Mark Romero 2

Knowing what I know now, ie, user experience of the S5 and S1H, I would definitely pick up an S1 over an S5.
But then also having this info, I’d also happily trade my S5 and S1R for a pair of S1H’s so I had 3 of the things! 
Yes it’s a bit of a lump but it’s the best lump I ever shot with for video or hybrid.
The S1R beats it as a pure stills machine, but otherwise…
The final components for my S1H video beast arrived today and I have to say that after a minor modification, it is indeed a beast.
Having a VND between the lens and the camera is a MUCH better solution than screw on options as it gets out of the way and allows the use of a lens hood…and the Meike cine lens comes with a very integrated looking screw in hood that looks like part of the lens rather than a ‘lens hood’.
And then there is the lens itself… Only had time to shoot a little bit of footage but the result SOOC is already nicer looking than my f2 Sigmas…which were pretty great, but not ideal for video work in that they breathe like dragons and the focus is by wire, so finicky to say the least.
The only thing that bugged me…for about 5 minutes…was the de-clicked aperture. I get why it is, but FFS, put an aperture lock on the things because it gets constantly nudged out of place. Like ALL THE TIME when handholding.
A cunning less than 1” square sticky back Velcro option sorted this and now it ‘locks’ at T2.1, T2.8 or T4, depending on my needs.
The S5 will get a little more use than the last few jobs because other than static full ceremony and full speeches, it’s staying on the sticks and doing any and all things AF, so it’s designated as my ‘tracking unit’.
Full run out of the updated kit next week…
On another note, tried Vlog again. It was just as awful an experience as it’s ever been… Viva Natural. I’m 100% done even trying with log now. And zero need.

Smallrig make all kind of clamps and accessories.
I have a cheese plate gaffer taped to a power bank and that is then screwed into a clamp which is attached to a tripod leg et voilà!
I use powerbanks from Anker and have done for years with zero issues.
Re. the zooms, I’m not really a fan of zooms but still use a couple.
I also chose the Sigma 28-70mm f2.8 over the bigger and bulkier 24-70 because it was so much smaller and lighter.
I have used it for video and it’s pretty good but obviously can’t rely on the AF for tracking. It can…but not reliably.
I use it as my principal stills lens now but as a ‘twin prime’ lens ie as a 28mm or a 70mm but nothing in between. I have 20, 50 and 100 f2 primes for anything else.
If I could only take one lens to a job, photo and video, it would be the 24-105, but I don’t actually use it for that purpose because I have other more suited options, but if you could only have one lens…
Maybe if it had internal zooming because that is the part I don’t much care for with zooms. With the 28-70, the extension is really small like maybe an inch max.
I use it on my S5 these days for long tripod stuff so ceremonies and speeches where I need a bit of reach but some flexibility for certain wide stuff such as entrances and exits. Still toying with swapping it out for a 70-200mm f4 but not right now.
But for photography, it doesn’t get used on actual wedding days but instead does get used as my landscape lens on say a hike in the mountains where again, like I do any zoom lenses, used at only the extreme ends of 24 and 105 as nothing in between exists for me.

3x pocket recorders with lav mics
2x even smaller ones but don’t use with lav mics
Rode Wireless Go for the full recording.
I just sync the clips, cut anything not important and then merge them.
I’ll post a pic when I’m not in transit some time soon…

Sigma 24-70mm f2.8 DG DN has almost 0 breathing and manual focus is smooth for a focus by wire lens. With latest firmware that gives extra control over focusing similar to Panasonic lenses it is almost perfect for video. Was pleasantly surprised. But it is relatively big and heavy 🙂

Depending on your needs / circumstances, you MIGHT consider an S1 as a second FF cam instead of another S5. You can find used S1 cameras for not much difference compared to a used S5.
The S1 main benefits are the unlimited 4K 10-bit and 6K 30fps internal at 10-bit 4:2:0.
The 6K is limited to 15-minutes, I am pretty sure.
You will need to get the filmmakers upgrade ($200)
On the S5, there is something similar, in the confusingly named 6K photo mode (which is really 5K video but with photographic EXIF data instead of video EXIF data???) I haven't messed around with it a lot but I think it is ok.
The S1 has a nicer (tilt-up only) screen and better EVF and is great on sticks (I have wonky eyesight so I really appreciate the better LCD / EVF / Focus Peaking of the S1). Also for handheld I like the S1 better than the S5 (better IBIS, heavier body = less micro-jitters for me), but much prefer the S5 over the S1 when shooting on a gimbal (on my Weebill S).
Anyway, food for thought.
They both do suffer from some moire / aliasing. 
And, of course, Panasonic autofocus.

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations.
I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly.
The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP
The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff.
I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body.
Can confirm the lovely Olympus colours are still present and correct!

So I'm late to the party, but I've had the S5 for a few days and I must say I'm genuinely impressed. It's a real joy to use. It kind of blows my mind that it's an entry level camera, because it's capabilities are impressive. 
First, I was wrong to write it off because of the recording limit in 10-bit and 60p. It'd have been nice to not have those limits, but the 8-bit is quite nice with good colors SOOC. I think it will be more than sufficient for my event work, though I'll know for sure after this weekend. 
Low light is very good, at least as someone coming from a GH5. Speaking of the GH5, I've been able to match the two pretty easily. I was worried that wouldn't be the case, but I think using the GH5 and my G85 will work out okay as b and c cams. 
I LOVE that I not only can use the XLR module but that I can lower the pre-amps more than the GH5. That was always something that has bugged me. 
There aren't a ton of 3rd party accessories. It came with 3 OEM batteries, but I bought some third party batteries from Newmowa. They work pretty good, though after using the OEM batteries and seeing how long they last I probably didn't need to get them. They work with the GH5 though, so they're not a waste. I wish there was a third party battery grip, and more options for cages. Mine came with a Small Rig cage, which is okay, but it doesn't feel as robust and protective as the GH5 cage I have. 
Overall I'm very pleased. I had no intention of getting it until I was offered a great deal on one. Now I'm contemplating picking up a second one and going with two S5s and one GH5 for my set up. That probably won't happen for a while, but in the span of a week I went from being pretty resistant to going with Panasonic for full frame to debating buying a second FF Panny camera. 🤦🏻‍♂️

I know what you mean about that, since I worry about the youth of today as well. But then every once in a while I realize that kids are a lot smarter than I am.

