Mark Romero 2

As much as I agree with the statement that if it looks good, it is good, I must question the point of shooting with an S1H if you're not using vLog?
You're probably losing at least a stop of dynamic range. So it's very possible you're getting around 10.5 stops.
You may as well shoot with a Canon or Sony and get excellent AF.
Why make life difficult when there's money involved.
The bride couldn't care less about the cool waveform feature.

Yeah I was into to it also for 10 or more years.  High end audio is like owning a 40 foot power boat, endless money pit. And what is funny by the time you can afford to do it you are already losing your hearing. So a big waste of time and money.

Slightly jealous of the 35-150mm f2-2.8
OK, it's a bit of a beast, but as a 'one and done' lens...
I think I'd need to add a grip to balance something like that properly, but then there is a certain appeal to me of 'built in' grip bodies such as the R3 and Z9.

My experience has been very good with two Sigma lenses and AFC (Area+ Human/Animal detect on) for video recording.   Both 4K 60P 10-bit 422 and 5.9K 30P 12-bit RAW (both to external Atomos Ninja V).
The two lenses I use are:
1. Sigma 14-24mm DG DN f/2.8 Art - Firmware updated to version 1.3
2. Sigma 24-70mm DG DN f/2.8 Art - Firmware also updated to version 1.3
Panasonic Lumix S5 is currently on firmware 2.4 (some bluetooth fixes since version 2.3, no AF changes mentioned in release notes).
In a variety of lighting situations, I'm able to move from subject to subject and have the focus work well to my expectations.    This is even when at 70mm.
Linear focus support in MF was also added to the Sigma lenses with this firmware update.   You still need to use a USB L-Mount dock and the Sigma optimization software to adjust the focus through (runs just fine on my 14" MacBook Pro M1 Max, so the software is Apple Silicon compatible).    The dock is not needed for firmware updates, you can do them in camera just like Panasonic lens updates.    In addition, the default Linear MF is good, so adjusting it might not be necessary for most.
For those that have the lenses already, try updating them and giving the AF another test.
As for photography, these are excellent as well.

Coincidentally, Shane from Geeky Nerdy Techy came out with a new video describing his "best practices" for focusing on the GH5 II and the S5 (as well as the older GH5 and GH5S). it is definitely worth a watch:
 
I don't think there is a 1:1 macro lens for L Mount... maybe Sigma has one. But in general, the continuous autofocus of sigma lenses is pretty bad (for video, at least).
Viltrox makes some Extension Tubes for L-Mount now, so that should get you pretty close to 1:1 macro (you might have to use multiple tubes). The problem with extension tubes is that you lose light / have to raise your ISO / lower shutter speed. 
you might be able to adapt a macro lens. I think Sigma made old DSLR macro lenses in 70mm and 105mm??? In which case, it might be best to find them in a Nikon mount and then buy a Nikon F to L-Mount adapter. The issue is the ADAPTER must have a way to adjust the aperture of the lens, since I believe those lenses don't have aperture rings on the lens. 
Tamron also made a 90mm f/2.8 and I think Tokina has a macro lens around 100mm and f/2.8
All of those would need an adapter that could adjust the aperture and would be manual focus.
Then there are vintage manual focus lenses from Olympus and Nikon and Canon and Pentax and Minolta. 

It’s been and still is quite a polarizing situation.
I suspect, as has been the case with DFD AF, there has been a lot of negative hype regarding Xtrans from people who gave it little or no time.
Personally I had zero issues with it. Either because it suited me more than some others, or perhaps because I took the time.
Probably both.
It’s taken me a lot of time and effort to get my Lumix colour to a level I like as much as Fuji, but the length of that time has mainly been down to Covid reducing my workflow by 90%.
But otherwise I think you can extract more from a FF S1/S5 file than you can any Fuji Xtrans.
I can definitely report moiré from the S5 sensor, for stills anyway.
The only wedding I didn’t also shoot video last year, I shot a pair of S5’s and by the law of sod, it was shiny suit day!
I’m not sure if this is 100% true or not and I have no evidence either way, but I believe using a 1/8th mist reduces or eliminates moiré as it takes away some of that digital sharpness.
 

