Mark Romero 2

The AF will suck if its not phase detect. 

Confusing, overpriced product. It’s clear L-Mount is the focus for traditional image capture at Panasonic now.

No, none of these compressed RAW formats are actually RAW, they are compressed raw formats that toss out data. They all need to be designed on a camera by camera basis. 

Atm Apple definitely have the upper hand on camera supporting their RAW format.
People will have to choose FCX or Premiere with ProresRaw support or Da Vinci for BRAW and the RAW their camera support, or Red camera which red raw is supported by all NLE.
It's definitely not buy camera and expect to work with your NLE, or ur NLE will support all the feature from your new camera, have to pick a side!
 
Hence I m still on Premiere lol, can work with all cameras

BRAW does not work that way, it has to be calibrated to each camera. 

If the S1H would just output Braw i'd go and buy a blackmagic recorder...

Format wars are so tedious

I tried that LUT, I didn't like it, I don't know why the manufacturers LUTS are usually not very good. Obviously it is all subjective, but I think the maker's LUTS are always based on perfect exposure and proper lighting. Any run and gun shooter knows that those conditions are rare to never so the 3rd party LUTs when done properly, look better to me.
 
I think I have found the perfect VLOG to Rec.709  LUT for my uses. This is a free LUT from Ground Control. For me, the VLOG to Rec709 LUT is always the most important since it lays the foundation for the color grade and it is what's needed to match it to other cameras. After that, I make slight adjustments to exposure if needed for each clip, then overlay an adjustment clip with a creative grade over the whole project. Below is the link to the Ground Control LUT, I went back and tested it on my Street Video test project and it added a little more contrast without crushing the blacks so the clips look like they have more DR.  It also didn't completely crush the lows like the Panasonic Varicam LUTS did (Nicest 709 LUT and Aggressive 709 LUT from Panasonic).
 
The main thing I look for in a Rec.709 LUT is one that isn't too hard to expose for (the Leeming LUT for example always seemed so difficult to properly expose for with the GH5) and one that results in the best starting point for the color grade across a wide variety of scenes.
 
Ground Control VLOG to Rec.709 Free LUT
https://groundcontrolcolor.com/products/free-sony-v-log-to-rec-709-lut
 
 
Here is an example of the 3 different LUTS with the exact same scene and no other changes. I was probably a little under exposed for this scene because I was trying to protect the sky....the GC LUT nicely kept the sky and brought up the lows.
 
 

Atalanta is the new major production hub! If someone was to randomly kindly give me a green card, then I'd probably go there myself instead of NYC or LA. 

IBIS is a godsend if you're filming sports, documentary, etc. When I first started out I used big S-VHS and VHS cameras; stabilization was never an issue because of the weight and the cameras were shoulder cams. As cameras got smaller, stabilization became more and more of an issue for my kind of work. I can't just stand still, I have to constantly be on the move. When you're rushing to make sure you get a good shot of the action, you NEED good IBIS otherwise your shot will look awful. 
If everything you do is on a tripod, gimbal or monopod then that's different, obviously. But if you're doing real run and gun, stripped down handheld video then IBIS is huge. I'd much rather have it than not. 

IBIS and Cinematic Footsge have almost nothing to do with each other. The whackos at top gear used a camera with IBIS and then used it for shots in a car where they probably did terrain that was probably inundated with stones and pebbles and the microjitters sent the camera into a tizzy. I am guessing even OIS lenses must have produced some sort of warped wobble (though way less prominent than IBIS), and the footage needed some stabilization in post, regardless.
IMHO all IBIS should have locking mechanisms for the stabilization and the amount of stabilization needs more precise control.
In many situations like handholding a shot, especially where you need a tripod equivalent (not all those shots that require a stabilizer for running, or doing pans and tilts etc), IBIS is way better than actually setting up a tripod shot. Tripod shots look super boring. Handheld shorts have a certain cinematic feel, because they feel a lot more engaging and realistic. Tilts and pans and other movements on trolleys and rigs obviously have another level of cinematic feel. But they require quite a lot of time for bei nbf setup. Hybrid cameras have been designed with quick turnaround and more vertalitiy in mind. Reigging is always time consuming. 
Plus, in all manner of photography (as opposed to videography), IBIS ensures way sharper photos at almost all frame rates, except perhaps 1/125 and higher. For the longest, Olymous cameras offered the equivalent of Google Pixel's Night Shot, merely by letting users push shutter speeds as low as 2-3 seconds (some people claim even longer) that would never be possible for anything that lacked IBIS. 
IBIS also compensates for lighter cameras. The S5 is lighter and I am guessing that is the biggest reason for the much less effective IBIS on it.
@IronFilmthe issue with GH5s is that it is purely a video camera, lacking both IBIS AND  a higher MP count, so never succeeded as a hybrid. It obviously has other advantages like better low light, higher dynamic range and faster readout. 

