herein2020

It can't be useful for any pro project, but many pros would love to use it. At least somebody is thinking out of the box in the industry. 

Photos in the first half, were a totally different vibe, I am guessing you set up different lighting for that? 
The video quality in the 2nd half was miles ahead of the 1st half! Good stuff

Why not their latest Rode Go with internal recording?
  
Do consider instead the Zoom F2-BT (or Tentacle Track E), they're still very very affordable, but all round much much better designed as bodypack recorders. Plus they've both got timecode functionality, making it easier (extra safety net) to sync it up with your timecode capable Panasonic S1H. 

I am surprised that you like the S1H so much, I've looked at the specs on paper many times and on paper the S1H just doesn't seem like that big of a leap. Same sensor, same LOG curve, mostly the same recording options with many more thrown in that I don't really need  (i.e. All-I), and it does not do 4K120FPS. 
I am sure it has better ergonomics than the S5, but after adding the cage and a side and top handle the S5 fits like a glove for me. Without it, the S5 felt too small and light.
I know VLOG is one additional step but it really is incredible in difficult lighting situations and it literally takes me seconds to grade in post. In DR I just create 3 nodes (primaries, curves, false color), add 100% saturation, 1.17 contrast, then I pull down the lows to just touch off the bottom of the WFM, pull up the highs to just touch off of the top of the WFM then enable false color to tweak for skin exposure if any people are in the clip...done.  I then copy the results to all of the clips in the project and the only thing I tweak is the lows and highs as I go to each clip. I would estimate my grading process is about 5s per clip. On some rare occasions something looks off to me so I use the curves node to fine tune my grade or adjust the WB but that's it.
I know any time spent color grading is wasting precious time without adding to the incoming revenue but I couldn't imagine using anything else after seeing the results from VLOG. I've shot directly into setting sun and managed to retain the highlights while still retaining acceptable exposure on the model's skin. 
 
 
Of course you are right, I think I have maximized the interoperability and usability of my current kit. As much as I'd like to further simplify, I will probably stick with this setup for quite sometime. Technically it is meeting all of my needs except for those times when I would like to have a second camera angle, but I really don't want to buy another S5 with so much uncertainty around Panasonic's future and the lack of CAF with EF lenses.

I am definitely not working on any Hollywood level projects...but I need XLR all the time, its not just cable runs where it is important, it is also the wireless mics that I use, the wired taps into the mixing boards, concerts, wedding DJs, all use XLR; and yes, sometimes I do need a 50' wired run from a mixing board to my XLR input.
I caveat all of this with the fact that I do not know anything about USB audio, maybe it really is that great and camera makers should include it in their cameras, but I do know that I've had to connect to almost everything imaginable and I have spent a small fortune on prosumer grade audio gear and it is all based on the XLR interface.

I am definitely not working on any Hollywood level projects...but I need XLR all the time, its not just cable runs where it is important, it is also the wireless mics that I use, the wired taps into the mixing boards, concerts, wedding DJs, all use XLR; and yes, sometimes I do need a 50' wired run from a mixing board to my XLR input.
I caveat all of this with the fact that I do not know anything about USB audio, maybe it really is that great and camera makers should include it in their cameras, but I do know that I've had to connect to almost everything imaginable and I have spent a small fortune on prosumer grade audio gear and it is all based on the XLR interface.

I feel the same way about the S5 and VLOG. The latitude that I have with the footage I thought was only possible with RAW or some form of compressed RAW. After you discover 10bit combined with a LOG profile and Davinci Resolve there is no going back. 

I feel the same way about the S5 and VLOG. The latitude that I have with the footage I thought was only possible with RAW or some form of compressed RAW. After you discover 10bit combined with a LOG profile and Davinci Resolve there is no going back. 

FWIW, I was shooting 8-bit for years on Sony's and Canons and when finally upgraded to a FS7 and R6, the difference for both S-log3 and Clog/Clog3 was night & day. The latitude, the colours.. it all gets enhanced and doesn't break anymore. This has allowed me to up my grading skills in Davinci by being able not just to push things harder but go deeper using qualifiers and more advanced techniques.
To be honest, I don't even lust for RAW anymore and the associated storage headaches that go along with it. Chunky bitrate 10-bit can go a long way. And with the M1 Macs it's now a breeze to edit. I really hope Sony gives us a 10-bit option in A7 IV and other upcoming Alpha models. 8-bit is a thing of the past as far as I'm concerned and I've let go of all my 8-bit cameras..