Yeah I never had an issue with Fuji files but I did find when cropping in at insane amounts the Panasonic seemed to hold more detail. I really never crop in on photos much so its not really a problem.

I think this is the fate of many cameras.  
The camera market seems to be oriented around camera size being a prerequisite for image quality, despite the fact it doesn't have to be (as evidenced by BMMCC and OG BMPCC which were affordable a decade ago).  This means that there is little support in-post for the lighter cameras and less reputation.
This creates a feedback loop where people who want to shoot light don't make good-looking videos because the expectation isn't there, and people who have the expectation of great images shoot with larger cameras, reinforcing the concept that small and budget friendly isn't the way to go.  
In response to this completely made up size=quality concept, BM decided to make the BMPCC 4K literally 3x the total size of the OG BMPCC and abandoned the delightful S16 sensor for one that looks like any other camera, and almost all evidence that small could be great was swept under the rug.  
Those who shoot small typically shoot in uncontrolled conditions where the lighting is mixed colour temperature and lighting ratios are difficult to deal with, leaving those who shoot in the most difficult conditions and have the least ability in post production to shoot with the cameras least able to handle those conditions, and unaware that it could have been any different.

XT4
Punches above its weight with noise control in low light (x-trans noise is always nicer)
Not full frame but focal reducers are there (and excellent Fringer non-reducer adapters)
Only thing is that the IBIS behaves slightly differently on different fuji lenses. Some it's slightly jerky, some it's great.
Manual lenses you can kind of tune it yourself by inputting a different focal lenght setting
Much more useable AF (okay, depends...)

Having full bit depth h.265 and good bitrates in all resolutions and framerates and all capture modes felt amazing after GH5 which had a lot of gotchas in certain modes like VFR only being 8 bit

Size and looks beat the gh5 too though I can't say 'ergos' are superior necessarily for practical use

For me it’s only partly the megapixies…
Going from APSC Fuji XT3 26mp to FF S5 24mp, I noticed a marginal difference but nothing I would call a quantifiable advantage.
In fact, I’d give the nod regarding colour to the Fuji files, but that could just have been familiarity with a system I’d been working with for a long time.
But the S5 had/has I reckon a good 1 stop low light advantage.
The S5 purchase for me was really against an XT4 where for me in more areas, the S5/L Mount system, edges the Fuji.
The files from the S1R are whole other level though. Quantifiably above 24mp FF.
I have tested and used the ‘quad’ thing but the reality is it’s for certain types of landscape and studio work, not weddings.
The question though re. 47mp over 24mp is would the client notice?
Nope, but I do and there’s an element of professional pride and craftsmanship.
I could go back to 24mp FF easily enough and maybe even 26mp (or more) APSC and APSC/S35 is the sweet spot for me for video, but I’d really struggle with going 4/3rds for stills.
But if anything was going to convince me, it would be GH6 or OM-1.
 

Yup, moiré can often be a wedding suit issue and when you have a whole row of fellas in them. All day…
The S1 for me is the least desirable of the FF bunch followed by the S1R, but the S1R has a place in my kit because it’s stills capability is right up there with anything. It’s superb in that regard and because I paid just 1500 euros for it…!!
The S1 though is not as capable as the S1H for video, equal for stills and not as small or light as the S5.
If I had to pick one for everything for all 3 bodies, then the S1H. Easily.
But for pure video requirements, maybe the GH6 equals or in certain areas, beats the S1H.
I don’t think any 4/3rds can for stills however and it’s 50% of what I do.
No kit and a reasonable pot of cash, I might go GH6 for video…but then then it doesn’t have a OLPF so actually maybe I wouldn’t.
Conclusion for me is that the GH6 edges the S1H in pure filmmaking terms but the S1H probably wins for wedding videographers.