Wow, no love for IBIS today?
I couldn't go back to a non-IBIS camera. I shoot lots of B roll of people who've never been on camera before and will be gone away in a minute, doing things. IBIS means I can shoot handheld and get three different steady shots from different angles while directing the person(s) in the same amount of time it would take me to get one shot on a tripod.
I don't use it as a substitute for a dolly, slider or gimbal. I still remember my horror at the shaky jello of my first handheld shots on the 5D Mk 2!

So you saw the bit rate available with the S5, here are pictures of my S1H with all VFR modes shown and some of the frame rates available with it.
 

I shot some quick test footage today just to test my workflow from end to end prior to a paying project. The S5 is so easy to grade, I haven't even read the official how to on properly exposing VLOG and I'm using a VLOG to Rec709 LUT that I don't even know where it came from so I'm sure I'm doing it all wrong. Also I really wanted to test lowlight and the dual gain ISO so I shot some night footage. Everything is hand held, I stuck to 29.97 to test the IBIS, also I was using the kit lens so I needed every bit of shutter speed I could get.  The picture at 4000 ISO was noisier than I thought it would be considering it has dual ISO.
 
Also, I edited the video on a 1080P timeline then upscaled it to 2K which is how I usually do it so that I can recompose and crop in 4K.
 

For me the biggest benefit is not having to synch audio in post, and my main setup is with a cage, the adapter, and a wireless lav receiver bolted to the cage. With that setup there are no wires. I've even had a client who wanted to walk and talk and I managed to get the adapter on the cage and everything balanced on the Ronin S while carrying an audio bag and keeping the receiver in the audio bag. Not very elegant but it worked.
I also have had the GH5 on a tripod and used the wired setup plenty of times. Last but not least I've used a wireless mic the adapter and the receiver to do some impromptu interviews at events. I do have a MixPre but that's for bigger events with multiple speakers. I'm not sure that the sound is any better than the Tascam, but I love the convenience. I literally just carry the adapter, a 20' cable, and a lav mic to every hybrid shoot even if there are no plans for audio in case the need arises, I didn't do that when I used a Tascam because it was one more thing to charge, worry about in the heat, etc.
 
For the AF...I really don't understand who is using AF that much in video, I've tried it on the C200 (turned it off immediately), tried it on the R6 (it got lost when filming a group of dancers), etc. I just don't trust it for video, no matter who makes it. I get it if something is moving fast towards you and you don't have a focus puller, but there's so many tricks to keep things in focus manually, and so many scenarios where MF is very easy that I personally don't get the AF concerns. There's a few times on a gimbal where I wish I had AF, but I feel like there's no guarantee AF would have been reliable anyway in those scenarios.
 
I have the Sigma 18-55 on my C200, it is too loud as well in AF....unusable with an on camera shotgun mic. Yet another reason I like MF. 
 
 
Awesome work, the quality is incredible. The opening scene alone blew me away....you can actually see through the open door and the interior at the same time, and that's not even using CLOG? My GH5 would have never done that. I'm not even sure about the C200. I can't imaging what this camera will do with even better lenses. Very nice camera work as well, if it would just stop raining here in FL, I'll be able to get out and shoot.

There is no difference in "gradeability" between 420 and 422.  The big difference about "gradeability" is 10bits vs 8 bits. F-log is better too. ProRes is better than H265 for hardware but it's another question. 

