newfoundmass

On full frame I think I'd have to go 35mm. The ability to switch from FF to APSC would give me the ability to use it as a 35mm and a 50mm, and those are two of my most common focal lengths. A 50mm would come close, since then I'd have some telephoto capabilities but I think the 35 would win out.

35

The gap is pretty huge after 24mm. Sony doesn't even really look stabilized at that point. 
If you aren't moving Sony's IBIS is pretty decent. But once you get moving, you're gonna end up having problems. 

On full frame I think I'd have to go 35mm. The ability to switch from FF to APSC would give me the ability to use it as a 35mm and a 50mm, and those are two of my most common focal lengths. A 50mm would come close, since then I'd have some telephoto capabilities but I think the 35 would win out.

I've actually seen his videos before but didn't sub as I assumed his channel was inactive since so much time had passed since his last one I'd seen. Glad he's being more active. I think if he stays consistent he'll do well, as I concur with what you've said!

The gap is pretty huge after 24mm. Sony doesn't even really look stabilized at that point. 
If you aren't moving Sony's IBIS is pretty decent. But once you get moving, you're gonna end up having problems. 

Me after watching all the S5ii coverage... 
"Panny boy... you did it!"

 

Lens selection has improved. They might be second to only Sony at this point, though as you said a lot of them are expensive. The performance of the Sigma EF to L adapter though might be something worth looking into, as the performance from what I've seen has been impressive. The Sigma lenses themselves look to work really well too.
VLOG, from my experience, is the easiest LOG profile to work with. I wasn't a fan of VLOG-L, so I never really used it on my GH5 and kinda regretted buying the license. Once I got the S5 and full VLOG though that changed. For concerts and live events I still will usually film using the natural profile because it's "good enough" straight out of camera and the lighting isn't usually ideal, but for everything else I pretty much always use it because of how simple it is. I like the gamut.io VLOG conversion LUT a lot.
Going from the GH5 to the S5, the size difference was negligible. You'll mostly feel it in the lenses, but I don't know that they're that much heavier than what you're used to. 
I actually disagree about lenses being a major factor in Sony's rise. For a long time the biggest knock towards Sony was the lens selection, but they grew despite that because for the longest time they had the full frame mirrorless market to themselves. That allowed them to overcome issues that plagued them, like the lens selection, terrible rolling shutter, overheating, ergonomics, color, etc. Canon and Nikon didn't enter the market until the end of 2018, and when they did their entries were weaker than the A7iii that had already been released six months earlier. That they pretty much opened the E mount to pretty much everyone to make lenses certainly did help, and it quickly made the "lack of lens selection" complaint a thing of the past, but being the only real full frame player in the mirrorless game for years while everyone lagged behind is what I'd say is THE major factor in their rise. That it all happened during the "content creator" boom was huge, too. Things though really could've shaken out differently. I think people forget how prevalent/popular the GH4 and GH5 (and even G7) were pre-A7iii. The A7iii was a game changer, but before that most video shooters were using either Canon DSLRs or Panasonic cameras if they were using ILCs.
Full frame lenses for the E mount really didn't start coming fast and furious until Sony, Sigma, Tamron, and other third parties started to release a flood of lenses in 2019. Before that there were like 25 Sony lenses, a Tamron zoom, and Sigma's f1.4 primes, which wasn't a lot for a system that had been out for almost 7 years at that point. The lack of lenses didn't stop the A7iii from becoming one of the most popular cameras of all time right from the start (remember how it was backordered for a lot of 2018?)
 
TL;DR version: Lens selection NOW might be a selling point for the E mount, but that really only recently became the case. In the early stages of Sony's growth it was actually a negative.
 

I sympathize with a lot of people that went with the GH6 for this reason, though it's just the nature of the beast unfortunately. 
The GH6 felt so long overdue at the time that it's hard to say this, but they might've been better off waiting until they could do PDAF before releasing it. Easy to say that now, though. 

As I was watching the S5II reviews I realised that people are taking the same V-Log files and ending up with very different colour results. I guess there are four main approaches - use the colour in the file untouched, use Panny's LUT, use Resolve's Rec709 conversion, or use a third party LUT. This post compares the accuracy of each and discusses the trade-offs that might be made. This applies to the GH6 and any other Panasonic cameras that share a similar color palette.
I'll be using extracted colour patches from a colour target. This is how the chart looks in reality:

Below, I match the gamma of a GH6 V-Log shot of this chart and then look at the results. Open in paired tabs on a monitor and flick back and forth to compare.
 
1. Don't transform the colour, just add contrast:

You can see here by comparing with the original that overall saturation is way down, cyan magenta and yellow are too bright, reds are too orange, greens are too yellow and blues are too bright. Skintones are too green. I guess some people grade like this. However the colours are still in V-gamut and ideally should be transformed to Rec709. Even when I manually colour grade in Resolve so that some patches are accurate, then others are still totally off. Not recommended.
 
