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Recompression will make an image worse in all kinds of ways, depending on what settings were in there and what was in the source.  I'm not saying that the image in question was perfect to begin with, but just clarifying that the artefacts are a mixture of what the camera saw, what the artefacts the codec in-camera created, and what artefacts the still image compression put on top of all that
I all my travels with equipment I learned that:
I prefer Manual Focus over AF, because AF isn't there yet and with MF I have full creative control I don't mind the aesthetic of human focus pulling and don't need everything in focus at all times (I shoot only travel and home videos so I have full creative control) I really like being able to get subject-to-background separation via background blur, which if you're at a distance from subject requires a large aperture I also shoot exclusively in available light, and shoot a lot at night, and I have pretty good night vision so I also want a camera/lens combo that 'sees' in the dark as well or better than I do, which means a combination of high ISO and large apertures I really really like 10-bit files as grading them is just as good as 14-bit (IMHO, but I did comparisons between compressed 10-bit, and 10, 12, and 14 bit RAW) I'm not very good at mixing the focus direction (I've shot with the "wrong" MF direction lenses before and afterwards it screwed me up for a week or more each time) I'm not super-picky about consistency between shots and I can always compensate between lenses etc in post (at least to my personal standards, probably not to others) When I shoot sports I want very very very long lenses (I shoot a lot at 840mm FF equiv) I hate hate hate clipping and I like ~12+ stops of DR (as opposed to less) as I like creating a lower contrast output image that shows off the full range (reminiscent of how high DR cinema is graded) I'm pretty good at spotting the most expensive / highest quality cameras and codecs in blind tests, so my tastes run towards RAW and ARRI colour science I like 16mm, 35mm, 70-80mm, FF equivalent focal lengths (and a very long zoom for sports) To this end, I ended up with:
GH5, as it has 6K 10-bit low-sharpening H265 mode, 4k60, and 1080p180, EVF, loads of buttons, MFT crop factor for the long focal lengths, I don't care about AF, and the colour science and 10-bit make it nice to work with for nice colours (although I still have huge amounts to learn about grading) 8mm F4 SLR Magic (to be upgraded to 7.5mm F2 Laowa lens when I sell my Sigma 18-35) 17.5mm F0.95 Voigtlander (the default lens on the camera) 40mm F1.8 Konica Hexanon (on a dumb non-SB adapter) 58mm F2 Helios (on a dumb non-SB adapter) 70-210mm F4 Canon FD zoom on a 2x Canon teleconverter on a dumb non-SB adapter Rode VMP+ (with the attenuator set for a safety track) I am missing a prime in the ~80-85mm range but haven't managed to find a budget friendly option yet, considering how little I would use it the budget isn't that much.  For trips I would either take a three-lens set of 8mm, 17.5mm, and 58mm, or a four-lens set with more extension of 8mm, 17.5mm, 40mm, and 85mm.
I have bought a bunch of other lenses and literally have a box of stuff to sell, and there's a 135mm f2.8 Minolta in there that I'd also consider taking on a trip for extra coverage, so I'm not sure about keeping that one or not.  It's always a compromise between travelling light and being flexible...
Had a look over this and it's interesting to look at the Dog Schidt, which (I believe) is a Helios 58mm F2 modified to flare a lot (depending on the options chosen in the customisation).  It really shows how soft it is at F2 and how sharp it is at F4.  The bokeh on that is quite pleasing and quite reminiscent of the higher cost options.  
@mercer was right about the bokeh on the Rokinon being really busy and distracting, I didn't expect that from it.  It'd suggest that's because it's dirty (which IIRC is what the texture in the bokeh normally reveals) but it looks like internal reflections or something and not just random dust or fingerprints or whatever.  Any ideas?  It's quite off-putting to me.  I looked at a bunch of the cheap vintage brands like Rikenon / Mamiya-Sekor / Chinon / Revuenon etc but eliminated them because of the hard-edged distracting / bubble bokeh and the fact I want my bokeh to shift attention to what is in focus rather than be a special effect that pulls attention from what is in focus to the background!