There is the possibility of moire. The S1H is the safe bet for any grooms suit.:) I find the monitor on the S1 a bit unpleasant to handle. It´s connection is very solid but due to that not very smooth to move. A few times I find the EVF bump to be in the way when shooting from certain angles. S1H being 350g heavier than the S1 makes it indeed a very heavy Lumix. GH6 seems like the perfect body.
Btw, GH6 in low light seemed to hold onto colours much better than GH5s and though noisier, detail was reained better as well, coming from some youtube tests. So it is a mini S1H in many regards and way beyond in others.

No experience with the S5, but on the G9 I normally have the E-Stabilization on all the time (with native m4/3 lenses) - for me, the extra stability and reduced 'warping' effects with wide-angle lenses outweigh the small extra crop and marginal reduction in resolution. AFAIK yes it does use the gyro data. As Kye pointed out recently on another thread, you can still get motion blur due to camera movement, as the E-Stabilization part can't do anything about that, but I think Panasonic use a combination of lens, sensor shift and electronic stabilization (when E-stab is enabled), which should minimise that problem in theory.
Why not try it and see what you think?
(I also use stabilization in post - Mercalli v5 in my case - but every software stabilizer I've ever tried or used can be 'broken' by some material - I think it's far better to stabilize in camera as much as possible).
 

I'm done right there!
A slightly smaller/lighter series 2 would be welcome, but otherwise the above.
But that will never be...even if they do continue the line because all new cameras have to be some great leap over what came before or just get labelled mkii versions.
I was all set to make my S5 my primary video tool for this year, but have just decided to reverse that decision and put the S1H back rightly where it belongs, - as my primary.
S1H A cam because it's the best video camera I have with the best rear screen and best IBIS, plus the OLPF...and it just takes one groom all day long with a shiny suit...
S5 reverts back to B cam because despite it being the smallest and lightest of my trio, it does lag by the tiniest margin behind the S1H in the IBIS department and arguably the S1H by virtue of it's size/weight makes it a better platform anyway. Plus I really hate having to use a rear screen not in line with the lens. 
S1R principally stills but will also be used this year as a C cam, purely during the ceremony. A + B are on tripods front left and front right, the S1H just rolling rolling rolling with fixed subject (The Ceremony) and the S5 rolling for the duration and focused mainly on The Ceremony, but will also be turned for some front row(s) capture. Meanwhile, the S1R will get flipped over to video mode for a few seconds here and there as I rove, particularly from the rear whilst shooting stills.
I was going to flip to OM Systems and their new OM-1, but too soon for me.
This year is now 100% nailed down as L Mount, - zero chance of change, even if I won the lottery and something 100% perfect for me was launched.
Next year however...
1: Hoping for a next gen S2-H/R and S52-HR but not holding my breath on either.
2: Keeping an eye on Sigma, but as their FP/L has 6 'faults' in my eyes, not holding my breath there either.
3: Fuji XH2 could be a contender, but no change for change sake here unless it is 'better' than what I have already by a quantifiable margin.
4: OM-1 still in the running.
5: Nikon/Canon/Sony not in the running for me.
Nothing else even remotely meeting my needs.

Me sitting in a row boat:

a shot I got from where I was sitting:

Obviously if you can light or expose better then you should, and it depends on what you're filming about how much control you have over the variables, but most of the time the most difficult shots to film are the ones where I have basically no control over what is going on.
I regularly find myself right at the limits of what the GH5 can do, and I just find it annoying that the generic response is to just "film better".  I asked the question on the colourist forums too and they basically had no advice except to say that shooting in nicer conditions and using a better camera were the only answers.
PS, if you're not aware, standing up one one side of a row boat is ill-advised unless you want to immediately transition into underwater photography.