2. Use Panasonic's VLog to V709 LUT

This official LUT comes with a half-assed curve as part of it. But you can separate the components using LutCalc and just get a LUT that is the colour transform only. The colour LUT must come first, before the curve, or things will go wonky.
Cyans are too bright, magentas too pale, yellows too dark and orangey, reds a smidgen too bright and orangey, greens too pale and light, and blues are absolutely far too light and cyan. Skintones are slightly too pink.
Despite these colour inaccuracies this is actually a good colour transform in the sense that as far as I have looked I have never spotted any colour weirdness in the image like banding or colour clipping. It's a slightly muted look though, and not good for landscapes - foliage, sea and sky will suffer a washed out fate here.
 
3. Use Resolve's Color Space Transform to convert to Rec709 colour

Note that Panasonic's official LUT is available in Resolve under the LUT menu. However, you will get different colour results using the Color Space Transform effect to convert V-gamut to Rec709. I was a little bit excited when I saw these results at first. It looked off-hand to be a bit better than Panny's conversion, especially in terms of the lightness of the blues. However closer inspection reveals that although cyans are just about right, magentas are too bright and saturated, yellows too orange, reds too bright and saturated, greens are close but deep blues are oversaturated.
This colour conversion differs from the Panny insofar as it has to be applied after the curve conversion, not before. When you do this I noticed some weird colour artifacts in footage I'd shot at an aquarium. So yes, the blues are more accurate but the inaccurate Panny conversion gave an image with integrity whereas blues began to clip and go weird (even with saturation mapping).
Overall, this gives more accurate and I think nicer colour than Panny. However, if I was a wedding or nightclub shooter I'd be wary of colour artifacting in strong coloured lighting scenarios.
 
4. Third party LUT

I was interested to see if I could make a colour accurate LUT for the GH6. I gave it a go and you can check out the LUT here. The LUT must go after the contrast curve, not before!
Yes, it's very accurate compared to the other approaches. When contrast is relatively moderate and the range of colours is not so saturated it looks a bit similar to the Resolve transform. However, there is much better hue accuracy and saturation control in all tonal areas, which you really notice if you crank up the contrast or have very saturated. However, I did still notice some of that colour weirdness in the aquarium shots. So it looks like Panasonic know what they're doing in terms of sacrificing colour accuracy to preserve image integrity. And I guess if total colour accuracy is what you're after you need to shoot RAW!
Finally, here's a comparison on a real world image:
Vgamut

 
Panasonic Vgamut to V709

 
Resolve Vgamut to Rec709 (skintones are nice but note the oversaturated reds on the skirt)

 
Custom LUT

You should take up any inaccuracies about the number of card slots with the actual author of the post.

Nah, the range is huge ranging from cheap 3rd party primes and cine lenses through all manner of primes and zooms from Panny, Sigma and Leica and pricier cine stuff.
It’s really only longer photography lenses such as for sports and wildlife where the system might be a bit ‘light’.
Sure some (all!) of the Leica stuff is expensive as is the older (and bigger) Panasonic so I’d be looking at Sigma for AF stuff or as suggested, the adapter and EF.
An argument can be made for any of the main systems right now and it depends on your needs but probably the best video-centric and all-rounder (talking small mirrorless hybrid) right now is L Mount with an S5ii body.
Just my opinion and off course I am invested so somewhat biased but was ready and was chucking it all in to go Sony if they had not sorted the AF.
Enough for me to stay at least. If I was already invested elsewhere it would be harder to call…

Lens selection has improved. They might be second to only Sony at this point, though as you said a lot of them are expensive. The performance of the Sigma EF to L adapter though might be something worth looking into, as the performance from what I've seen has been impressive. The Sigma lenses themselves look to work really well too.
VLOG, from my experience, is the easiest LOG profile to work with. I wasn't a fan of VLOG-L, so I never really used it on my GH5 and kinda regretted buying the license. Once I got the S5 and full VLOG though that changed. For concerts and live events I still will usually film using the natural profile because it's "good enough" straight out of camera and the lighting isn't usually ideal, but for everything else I pretty much always use it because of how simple it is. I like the gamut.io VLOG conversion LUT a lot.
Going from the GH5 to the S5, the size difference was negligible. You'll mostly feel it in the lenses, but I don't know that they're that much heavier than what you're used to. 
I actually disagree about lenses being a major factor in Sony's rise. For a long time the biggest knock towards Sony was the lens selection, but they grew despite that because for the longest time they had the full frame mirrorless market to themselves. That allowed them to overcome issues that plagued them, like the lens selection, terrible rolling shutter, overheating, ergonomics, color, etc. Canon and Nikon didn't enter the market until the end of 2018, and when they did their entries were weaker than the A7iii that had already been released six months earlier. That they pretty much opened the E mount to pretty much everyone to make lenses certainly did help, and it quickly made the "lack of lens selection" complaint a thing of the past, but being the only real full frame player in the mirrorless game for years while everyone lagged behind is what I'd say is THE major factor in their rise. That it all happened during the "content creator" boom was huge, too. Things though really could've shaken out differently. I think people forget how prevalent/popular the GH4 and GH5 (and even G7) were pre-A7iii. The A7iii was a game changer, but before that most video shooters were using either Canon DSLRs or Panasonic cameras if they were using ILCs.
Full frame lenses for the E mount really didn't start coming fast and furious until Sony, Sigma, Tamron, and other third parties started to release a flood of lenses in 2019. Before that there were like 25 Sony lenses, a Tamron zoom, and Sigma's f1.4 primes, which wasn't a lot for a system that had been out for almost 7 years at that point. The lack of lenses didn't stop the A7iii from becoming one of the most popular cameras of all time right from the start (remember how it was backordered for a lot of 2018?)
 