The kit with a 32gb XQD and the FTZ is $600 more. A 64gb XQD is $130 and FTZ's are selling for less than $200 from people breaking up kits. I'm only looking B&H and used prices on Fred Miranda, not sure what anyone else is offering. There are other benefits to buying new if you want the full warranty and such, so I'm not ignoring that. Either way, what you get with the Z6 kits is a killer deal. Add $1000 for a Ninja V and a SSD and you have one hell of a photo/video combo that will be more of a use when the raw update is live.
Chris

And Nikon is just a cool brand. 
I never even looked at Nikon because I needed video. That changed when I got better video footage then the FS7 (and DP I hired) on a multi day video shoot. The Nikon has better color then the FS7. 
The Z6 with adapted Nikon lenses gives you more lens selections then you will ever need. And for professional video rent or buy cine lens.  

I'm sure webrunner is a good guy.  

Yeah but like it has been said, it is not desirable to add sharpening in Post. So I want the sharpest camera output and the sharpest lens hanging off the thing. If I Need soft that day put a filter on it, rub your greasy fingers all over it, or correct it in Post. But you can't get back what you never had. And then there is no consistency to using all these odd ball lenses if you need to change focal length.
True Cine lens sets have the same T stop and the same look through the whole lens line other than extremes at each end. Some sets are all exactly the same diameter for ease of focus pulling rigs. There is good, valid reasons Pros use them. Rental Houses don't have a bunch of odd ball lenses in their inventory.
Sure for Photo you can use nearly anything. You can spend 4 days in Photoshop fiddling with that one shot if you desire to. Video is a different beast. What good is having 50 odd ball lenses when you really only need 3 or 4 damn good Cine lenses. The total cost in this day and age is probably about the same.
Even for Anamorphic I think the  Leica Summicron R 50mm f2 is a Way better lens to use than the Helios 44M 58mm f2. The Leica is in a whole different league.

Well the Z system lack 10bit internal, which Panasonic has (both MFT and FF). 

I think Nikon Z series is already arguably "the best" mirrorless at the moment, but if Nikon implemented 10bit internal then that would make their case even stronger. 

And this is why we'll see a Nikon DX mirrorless sooner rather than later. Because we're in the transition period to the new mirrorless era, and if Nikon wants to keep on dominating the low end market (which is key to do! As today's low end buyer might be your professional or keen enthusiast of the future, get them hooked while they're young!) then they'll need DX mirrorless cameras in the future.
 

To answer your question I'm shooting internal profiles at the moment. Have not dabbled in external recorders. It's a pretty robust internal codec and I love the colors. Handling and AF has been fantastic for me. The expense of XQD cards and lack of native lenses are the biggest issues right now I think.

But I really don't care because the color is spot on with what I want it to be. Shot with Wolfcrow's settings. 
120 fps 1080p Edited


4K 30 fps Straight out of Camera

The S1 lenses I’ve used (24-105 and 50mm) are both great for manual focus. The S1 has the option to change focus pulling into a linear style (rather than by wire/speed) so it works great. 

I'll shoot 30 seconds of FF VLog and Super35 VLog and upload the files straight from the card to my Google Drive this weekend.
There is, of course "some" difference is noise shape and pattern between FF and Super35. I did some lens cap noise tests between the two modes. The full frame mode has the advantage of 6k oversampling and the Super35 does not, it's of course a 1:1 4k readout. So, the ff scaled down noise is a finer grit. It's texture is very small. Whereas the Super35 is a larger, more common looking pattern but still truly excellent for a super35 camera. 
Panasonic amazingly gives us some noise reduction control! As you know, noise reduction is a DESTRUCTIVE process. Once it's applied to an image, it can never be removed in post. It's artifacts are burned in. I record entirely with noise reduction pulled back to "0".  I would MUCH rather surgically and more carefully remove noise in post than have any camera do it in real time for me. (for serious projects that I care about, not simple dumb stuff)
Again,...this S1 sensor is clean, clean clean. Even the tiny noise that it does produce is "pretty" looking.
I can't stress enough just how much it's dynamic range is in VLog.....wow!
CT

Yeah we have IBC over here in september, perhaps we beat you to it ?

I was just saying Cine Gear was happening.  Atomos will be there.