The biggest question of all is will the OP ever log in to respond to or thank folks for their contribution...or is this another case of, "a friend of someone I don't know was told by someone on the internet who once took some pictures at someone's wedding as a guest, reckoned that the Canon R6 was the best camera for video, so I'm getting one of those. And all the lenses".
If not, at least we had a chat about the subject eh? 😜

I have an S1, an S1H, and I still have a GH5 as a loaner for other filmmakers I work with, and because I have been working on the same project for a few years - so I haven't had a chance to shoot something in 4:3 yet! I had an S5 briefly but found it hard to hit critical focus.
One thing that I love about the S line is the Fotodiox ND Throttle adapter, which essentially gives me an EF mount with a built in variable ND behind the lens. I have the L mount 24-105 but I never really use it. My Contax kit has been a thrill to use with this, and for a zoom I just piked up and am testing a Tokina 28-70mm 2.8.

Thanks for the explanation. Much appreciated.

You left out the most important department: craft services

yeah you're right I think, it's all very small differences now and most can be close to matched with another.
I do prefer the S1H generally but as I say I'll switch come the next Pana body if AF doesn't improve.
I use either Sgamut3.cine with Slog2, or HLG with Rec2020, I spent a few days playing with both and although the road to get there is different you can make them near identical.
HLG is preferable to me cos you can expose normally, Slog2 still requires over exposure per the meters in order to look right which i find really annoying
They do seem to have exactly the same DR once you post piepline them properly though, which says to me that DR is (logically) limited by the sensor really, not which flat gamme curve you slap on it.

Shoot sLog3 in Monochrome, it's pretty amazing. 

To elaborate a bit for those who don't understand what I meant, corner warping happens when a camera uses five-axis stabilization to stabilize an ultra-wide angle lens. It doesn't happen with three-axis in-body stabilization.
When using the Lens-stabilization option of the Panasonic IBIS system, it allows the lens to stabilize in three axis, and the camera stabilizes in two axis. Thus reducing the corner warping.

Hole in one.
Maybe it’s just me, but only the shutter button makes any sense to me!

Thanks for the detailed replies Mark and Mr SMW. Definitely moving towards the 50mm Lumix (helped by it being the cheapest!). Also intrigued by experimenting with a cheap manual vintage lens as long as I can work out what adapter I would need.

I have noticed occasional warpy edges with IBIS on the 20-60 but only in quite extreme situations (i.e. zoomed right in and high wind making staying still impossible) and even then you had to look for it to notice it.
Does anyone use the other image stabilisation features on the S5? I have always stuck with just IBIS.

Well... there isn't really a "normal range." Maybe it would be around 3 feet if you are having a conversation with someone??? (I mean, in times when we all aren't social distancing).
Don't know if this matters, but if I remember correctly, the field of view of ONE eye is supposed to be about 45mm. I don't know what the field of view of two eyes is supposed to be. But I would imagine that it is NOT 90-degrees.
I think that the prime lens would be light, but 85mm is kind of tight and it MIGHT be a bit more wobbly. Generally, lens-based stabilization becomes more important as the focal length gets longer (and also ultra-wide but that's a discussion for later).
 
Sure, they tend to be sharper, have less abberations, less distortion, less flare, etc., In general, they are "better."
But some lenses might be too sharp. That's why you will often find discussions on this forum about either vintage lenses with "character" or about using diffusion filters.
What program are you using to edit / color grade? I know it is a bit of a hassle, but I usually transcode my footage from 4K to 1080p in resolve as proxy files, and that makes editing that much easier. Then when exporting, you can turn off proxy file use so that it renders from the original 4K files. Even if you wan to export in 1080p, you will get better quality.
Of course, if you shoot in 4K 50 / 60p, you will have to deal with the crop. Plus it takes up time and extra space to create proxy files.
I can't say which lens to get, but I would suggest that you do get at least a 50mm prime in some sort of configuration, at least just to mess around with. You can get a vintage manual focus / manual aperture 50mm prime from Minolta / Pentax / Olympus / Canon / Nikon for around 30 US dollars and then add a manual adapter for $12 or so.