I know what you mean about that, since I worry about the youth of today as well. But then every once in a while I realize that kids are a lot smarter than I am.

My first experience feeling very old (apart from interactions with young kids) was seeing a medical specialist for something and thinking "are they old enough to have graduated from medical school yet?".
I suspect that most of life as (say) an octogenarian would be simply looking around and seeing kids running everything and being amazed the world doesn't fall apart.

Am not that old yet, I could still do this on my bike!
(although, with a LOT of getting off and walking as I carry the bike down....)

Watching this video made me feel old.
Very old.

Watching this video made me feel old.
Very old.

Watching this video made me feel old.
Very old.

(yeah, the MTBing is pretty cool too)
 
 

This was mentioned earlier, but I forget the actual numbers... what are the ISOs for DR Boost in CineLikeD?
Also, is the ProRes a variable bitrate? And if so, will the picture profile affect the bitrate? Would vLog have less bitrate, because it's flatter, than a Rec709 profile like CineLikeD... or is variable bitrate affected more by motion?

(My bold)
I agree.
Even though I really like my G9 and in absolute video quality it easily beats the E-M1 ii, the overall package of good ergonomics, superb natural-looking stabilization and decent video quality makes the Oly a good handheld 'just point it at the subject and press record' camera. I bought my used E-M1 ii during lockdown mostly to have a play with (never having owned an Oly camera before) and it's definitely grown on me - I can understand why people like them.

More playing around....
CineD -> CST 709 to ARRI Alexa / LogC -> ARRI Alexa LUT (worse match)

CineD -> CST 709 to ARRI LogC -> Fujifilm 3513DI LUT (worse match)

CineD -> CST 709 to ARRI LogC -> Kodak 2383 LUT (worse match)

CineD -> CST 709 to ARRI LogC -> Kodak 2393 LUT (worse match)

I also tried a bunch of CST / LUT combinations, but none yielded any promise.
 

and this is why matching only on charts is fraught with peril....
CineD:

Broken image:

I've played with the little tweak that makes the light yellow go light pink and there isn't a combination that smooths it out and doesn't impact the other hues, so that's not possible to make using this method.
Also, that little tweak isn't our only problem....

This is why there are 50,000 ways to do something in Resolve.  Some of them simply don't work!
The path forward from here is to go back to the drawing board and see if there are other ways to approach this that don't break the grade in this way.  Otherwise, we start by applying gentle adjustments and see how far we can get towards the "spirit" of the Alexas image before we start breaking things.
My prediction is that we'll end up with a relatively loose match that will be in the general direction and that'll be the best we can do (or I can do).

The thing that's painful is that the AF is so nice on my Panasonic S1 and S5 is SO NICE... when it actually works!!!
The fact that the lenses like the 24-105 f/4 have minimal focus breathing and pseudo-parfocal ability* just makes it even more frustrating.
I don't use / need autofocus that much currently, but would like the ability to rely on it in the future for more run-and-gun shooting.

The thing that's painful is that the AF is so nice on my Panasonic S1 and S5 is SO NICE... when it actually works!!!
The fact that the lenses like the 24-105 f/4 have minimal focus breathing and pseudo-parfocal ability* just makes it even more frustrating.
I don't use / need autofocus that much currently, but would like the ability to rely on it in the future for more run-and-gun shooting.

The Mini and the nano are designed to come in at under 250 grams weight so that they can avoid certain FAA regulations (possibly other regulations in other countries, too). Hence, the need for small EVERYTHING on them.

I think I might have just been airing my frustration in general with some of the limitations in codecs in general (on all mirrorless camera brands), and also the overuse of the term "cinematic" by youtubers with a GH6 (or a RED or an Alexa). 
I guess to me one of the big factors in making something look "filmic" or "cinematic" is how the highlights roll off, especially on the face. I can live with reduced dynamic range and blown highlights, just much prefer blown highlights that don't have that halo of supersaturated color around them. 
Of course, as you alluded, a lot of that is how well the operator sets exposure (on the face). But I know with my Sony cameras, if I used any profile OTHER than S-LOG 2, I would get nasty super saturated colors when luminesce values get near clipping. (It is slightly better on the S1 / S5 as far as I have experienced, but I almost ALWAYS use V-LOG on the S1 / S5 so I can't really say for sure that the NON v-log codecs are better than the Sony ones in this regard).
I am still totally thinking of getting a GH6. I could sell my Oly E-M1 MK II and my three sony aps-c cameras to help offset the cost a bit. But the thing is, E-M1 MK II just works. I don't ask a lot of it (just 8-bit natural profile at 30fps) using the 14-42mm kit zoom lens and it gets the job done.
It's the perfect PhD camera (Press Here, Dummy!)
I think if I got the GH6 I would spend too much time overcomplicating things :)

I agree with @webrunner5 that aps-c cameras for sony are kind of at a dead end (at least until the whole supply situation clears up, which should be around 2035 or so, if we are lucky).
I have been waiting for a Sony aps-c mirrorless camera with 10-bit video since about four years ago. I got so tired of waiting I got the Panasonic S1 and S5 instead.