herein2020

In Sony Semiconductor Imaging's laboratory.

Yes I'm just stuck in this odd middle ground where nothing is perfect or terrible. I would love CAF but having my entire collection of EF glass available to all of my cameras (5DIV, C200, S5) is worth more to me than CAF.  The EF adapter is such a pain to remove due to my S5 cage setup that it has never come off after putting it on. Hybrid AF works pretty good most of the time with the adapter (half press to achieve focus then flip the MF button on the lens to lock focus).
I will probably hang on like this until I see what disappointments the R5c manages to bring next year. If they somehow get it right, I'll finally move to a more native EF system (even though the R5c is RF mount).  If Canon manages to colosally disappoint yet again then I'll just stick with what I have for a couple more years. If the R5c is even 80% what the S1H is, then Canon will have a winner but I don't see that happening since they already have the C70.
In my perfect world I would have two identical bodies that can use all of my existing EF glass; both as good at photography as the R5 and as good at video as the S5 but with the R5's AF and the S5's XLR module, dual slot video recording, and dual ISO. One rigged for video (cage, XLR module), and one rigged for photography (no cage, dual battery grip, hotshoe free for flash triggers).  Then on a shoot I can mix and match where the areas overlap when I need a quick video clip during a photo shoot, or a few images throughout a video shoot and where in a pinch I can use both bodies for the same purpose such as multi-angle interviews or both cameras rigged for photography for a wedding.
So far its an unachievable dream but who knows what the future holds. My bank account thanks Canon every day for not making this dream possible.

I think another factor is that the expectation for quality is also dropping. It's become so easy with cell phones that anyone can do it so now the "viral" photos are based on who is in the image vs. the skill that was required to create the image. A horribly lit and composed cell phone picture of Kim Kardashian will get 50M views yet a photographic masterpiece that took weeks of planning and years of experience to create will barely get seen by 1,000 people. Another factor is no one prints anymore, so even if a camera were to advance by the magnitude of a decade or two....the typical viewer would never be able to tell the difference because it would never be viewed on anything other than a cell phone.
The same thing can be said for video....who needs 8K raw when the average viewer is going to watch the final video on YouTube using their cell phone? If your client can't tell (and isn't going to pay for) the difference in quality between a $15K camera and a $2K camera why would you buy the $15K camera?  I have to face these harsh realities each time I consider my next equipment purchase, I would love to own the Inspire 2 but my clients are not going to be able to tell the difference between the Inspire 2 and the Mavic Pro. Likewise the C70....why bother buying the C70 when my clients are going to pay me the same if I use the S5 instead. Thanks to cell phones which are "just good enough" for most people they are less and less willing to pay for quality.

There..fixed that for you 🙂
 
Am I selfish to wish they had just dropped MFT and released an S5II instead?

I have been saying this for a long time, the focus peaking on the S5 is horrible to the point of unusable; I have to punch in to focus and it seems that then sometimes focus peaking is decent but its still better to just look at the screen and try to gauge sharpness that way. The focus peaking is definitely nowhere near as good as the GH5.

I watched a few of the videos on color grading and a few on the new features in DR 17. Very comprehensive for things like color grading and general use. I do wish they provided more in depth training for Fusion. Most of the really good Fusion tutorials you have to get from YouTube and the SFX artists who work in Hollywood.
I'll admit, I was really into learning Fusion when I first switched to DR from PP, but the constant performance issues and crashing was a big turnoff and I haven't really touched Fusion since. The rest of DR though is rock solid.
 

A few members have reported that the RTX3080 can edit the files from Canon. Your 10bit question was a bit vague though, there's a big difference in editing 10bit 4:2:0 footage which is what everyone but Canon offers vs. Canon who only outputs 10bit 4:2:2. 
For 4:2:0 footage nearly any modern card will do, I'm using an RTX2080Ti to edit my S5 10 bit 4:2:0 footage. This same setup couldn't even playback 4:2:2 10 bit footage from the Canon R6.
 
IMO PP has been hot garbage for many years....the day they started charging a monthly subscription fee was the day they went into the dumpster for me. I switched to Davinci Resolve and it was the best thing I have done in a long time. DR 17 is definitely the best version yet and it just keeps getting better. Once they improve the performance of Fusion it will truly have no equal in my book.

The great thing is you can just stick it on Aperture priority and Auto ISO, and concentrate on getting the shot perfectly with pristine image quality, no noise to speak of.
Try doing that on the A7S III or EOS R6!

Sorry I have no idea as I hate external recorders.

I have always felt the EOS R was nothing more than a stopgap to stop the Sony bleeding while Canon prepared their mature line of cripple hammered EOS mirrorless cameras. With the EOS R they shoved everything they could into the body and tied it all to the 5DIV sensor and threw it out the door to hope it sticks.
The EOS R then gave them enough breathing room to really sit back and figure out how they could screw the consumer at each price point and I think they executed that plan perfectly. 
The big selling point that piqued my interest was the IDX3 sensor in a far cheaper body....but Canon made sure that not only did you not get your money's worth...you got less value than the EOS R that they were forced to make due to Sony. But hats off to Canon because not only did their strategy work, they ended up with nearly record breaking revenues at a time when everyone else was barely making it.