U
Yes, this is how it works. Atomos goes through the pain of getting pattent liscensing with RED so that "they" become the sole ProRes recorder with with compressed raw.  Any camera company only needs to create a standed raw  (not compressed) output using Atomos HDMI bus spec. (I was told that Atomos also utilizes the Gigabit Ethernet channel specification built into HDMI pinouts to use as a data buss for raw)
Anyway...Atomos did the patent work so I dont see Panny or Sigma or Nikon wanting to ever get involved in their own internal compressed raw...because Atomos took on that task for everybody.
BTW....Atomos told me that ProResRAW is NOT 100% owned by Apple. It is joint-owned by Apple and Atomos! That supprised me!
So,...Atomos ALSO has a say on how ProResRAW is liscensed in future hardware and software!
If Nikon, Sigma and Panny wants INTERNAL ProResRAW, they will need to go to Apple and Atomos together to get approved. (DJI did it)

You don't know much about politics then. Any radical change is suicide. They might know they are wrong, but money and power is stronger than common sense. That is why it is so screwed up now. And the trend now for young people wanting everything for free is Socialism. We see how well that has worked out around the world. A middle ground well sure. Not extremes.
Every 4 to 8 years here in the USA the pengelium swings the complete opposite way. Republicans versus the Democrats. Sort of kept it in balance in the past. Now all I see is hatred toward the other side. No good end in the near future for that kind of belief. Radical beliefs lead to Very bad outcomes.
In this day and age 3 to 4 top economies can change the entire world. Not like it was years ago. Everyone is vulnerable now. Times have changed, probably for the worse. Too little, too late now. The Oh My God moment was several years ago. To me the EU put a heck of a lot of countries in harms way more than they have helped them down the road.

Atomos on Facebook. 
ProRes RAW is coming to the Nikon Z6 and Z7
 
 

Atomos on Facebook. 
ProRes RAW is coming to the Nikon Z6 and Z7
 
 

With the very short tests I performed, with the 24-105, so DUAL IS enabled, it appeared to me on par with the G9. But I only tried very short stuffs... like static "tripod like" ones at 24 and 105, and I got the same feeling as with the G9. I found it less jerky than the Z6, but it would be logical, given the greater room for movement !
I also watched a couple of videos were it seemed to be more jerky, but it was with canon adapted lenses.  I will try it more as soon as I receive my new kit !

Hi. Right now the only advantage you'd get with Panasonic S1 versus Nikon Z6 is shooting 10 bit 4:2:2 internally. That is, if you want to be extremely undercover with your gear, just a small camera in your hand, no ext. recorder etc. Oh, and that 4K 60p that is so important to some. Not me. Other than that they share the same sensor. Contrary to what some guys keep repeating here, Nikon's Z6 external output is very high quality 10bit, giving 12 stops of dynamic range. Color science is actually excellent. I've yet to do a comparison with Panasonic S1, but I managed to tweak Nikon N-log colors to a LUT that matches Alexa colors very closely. Skin tones look great. Overall, this is a great camera that is unfortunate to be built by Nikon. Which is not regarded as a company you'd associate with video. It's amazing how Sony's A7RIV manages to get attention while offering nothing even close to Z6 in video dept. Apparently it's all about brand names... 

Done as much or knows as much are two different things. 
The photography side from sensor on DSLR and smaller cameras, Nikon does know very well.
- The Z6 and S1 video footage looks almost identical. Until someone shows me footage to prove that's not true then it's just lip service.
- Nikon knows enough to be the first full frame camera to do 10 bit 4K external.  That's before Panasonic and Sony and Canon.
- I'm all ears and eyes to see that the S1 is better then the Z6. 
- 12 bit RAW Pro Res is coming from Nikon.
So not sure what your point is. Nikon stepped up and delivered not only great spec'd video but great looking video quality.
Nikon knows video now don't they? 

I know two people that are in the sensor industry. One of them has purchased sensors from Sony for his company. He is under NDA but he has told me that this is how Sony sensor liscensing works. Its not "buy a sensor and get everything" deal. You buy the sensor and license what features you want. If you pay for and licence 8bit 30p and you turn around enable 10bit 60p....you get sued! Your license is specific and affects the price you pay.
On the IMX410....we dont know if its that sensor! Why?....because that sensor has dual pixel phase detect architecture! That sensor requires pixel masking...that Panasonic says they HATE doing and wont do on a Panny camera. (Part of their excuse as to why the "prefer" contrast detect AF...even though every moden camera makes the dead pixels on every sensor today)
Maybe it is a IMX410 variant with the dual photosite grid removed in the die. We will never know untill Tech Insights x-rays it.
The HILARIOUS thing is that every year at NAB, the Panasonic booth continues to say that the GH5 and GH5-S are "Our sensors that are made by Panasonic"....yeah right! Nikon says this too!
Why do camera companies HATE admitting they are buying common Sony sensors for their cameras? Is it really THAT embarassing?