Actually after watching the YouTube video all desire for this camera evaporated. Definitely an incredible deal but the reviewer in the video used a $43K lens, $4K+ stabilizer, generated 990GB of data, etc, etc and IMO after YouTube got done with it, the footage honestly did not look any better to me than C70, S1H, or A7S3 footage. The image stabilization wasn't even close to what even my S5 delivers without a gimbal let alone with a gimbal.
Cameras like these are like sports cars. No matter how good the deal is for the car, you need to be prepared to pay for all of the additional costs required to get the most out of it.
I have no doubt that the 12K source footage looked amazing, but for me, my final delivery platform is Vimeo, YouTube, and Instagram for most of my projects where all of that extra quality would be wasted.

That looks like a nice upgrade, 4K120FPS would be great. The times I use the GoPro for anything I nearly always want to slow the footage down later so I've been wishing my HERO 8 would do 4K120FPS.

But you recorded something boring twice!

I am definitely not working on any Hollywood level projects...but I need XLR all the time, its not just cable runs where it is important, it is also the wireless mics that I use, the wired taps into the mixing boards, concerts, wedding DJs, all use XLR; and yes, sometimes I do need a 50' wired run from a mixing board to my XLR input.
I caveat all of this with the fact that I do not know anything about USB audio, maybe it really is that great and camera makers should include it in their cameras, but I do know that I've had to connect to almost everything imaginable and I have spent a small fortune on prosumer grade audio gear and it is all based on the XLR interface.

@newfoundmass nailed it.....I would never want a USB mic over an XLR mic. Yes XLR is ancient, and large, and unwieldy; but the entire audio world ecosystem is built around it. If camera makers started going off on their own with USB audio they would make it a nightmare to tap into the 20+ years worth of XLR interfaces out there. 
For the work that I do I have to connect to DJ mixers, PA systems, wireless mics, wired mics, karaoke subs, etc. etc. The standard interface on nearly all of them is either XLR, 2.5mm, 3.5mm, or 6.35mm jacks...not a single USB interface amongst them. Additionally, XLR was designed from the ground up to be low noise and high quality; I can't say the same for USB.

Most of the best mics are XLR. I'd never use a USB mic over an XLR one. Give me a locking XLR with a beefy cord any day of the week. It doesn't bother me at all when using the Panasonic XLR unit. 

Incredible deal
Firesale price on an incredible camera: check
Clients who will pay for the incredible things I could do with this camera: ....hmm gotta work on that

Incredible deal
Firesale price on an incredible camera: check
Clients who will pay for the incredible things I could do with this camera: ....hmm gotta work on that

I think its great, I use the XLR module with the S5 all the time for quick sound bites such as a real estate agent doing the intro voice over, modelling interviews, product reviews from YouTube content creators, etc. I almost never need more than one channel, two at the most and all of my higher quality mics are XLR.  I can also shoot long form such as speeches, conferences, etc and the whole setup is still more compact than my C200.
 
I have the MixPre6 and its a PITA, it needs another power source, just remembering how to set it up properly is a PITA since I rarely use it, and now you've got cables everywhere, etc.  I only use the MixPre when I need 32bit float, more than 2 channels, or multiple backup copies of the audio.
 

 
 

I read TEAC's announcement as well. So far it looks like only two Canon models will support this interface. This has been one of my long running Canon pet peeves; they provided no way to get XLR audio into their non cinema bodies and is one of my favorite features of the S5.
https://www.teac.co.jp/int/support/news/6615
What would be great is if 32bit float audio was included in the TEAC accessory but I guess I can't have everything. This accessory though is an important first step to me ever considering getting a Canon mirrorless for video and was one of the main reasons I chose the S5 over the R5.  The fact that only the as yet released R3 will even support this accessory further proves to me that I made the right decision in not getting or considering the R5. If the R3 offers dual slot video recording I may actually be truly interested in it.

https://www.fujirumors.com/teac-announces-development-of-tascam-xlr-audio-adapter-for-fujifilm-mirrorless-cameras/

Anyone was aware that some Fujifilm models had a hotshoe with a digital interface?

