Jimmy G

Unfortunately you find yourself in a small niche that not many of the brands are likely to cater to (due to my previous comment of it making the products prohibitively expensive/complex for the majority of users).

I think you're likely left in a position where you need to decide whether you actually need the things you think you do (ie raw, 10-bit) for what you're doing, or whether they're just imaginary goalposts you've put up. What exactly is it that you think you're missing from the current generation of cameras, that would be better if you were shooting raw?
 

Nope.

You could, totally, for non-professional use.
HDR is more than just a wide gamut. There's peak luminance, intraframe contrast, tone-mapping etc.
 

BT.2020 for now (and for the near future) is only used as a container, the actual encoded gamut for HDR is P3 D65.

Dell UP2718Q is a proper HDR monitor with FALD, about $1500.
The new Atomos Shogun 7 also uses FALD and costs $1500.

If this was the print version, that would have been even more amazing. I must be really getting old as I prefer reading things written on paper. (allthough I find print obsolete and a waste of good resources) 

Panasonic has announced a big firmware update today.
It's especially good news for S1 owners.
Also - BRAW / anamorphic goodies coming for S1H shooters (via HDMI).
New blog post:
https://www.eoshd.com/news/firmware-update-turns-panasonic-s1-into-an-s1h-with-record-time-limit-in-demanding-modes-like-6k/
 

I don't know if I want, never mind need (or really even know what is) BRAW, but shooting to a hotshoe T5 wotsit is not something I have thought of before and has me thinking if there is any more general application to doing this that would work and is of any use to me?
I hate monitors. No, hate is too strong a term, - I simply do not use monitors because I wish to continue to appear more like a guest photographer than a videographer. It's just not going to happen with me, but a teeny weeny hotshoe mounted SSD I could live with, but use it for what specifically?

I got spoiled with BRAW the last years, now I got an S5 and I need to check whitebalance while shooting to perfection, while shooting braw when its sorta looking ok, I could always fix it in post. So WB is the main shooting benefit for me. On the editing side BRAW is really smooth on my machine vs H265 422. 

Then there is also some extra options like changing ISO in post, which I never use that much though. 

Yeah I dont like monitors as well for run and gun, because charging and swapping batteries is the worst. + the added weight +the bulkyness which doesnt let you throw your camera in your backpack and move on. Disconnect cables, batteries, rig it down, to rig it all back up again. Too much of a timewaster for me. doesnt make sense to shoot these small camera's when you have to rig them up. 

Probably just interpret as PQ/LINEAR in fcpx or Premiere. Dynamic range is exactly the same in ProRes Raw/Braw vs internal.
Only benefits are:
- no chroma denoising
- 12 bit 444
 
 
 
 
 
 
 
 

I don't know if you noticed @Lux Shots but there's banding in your picture? A big grey bar right through the centre. Or should that be gray and center? Anyway, I spotted it.

I was browsing on market place and I didn't realise camera is already in the antique section
 
 

My hope here (expectation, actually) is that Panasonic will go with their own organic sensors for their next wave of releases (post-Japan-Olympics) with a line of 8K/wide-DR/high-ISO/global-shutter cameras (yes, MFT, too). Quite frankly, the market could use some better sensor differentiation, IMHO, and I'd love to see Panasonic and Nikon and Sigma succeed in bringing their own sensor technology to market each for their own unique imaging characteristics. Sony can continue to sell their sensors to the upstarts (like Z-Cam) and stay in the green. Time to move this market forward...again, IMHO.

I agree with @zerocool22 the S5 and S1H have identical sensors, LOG profiles, etc. I highly doubt in most scenarios you would be able to tell the difference. I think the reason you think the S1H is a lot better is because it is more likely that the buyers of the S1H are shooting higher end productions where they can properly light the scene, use better lenses, etc. Unless the S1H is shooting 5.9K raw (which BTW even the S5 can do now to an external recorder), the S5 and the S1H should produce nearly identical footage if all else is equal (lighting, staging, set design, lens, etc.). 
Of course the S1H is the better video tool due to not having recording limits, full size HDMI port, and other minor HW details; but none of that really affects the picture quality. In my opinion though, the S5 really shines as a hybrid photo/video camera which is definitely not something the S1H is known for. I don't know if any other camera out there can remotely control 4 wireless flashes using an internal transmitter, unlimited intervalometer, aspect ratio bars in camera, and some of the other S5 photography features that almost no one talks about.
With the upcoming firmware update for the S1, I do think it will then become the best hybrid camera mainly due to the 1/320s flash sync speed and the full size HDMI port. Unfortunately though in my opinion the downsides to the S1 is it uses mismatched recording media, and the screen is not a full tilt flip.....however none of these features means the S1 or the S1H will produce more "cinematic" video than the S5.

If it's like the '6K photo' mode on my G9, the files are H.265, 10-bit, 4:2:0 at 200 Mbps (info below - from the VideoRedo editor - for 3:2, 30 fps capture), with AAC audio. It uses 'long-GOP' encoding, but the GOP is quite short, only 16 frames, with only has IDR and P frames (no B frames) according to VideoRedo.
If you want to upload a short clip from the S5 (a few seconds is enough) I'll check the parameters for you.
 

Same result today, the 5.2k frame grab is slightly better than anything 4k as might be expected, but not quite up the Jpeg from RAW standards.
If Jpeg from RAW is a 10/10, I'd say the 5.2k grab is maybe a 7/10 and the 4k maybe a 6/10.
In conclusion, 8k is probably an 8/10 or even a 9/10 and I will be sticking to shooting stills in tandem with video 90%+ of the day, but for that other 10% when I need both exactly at the same time, just shoot '6k' video @ 3:2 and pull the stills off that.
We're close...possibly even there, with 8k and 5-6k is not that far off, but not quite what I need it to be.
 