Oh I get why they don't have it, but for the run and gun work I do; those missing features eliminate them from any serious consideration for me; which is kind of funny since I have no AF now with the S5 and EF adapter but IBIS and lowlight performance is incredible. I think if BM ever made a more prosumer version with a more rugged body, better form factor, and a few tools for us run and gun shooters like IBIS and AF, they would sell a ton of them. 

They only needed one thing to make the GH5 II actually interesting....PDAF....but they couldn't even do that. The GH5II with PDAF would have restored my faith in Panasonic and I would have felt better about a potential S5 II release with better AF but still no sign of PDAF. 
I feel like Panasonic is just trying to get rid of their old GH5 components prior to shutting down the production line for M4/3. I just don't see how Panasonic could possibly bring a GH6 to market when their FF S5 is only $1700.00.
No matter how many features you crammed into a GH6 body, it still wouldn't be able to compete with the plethora of features in the A7SIII, the R5, or the coming R1....yet it would be close to their price point. And if Panasonic really does have a written agreement with Sony to not use anything but DFD...the GH6 would be DOA with DFD combined with a $3000 price point.
The other irony of the M4/3 conundrum is that many of us now have a bag full of manual lenses since the GH5's AF was unusable...so even if they did release a M4/3 camera with PDAF, how many of us would be prepared to go back and buy more lenses for a camera that is a dying breed? To me the Voigtlander lenses have no equal when it comes to their particular look and they are still the main thing I miss about the move to the S5; there's simply no way I would go back to M4/3 and start buying new lenses on top of buying a $3000+ body with a 2x crop after buying the S5.
Panasonic is without a doubt my favorite camera maker for video...but I've said it before and I'll say it again.....it really feels like they will exit the camera business soon. Canon and Sony are releasing incredibly advanced products at a breakneck pace with all of the right boxes checked (color science, features, menu structure, AF, etc.), and all Panasonic has managed to do is dig into the parts bin and come up with a GH5II.
If Panasonic had AF that was even close to Canon's I would probably have two S5 bodies and L mount lenses right now.....instead I'm reading about a rehashed GH5II and thinking I'm glad I'm not still sitting here waiting for a GH6.

I for one will never go back to shooting anything less than 4K and typically nothing lower than 4K60FPS.  I already have over 120TB of storage, my projects drive is 4TB, my cache drive is 1TB, 14 core CPU, RTX 2080TI video card, USB3 media readers, 1TB SD cards, and I  always generate optimized media for every clip to have smooth playback after color grading and Fusion effects are added. I rely heavily on recomposing shots, stabilizing in post, straightening the horizon (drone footage), and couldn't imagine losing all of those capabilities.  I shoot 4K60FPS because I never know when I might need to slow something down later as part of a speed ramp or to get additional gimbal stability. Interviews of course are shot at 4K30FPS.
 
I typically then deliver in 1080P although lately I have been editing on a 1080P timeline then upscaling to 1440P for a YouTube delivery. For my website's demo reels I need the highest quality so I have Vimeo Basic which is free but has a very low storage limit so I put about 4 or 5 videos there until I reached the storage limit so that customers see a higher quality video than YouTube would allow. I also tried hosting a few MP4s on my website but that's just too unreliable; maximum quality but it's a pain to write the code to detect the different viewports and deliver the proper format based on the user's devices.
 
I get what you are saying about the additional overhead, but all of it is paid for by my clients. I charge for each project based on the number of hours it will take for me to shoot, edit, and deliver that project and my service proposals are based on processing, editing, and rendering 4K footage. Clients hire me based on my past work, they expect to get the same level of quality that they saw from other projects, the only way I can do that is by shooting in 4K or higher and delivering in 1080P or upscaled 2K. I have never shot a single frame of video in my GH5, C200, GoPro, or drones at 1080P. If you plan for 4K, build your workflow around 4K, and charge your clients for 4K it's really no different than 1080P.  If you are not making a living from video work and just posting personal projects on YouTube then 4K might not make sense.

Could you imagine that there are some twisted weirdos out there who enjoy this???

It works perfect on the GH5. I'm not an audio person, so to me the audio sounds fine.  I've never had a problem with noise from the module and anything minor I've been able to clean up in Fairlight; but since I'm not an audio person it is possible what sounds good to me isn't actually that good. The XLR module was one of my favorite GH5 accessories, and the fact that it worked with the S5 was a major selling point for me. 
I do wonder if maybe the lav mics I am using is causing the issues. But I remember I had a problem with the module and my Sennheiser wireless receiver as well. Very annoying problem to say the least. I am going to do a lot more testing before my next job to see if it is something that is my fault.
Personally, I've always found audio the most difficult part of videography, between placing the mics, dealing with room treatment or lack thereof, trying to keep the audio from peaking, trying to keep the mic from rubbing against clothing, trying to block ambient noises like the wind; etc......its very obvious why it is a whole specialty in and of itself.

