it does not really look like motivated. To me i seems more a kind of habit, a fashion style of thelast years that should give some more "live" feel to the action. Sometimes this shake is more noticeable than other..looks like a kind of "fear" of a steady shot on a tripod

It's really simple. I have mine set up C1 for stills and C2 for video, so just a flick of a switch.
And even with a variable ND at it's lowest 2 stops, on the stills side it's actually quite a good thing as it eliminates my need to shoot super-fast electronic shutter mode speeds in bright sunlight wide open.
But no, it's not that, but more the solo hybrid shooter in the real world aspect. Most of the day I can flit backwards and forwards between stills and video as there is enough time, but then there are times when I need to do both at the same time which means freestanding monopod (over tripod for speed).
Real world though, getting a camera off a harness and onto a monopod and back off and on and off and...see what I am saying, - it's a faff thing!
Instead, one camera, one lens (zoom or change primes from time to time) dedicated to the job and then just set up and use the stills cameras to do their job.
So it's not so much a case of I can't make it work, but rather a case of I can make it work better if I keep certain tools dedicated to certain jobs.
The 24-75mm f2.8 for me, not the 24-105 f4 (f4 is pushing it for my needs), but this lens is on the monopod and working at the same time capturing clips whereas the 20-60 is on a tripod and capturing longer form video statically and remotely, ie, I need 2 bodies with a lens each to do this job.
However, I am now veering back towards primes for the filming/clips role; the Sigma 16mm f1.4 for dancing, giving the same width as the zoom, but 2 stops faster, the Sigma 56mm f1.4 as my indoor general purpose lens and 85mm is actually my 'ideal' for most of my indoor work and then the Panasonic 85mm f1.8 as my outdoor 127.5mm equivalent lens. 
All 3 add up to about the same cost as the single 24-70 and combined, weigh about the same, but on the monopod, all combos are MUCH lighter, the wide Sigma the same width but 2 stops faster and the 85mm, a decent amount more reach outdoors.
It has been weighing (pardon the pun) on my mind that the 24-70 is a bit of a beast, but I think this prime option will work better as it offers more flexibility and in summary, a 24, an 85 and a 130mm, 2 of which are f1.4 and the latter f1.8 vs single lens 24-70mm f2.8.

Oh and one other thing, I pretty much hate camera movement. Any. So IBIS for me is for stills and why I need to stick with mono or tripod for video.
I've tried everything switched on including the e:stab and it's good. Very good. But I still see movement and it bothers me.
My style simply is not handheld look, never mind pans or gimbal type work.
If I shot pure 100% video, then maybe, but I shoot 50:50 stills video and I have to draw the line somewhere in regard to what I can achieve.
And just personally prefer the static shot where the subjects move and provide the interest.

No. Cropping won't change the lens characteristics just field of view.

It's a common misconception that focal length or crop affects compression. If that were the case then smartphones and other small sensor cameras which have miniscule focal length lenses would have super distorted images, but they don't. The only thing that affects compression is your distance to subject. Wider focal lengths just mean a wider FOV, which will reveal more distortion, particularly when close to the subject.

Hmm. Even in APS-C mode? 
I still think it's a viable option. Do you need 10 bit? I know it's nice to have, but for a stationary camera it might not be as necessary? 

I think it is ANY resolution in 10-bit and unlimited in 8-bit at any resolution. 
I am not sure if the different frames rates have time limits as well or not.