My hope here (expectation, actually) is that Panasonic will go with their own organic sensors for their next wave of releases (post-Japan-Olympics) with a line of 8K/wide-DR/high-ISO/global-shutter cameras (yes, MFT, too). Quite frankly, the market could use some better sensor differentiation, IMHO, and I'd love to see Panasonic and Nikon and Sigma succeed in bringing their own sensor technology to market each for their own unique imaging characteristics. Sony can continue to sell their sensors to the upstarts (like Z-Cam) and stay in the green. Time to move this market forward...again, IMHO.

My hope here (expectation, actually) is that Panasonic will go with their own organic sensors for their next wave of releases (post-Japan-Olympics) with a line of 8K/wide-DR/high-ISO/global-shutter cameras (yes, MFT, too). Quite frankly, the market could use some better sensor differentiation, IMHO, and I'd love to see Panasonic and Nikon and Sigma succeed in bringing their own sensor technology to market each for their own unique imaging characteristics. Sony can continue to sell their sensors to the upstarts (like Z-Cam) and stay in the green. Time to move this market forward...again, IMHO.

I'm currently investigating bird movements within local environments and feel the need for a 360° camera for my bird-logging efforts and to help educate myself on how better to understand species motivations and choices as they move through the local landscape, I can't tell you how many times I wish I had eyes behind my head while out in the field! So, I'll likely start with the GoPro Max as it seems to offer the best combo of IQ and audio quality (AQ?) in the market at this moment.
Beyond that, I'm eagerly awaiting the impending S1 v.2 Firmware, and I've been debating with myself (for way-too-long) on the choice between a BP4029 M/S mic (I love M/S recording!) or the more-sensitive BP4025 X/Y mic.

This is where the hi res mode in Lumix cameras is your friend and one of the reasons I went S5.
4k 50p. Check. It’s APSC crop though? Great...for me, my preferred focal range is between 50-100mm FF so ideal.
24mp stills which are more than enough for social/event work. Check, I don’t need or want 50mp+.
 
What about a hike into the mountains or a commercial shoot where I want/need a hi res shot for ultimate detail? Flick of a switch (and a tripod) and there is a 96mp raw file pretty much on par with the medium format Fuji. But the MF Fuji can’t do 24mp stills or 4K 50p so as a pony, does less tricks.
I’m in the compact, do as much as possible, in one single as cost-effective package as possible camp.
I know I risk sounding like a Panny fanboy, but I’m commending the tool not the brand.
I’ve said it before and will say it again and that is IMO, pound for pound, other than the less than stellar AF for video tracking, this little beast is hard to beat at anything.

Totally agree!
I'm already set for 2021 and beyond. I traded in my GH5S for an R5. The crop mode in the R5 is a hidden sleeper feature for those that care. Feels like a S35 GH5 w/ amazing AF without anamorphic and a few other bells and whistles. Oversampled 4.8K (in DCI) or 5.1K (in UHD) 4K up-to 60p. I'm more than happy with it. I have had zero issues with overheating after the latest firmware update and with taking the time to turn the camera off when I didn't immediately need it (reposition, brainstorming, etc...). The countdown timer is annoying and anxiety-inducing but I've just learned to ignore it.
My M1 MBP arrived today as well. It cuts and edits footage from R5 wonderfully with no transcoding or proxies and with FULL playback quality in the viewer, even with Rec.709 LUT applied.
I don't think I would have gotten an R5 if it wasn't for the new M1 Macs to be honest and I would still recommend a C70 to anyone that just doesn't want to fuss with the overheating potential.
Wishing everybody a more productive and healthy 2021!

That's 80Mbps, which is nothing.  At 80Mbps the extra detail in 8K footage from 4K or even 2K would probably be more than half just noise and compression artefacts.  Potatojet did some good videos comparing 8K smartphone video with normal resolution video and the 8K image out of these things would still look like complete sh*t even if it was downscaled to 2K.  Watch the YT at 1080 or 720p and you can still tell the difference.
TLDR; don't bother.  It's like a 65MP jpeg image compressed to 24Kb, lots of pixels but they're all crap.
I did some tests yesterday on the GH5 modes and got pleasant surprise.  Obviously one of the great features of the GH5 is that the image is downsampled from the 5.2K sensor, but I confirmed that the 2X digital crop is also downsampled, the 1080p 60p mode is nicely downsampled, and the 1080p 60p 2X digital crop mode is also downsampled!  No Canon Cripple Hammer going on there!
Also, the better I get at grading the more that I find that the limitation of the camera is me, and so when people criticise, they're just criticising their own limitations and trying to buy their way out.  This was a quick test shot for highlight rolloff - graded in under 2 minutes so not perfect, but every time I look at the footage I forget about newer cameras..

Couldn't agree more. AF is the only thing I feel like I'm missing out on but the Panny trio I have is more than capable for everything I need. I don't see how getting new cameras would improve things much at all. 

They call it a  A FILM CREW in your POCKET! A fun device for sure... Computational videography/filmmaking is out there (E :- )

In my opinion, here is what GoPro needs to make next year to truly stand out and offer a worthwhile upgrade: 

- GoPro X. Bigger sensor than the 9 and 4K120p along with 10 bits recording. 
- Gopro Max 2. Dual 8K30P sensor that gives a 4K image when you use it in Hero mode. It's like having a normal GoPro in every direction, no need to frame. And a mode that gives 2.7K60P when in hero mode (unlike FHD today). Same sensor size as today to make all that possible.