I'm no professional colorist. I do, however, shoot a lot of footage with my X-T3 and T4 using a Ninja V. I do feel that the ProRes 422 grades better than the internal backups. I hosed the white balance on an interior shot this weekend, but because I was shooting ProRes I was able to heavily push the temp and tint sliders in Lumetri to dial the color back without the image breaking apart. 
And here's another thing. To get 10-bit out of the Fujis, you've got to shoot HEVC. I would soooo much rather worry about storing chunky ProRes files than editing a mess of H.265 files. And my computer isn't old or slow, either. I built a 16-core Ryzen 9 machine with an RTX 2080 Super and multiple NVMe drives, so it's a reasonably capable machine.
Also, as I've said before, I personally enjoy the benefits of using a larger monitor than the backscreen of the camera to help check focus and framing, and for all of the tools I get that the camera doesn't have. Heck, on Sunday I had my monitor boomed off to the left side of my T4 with a magic arm instead of on top on a ball head. I found I could use the arm as a grip, which widened my posture and made my shoots a little bit more stable. Nothing to do with color grading, I know. But there you go.

Thanks for the input.
yeah, i shoot interiors and dealing with white balance is one of the major challenges. And the thought of dealing with h.265 is a bit daunting (although I would probably transcode first).
Thanks again.

I have a Crane 1 and a Weebill s.
Whenever you have a problem, you should definitely try to calibrate the gimbal. Now, i've never had a Crane V2, but I would certainly imagine that it has the ability to be calibrated.
On the Weebill S (and I think on the crane one) you use your phone to connect to the gimbal and start the calibration process.
It is best to be near a computer with a video about calibration on the computer since the images on your phone will most likely be too small.
Hope this helps. 

Just give plenty of SDI outputs, with full individual control over each, and let people use their own preferred monitors. 

Late to the conversation here and haven't read all the replies.
I moved from my crop-sensor a6500 to a full frame Panasonic S1 for the better low light ability / increased dynamic range, and for the 10-bit 4:2:2 codec.
But that is because I shoot real estate and have to deal with ambient lighting. When shooting real estate videos, there often isn't time (or a budget) to set up lighting. So I often have a COUPLE of shots per video which are at the ISO 1600 to 3200 range.
Other times I am dealing with extreme levels of dynamic range.
The S1 does pretty well in these situations. Far better than the a6500.

Late to the conversation here and haven't read all the replies.
I moved from my crop-sensor a6500 to a full frame Panasonic S1 for the better low light ability / increased dynamic range, and for the 10-bit 4:2:2 codec.
But that is because I shoot real estate and have to deal with ambient lighting. When shooting real estate videos, there often isn't time (or a budget) to set up lighting. So I often have a COUPLE of shots per video which are at the ISO 1600 to 3200 range.
Other times I am dealing with extreme levels of dynamic range.
The S1 does pretty well in these situations. Far better than the a6500.

Well... if they release this lower-end camera, then they better start releasing their less expensive (f/1.8) lenses to go along with it.
I don't know which market they are going to target with it though. Primarily a stills camera? A true hybrid?  A vlogging camera?

It's not particularly good in terms of picking out what exactly to focus on. (Although I only have the kit 24-105 lens as a native L Mount lens. My other lenses are either Canon with the MC-21 or some Minolta MD manual focus lenses).
but it is REALLY SMOOTH when it does figure out what you want.
Meaning, that it seems to me to have an ease-in / ease-out effect when you are switching between subjects using AF.
And the Panasonic lenses have minimal focus breathing and are pretty much parfocal unless you are going for extreme focal length change, like going from 24 to 105mm focal length on the 24-105 kit lens - but more modest zooms are parfocal (of course, and f/4 lens probably helps hide any loss in focus)

On the rumor page it said DFD AF system.  Guaranteeing another "win" for Panasonic... If they thought S1 sales were disappointing hope they're ready for more...
 

Well... if they release this lower-end camera, then they better start releasing their less expensive (f/1.8) lenses to go along with it.
I don't know which market they are going to target with it though. Primarily a stills camera? A true hybrid?  A vlogging camera?