For me the master of deep depth of field photography is the iPhone.
On a large sensor, the whole point for me is fast apertures and that subject separation even at a distance. Very three dimensional.
I wish somebody would do another Digital Bolex for when I want deep DOF cinema.
Maybe, maybe not. What if it's all just coolaid marketing from Sony... And the real reason for the no-show, is that the A7S II didn't sell all that well compared to the others and cannibalised some of their FS sales too. If that's the case maybe Sony are just not giving the project the priority it deserves, which is why it's taking so long.
Who knows...
Just have to wait and see.
It's very disappointing to have to wait 4 years though... Given the innovation showed by others (Fuji, Panasonic, Blackmagic, even Nikon.)
It's a nice list isn't it... Reads like our unrealistic dream wish lists from just 2 years ago.
Here's how Sony can add to it:
Better AF
Built in ND
Erm. That's about it. I don't need 8K. I am not sure what else they will bring in the A7S III that will be more useful and practical than being able to focus and expose properly without hassle.

You said those lenses "suck ass for video".  
Suck ass is not close to good or great is it.  How much cine manual glass do you see on the GH5 or P4K? It's defiantly not the majority.  
 
Dude you said a few weeks ago your monitor was just recalibrated.  
Instead of quoting Jethro with "it sucks ass". Tell us why the color is off and stop using the words too dark and moody.  This board is suppose to have discussions and it seems 'sucks ass" in not a very cinematic was to express how good or bad something is. 
Oh and also read the comments from that link and the other EOSH posters that disagree with you.  You also a Nikon hater and not a photographer.
And to be clear I never said the photo's had amazing subject matter or were perfect photo's but the color is not off and not like Sony and not wrong. 

Video is hard.  Lol

You are 100% wrong. "have likely led to delays" is a sly way of making people read your opinion as fact.
Nikon and Panasonic have pushed video capabilities on the Z6 and S1 way above what Sony has given us.  Body size for the Sony has to change because of past heat issues.  If Nikon and Panasonic can give us new better cameras then no excuses for Sony.  
Sony making processors years and years before they hit the streets is what big companies like Sony do. Sony's cine line up would also benefit from smaller faster processors. Panasonic said the S1 had been in development for years and the idea and move toward full frame was like 6 years ago. 
No one really knows what Sony delayed the A7SIII but at least to the public it's delayed or long over due.  I'm even very curious about what the A7SIII will be and how far they will push it.
If what you say was true then the A7SIII might be 4 months away or 2 years away from hitting the streets. That's not how it works. 
Sony know how to make great cine cameras and processors, they just have to decide what to please and how to make it in a smaller form factor. 
How long before the P4K was released did the first announcement happen? 

All the modern Sony models have a quad-core ARM Cortex-A5 plus custom Sony ISP inside of them. They farm their printing to Global Foundry (among others) which are leading the pack with 7nm node production. It's not like they are doubling the resolution of cameras every year. I am sure they can design custom ISPs that are over built and can process 8K+ video streams with low latency and low TDP thermals.
Phones can manage to do it, plus a lot more. Why not the camera manufacturers?

In searching out more information on Panasonic's .vlt LUTs I stumbled on Lumix Ambassador Bernard Bertrand's video where he mentions being able to use the VariCam .vlt LUTs with the S1, as seen here beginning at the 1:47 Mark...
Lumix S1 V-Log - 422 10bit - Firmware - When Panasonic strikes again - YouTube: (t=107)
 
The VariCam LUT Library page he shows in the video is located here...
Varicam LUT Library:
https://info.panasonic.com/varicam-LUT-library.html
 
I just finished downloading that collection of 35 .vlt LUTs! And here's a brief sampling of some of them from Panasonic's VariCam & EVA1 YT pages...
The VariCam LUT Library | Panasonic - YouTube:
 
So if this actually works out as Bertrand advertises then it's looking like there's a whole lot more to "look forward to" and "experiment with" when I finally get my key! Woo hoo!
Has anyone tried these yet?
_____________________________________
 
After looking at the LUT names I downloaded from that Varicam LUT library I linked to, it seems like that 8.3 naming scheme is not quite correct either...

...hmm. :\