I do the same. I know everyone loves the shallow DOF look for interviews, but I'd rather give up a little of that than risk AF. I tend to stick around the F2.8 or F3.5 mark when I'm shooting interviews to give me some wiggle room. My main focus is getting the subject as far away from the background as possible and if that's just not possible then its just not going to be as out of focus.

As a matter of a fact I do:
 
 

The XLR adapter for the Pana has taken care of the Audio needs for me. Can't get around having no internal ND filters though. Definitely great to have. 

Agreed. I can't imagine you would need to push the colors around very much for interviews, so 10 bit shouldn't be necessary. 
I love that 10 bit is becoming regular but I think people overestimate how much they really need to use it. 

I was thinking something along those lines, like the phantom power should be turned off first. That's why I think I should read the manual to see if there is a startup sequence. I just don't remember these problems with the GH5 but of course there could be different tolerances with the S5.
 
I have the Sigma EF adapter and EF mount lenses so it may work slightly differently with L mount lenses. But for me, I keep the dial in Movie Mode (M with the little camera beside it), the EF lens is set to AF on, and the back button focus selector is set to S(ingle) or C(ontinuous). Continuous AF doesn't work with the adapter, so when you have the adapter mounted and an EF lens attached S and C does pretty much the same thing. You can also use M but then you can't use the half press method to AF. So the three different ways you can use Hybrid One Shot AF with the S5 that I have found is:
 
Focus Mode Dial set to S or C- The EF lens has to have AF turned on (switch on the lens) and the top dial in Movie mode. With it set this way I can then half press to AF both while recording or before starting to record. I typically pick 1 area for my focus mode. Focus Mode Dial set to M - The EF lens has to have AF turned on and the top dial in Movie mode. This is where it gets interesting. With this combination of settings. half pressing the shutter button doesn't do anything, the only two options are to turn the focus ring to manually focus, or you can tap the screen where it says AF and it will focus one time for you. What I like about this mode is for the EF lenses that support it, the camera will automatically punch in to help you MF when you turn the focus ring on the lens (as long as you set it up to do this in the menu and as long as you haven't yet pressed record). For the other two modes, if you want to punch in to check focus you have to press the center button on the focus mode selector switch.  Lens AF Mode Off or Fully Manual Lenses - If you switch the lens AF mode to off, then you are 100% responsible for pulling focus. What is pretty cool about this mode is that the focus selector switch doesn't matter anymore. S/C/M all automatically punch in to help you set focus as long as you have it set that way in the menu and as long as you haven't yet pressed record and as long as the lens reports to the camera that the ring is being rotated (most of my lenses do). I'll admit I've gotten kind of lazy with focusing now that I have the S5. With the GH5 all of my lenses were manual so I used to have to focus everything by hand. With the S5, the focus peaking is so hard to see (IMO worse than the GH5), that I've found manually focusing much harder so I tend to rely more on the hybrid method. The only problem is the camera completely fails to focus sometimes in this mode so then I still have to do some manual focusing.
 
I like many others truly hope Panasonic does something to improve their AF. I would literally buy an S5II if the only improvement was a working AF system.

For an interview I would just shoot in 8 bit. I would much rather 8bit than lose the ability to punch in and recompose in post. I shot tons of content with the GH5's 8bit and clients never cared or noticed. My C200 also shoots 8bit and somehow it looks just as good as the 10bit out of the S5.

For an interview I would just shoot in 8 bit. I would much rather 8bit than lose the ability to punch in and recompose in post. I shot tons of content with the GH5's 8bit and clients never cared or noticed. My C200 also shoots 8bit and somehow it looks just as good as the 10bit out of the S5.

Spider-Man maybe, but not Batman as there’s zero contrast and good luck with The Flash.

It works perfect on the GH5. I'm not an audio person, so to me the audio sounds fine.  I've never had a problem with noise from the module and anything minor I've been able to clean up in Fairlight; but since I'm not an audio person it is possible what sounds good to me isn't actually that good. The XLR module was one of my favorite GH5 accessories, and the fact that it worked with the S5 was a major selling point for me. 
I do wonder if maybe the lav mics I am using is causing the issues. But I remember I had a problem with the module and my Sennheiser wireless receiver as well. Very annoying problem to say the least. I am going to do a lot more testing before my next job to see if it is something that is my fault.
Personally, I've always found audio the most difficult part of videography, between placing the mics, dealing with room treatment or lack thereof, trying to keep the audio from peaking, trying to keep the mic from rubbing against clothing, trying to block ambient noises like the wind; etc......its very obvious why it is a whole specialty in and of itself.

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.