TL;DR version: Lens selection NOW might be a selling point for the E mount, but that really only recently became the case. In the early stages of Sony's growth it was actually a negative.
 

Agreed. I would argue for pure image quality at 24-30fps in 4k, the S1H is ahead of the FX6. I think the FX6 is just OK in the under $10k space in terms of IQ - not even in my top 10 cameras (no Sony is). BUT it does do a lot of other things well (favorite form factor, E-ND, 120fps 4k, etc), which might be more important for some jobs. 
But a full-frame, 6k-8k, L-Mount cinema camera that featured the same specs for $5-7k would be very enticing for a lot of people. I like that many new cameras went for just 4k (FX6, FX9, C300 III, C70) as you rarely need more than that, BUT that does leave the door open for someone like Panasonic to leapfrog them to the next level of 6k and 8k, and then to add features like internal ProRes, great 4k downsampled from 8k, etc. If they just put out an EVA-1 with an L-Mount, probably wouldn't move the needle, but a bigger leap would.

I don't think they're that far off from being able to EXCEED what the FX6 is capable of and at a lower price point. I'm not saying they should try to, but the gap between the S1H and the FX6 isn't THAT huge. The big difference is form factor, e-ND, and I/O. It already beats it in numerous ways, like resolution and dynamic range. 
People act like Sony is unbeatable, but the tech gap and the headstart they had is narrowing more and more. We're at a point where even Nikon and Fuji are creating powerful video tools, while Canon has started becoming more and more aggressive with its video features and pricing. Whether it's in the mirrorless market or the cine market, Sony isn't invulnerable. 

Panasonic need to play the long game if they wan't to regain a user base especially one that does spend quite a bit of money over years of ownership. I think Panasonic could easily produce a camera on par, if not better than the FX6 for at least $1000 less. Even if margins are low to start with, they play the long game and entice pro's back to the brand.
Yep, Sony are definitely beatable! For a start, I hate the cheap feeling menu dials that ofter skip two or three menu items in one click. Their EVF/Screen is not very robust at all. I'd say Sony's build quality on the FX6 is pretty poor overall. 
Panasonic have been in the broadcast/ ENG game a long time. They now have the tech including AF for those that need it. They just need to package it up in a camera that suits the pro user. FX6-ish form factor, eVND, Full size XLR, Timecode input/output, Genlock, good EVF, etc etc.
 

I think the Tamron 28-70 coming out on the heels of the A7III in 2018 was a big multiplier for a lot of people. You finally had an affordable fast zoom with very few compromises, and it was compact and sharp. And then the 17-28 and 70-180 afterwards just reinforced that. All the other lenses helped of course, but it seemed to me like that was when the E-mount lens ecosystem really became viable, and even desirable for those without G-Master-deep wallets.
If only I had been as happy with the A7III as I was with the Tamron! I wonder if we'll see Tamron make L-mount versions of those lenses if the S5II does well. I know Sony owns a portion of Tamron so maybe they will nix that.
 

Yes from what I've seen there is no real wobble at 20mm on the S5ii, looks useable to me. And for everything else Panasonic IBIS alone is better than IBIS and lens IS combination on either Sony or Canon. 
And goodbye micro HDMI you will not be missed

A pretty good overview:
 

A pretty good overview:
 

I sympathize with a lot of people that went with the GH6 for this reason, though it's just the nature of the beast unfortunately. 
The GH6 felt so long overdue at the time that it's hard to say this, but they might've been better off waiting until they could do PDAF before releasing it. Easy to say that now, though. 

It definitely would make sense for BMD to start using an L mount given the adaptability, vs. EF. Other than working with Canon to use the RF mount or Sony to use the E mount, it's probably the best option for them.

Yeah, I mean when you factor in the quality of the 1.8 Panny primes they are worth it, I think, BUT it's a hard sell when they are so much more costly than their competitors. You can sell an incredible camera like the S5II for $500 less than your competitors and that will entice people, but then you see those lens prices compared to their competitors, and it becomes a bit less enticing. 
Most of my work uses zooms, but I'll end up getting a couple of those primes. But it'd be nice to get a sub $200 50mm prime that was small and lightweight like Canon offers. 

It definitely would make sense for BMD to start using an L mount given the adaptability, vs. EF. Other than working with Canon to use the RF mount or Sony to use the E mount, it's probably the best option for them.

I am all up for that. It would be very promising for BM to enter L-mount alliance and license BRAW to everyone there. They need a mirrorless mount anyway and L-mount seems to me like their best option. Lots of glass and ability to adapt EF lenses the like so much.