I find myself using those exact same two lenses the most as well. I use the Sigma EF 50mm 1.4 for lowlight, detail shots, and shallow DOF shots, I use the 24mm EF 2.8 Prime lens for all gimbal work, and I use the EF 24-105mm for everything else. All of that gets cropped by a factor of 1.5 when filming 60FPS which I frequently do.
I'm with you on the media as well, it is so annoying to have mismatched cards or bitrates at 400mb/s requiring 2x+ more expensive media. The footage from the S5 more than meets the needs of my type of client.
As far as shooting over 30min, the S5 still has the 8bit modes to shoot longer, and they really are good enough for most situations. I shot with the GH5 and only 8bit for years; as long as you nail the WB and exposure 8bit is plenty for most situations. I do also love the VLOG, if you haven't tried it yet you really are missing out; its incredible how much you can push and pull the LOG footage in post even though it is compressed.
With my Davinci Resolve workflow, I can grade VLOG footage in seconds.

I now have my Panasonic S5 rigged to meet every type of project that I shoot and I know how much time it can take to get your gear rigged up in a way that works for you so I figured I'd share my setup in case someone else is looking for ideas. Every rig is kept as simple as possible, I can go from one rig to another within less than a minute and none of the rigs require tools to put together or take apart. Also, all of my handles, lenses, rails, tripod plates, audio equipment, and even the V Mount battery is interchangeable with my Canon C200 which is what I wanted for simplicity.
For each set up I provide a parts list and what I use that setup for.
All Setups - Parts
SmallRig Cage for Panasonic S5 Camera 2983
SMALLRIG Quick Release NATO Rail 1.6
Sigma MC-21 EF-Mount to L-Mount Adapter
Andoer Rapid Connect Adapter with Quick Release Sliding Plate
Setup 1 - This is my setup for when I am shooting video only and have the talent wired for audio via a wireless lav mic or a wireless microphone. The extra weight makes handholding easy and I can rest the back on my shoulder or chest for short interview type work. I also shoot content for some YouTube influencer's channels and this setup lets me shoot hand held while capturing their lav audio. With this setup I think I can shoot for about 10hrs without running out of battery life
Equipment
Canon EF 24mm-105mm F4
Panasonic DMW-XLR1 XLR Adapter
Sennheiser G4 receiver
Sennheiser to XLR cable
SMALLRIG Aluminum Side Handle with NATO Clamp
SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps
SMALLRIG 16 Inch Rods x 2
Bebob Factory GmbH COCO-15V III V Mount Battery Plate
V150 Bebob Battery
USB A to USB C cable
2 x Andoer Rapid Connect Adapters

Setup 2 - Same equipment as setup 1 but with the addition of a Manfrotto Video Tripod which also has an Andoer Rapid Connect Receiver plate mounted on it. In the picture I show how I can slide the S5 off of the rails and slide the C200 onto the rails within seconds.
Setup 3 - This is my long form event setup. If I just need a static camera and natural audio this would be my setup. Although I show an external monitor here, I don't actually use one but I showed it anyway in case someone wanted to see where a monitor could go.
Equipment
SMALLRIG HTN2362 Rotating NATO Clamp Handle
SMALLRIG Aluminum Side Handle with NATO Clamp
SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps
SMALLRIG 16 Inch Rods x 2
Bebob Factory GmbH COCO-15V III V Mount Battery Plate
V150 Bebob Battery
USB A to USB C cable
2 x Andoer Rapid Connect Adapters
Video Tripod
Setup 4 - Same equipment as Setup 3 but without the tripod. This is my handheld setup when I am shooting video only and do not need high quality XLR audio. 
Setup 5 - This is my handheld hybrid shoot setup when everything gets crazy and I am shooting a mixture of video and photos and will not use the onset audio at all.
Equipment
SMALLRIG HTN2362 Rotating NATO Clamp Handle
SMALLRIG Aluminum Side Handle with NATO Clamp
Setup 6 - Same setup as 5 but on a monopod. I use the top handle for additional stability and additional points of contact. I also can use the monopod as a light glidecam if I need a little forward or backward movement.
Setup 7 - This is my gimbal setup for everything from real estate to music videos. 
Equipment
Canon EF 24mm F2.8
Ronin S with Inverted Handle Sling Grip

 

I have focus peaking sensitivity set to +2 Display Color Blue and Display While AFS ON.  For some reason the focus peaking works better when the shutter button is half pressed and when the lens switch is switched to MF or the back selector switch is set to MF. While the lens switch is set to AF or the back selector switch is set to C or S the focus peaking barely works or should I say it never works.

Since I don't have CAF with EF lenses my favorite focus peaking setup is to keep the lens switch to AF, the back selector switch to MF and hybrid AF to ON. This lets me get the most out of the focus peaking while still being able to focus by tapping the back of the screen; the only thing I lose with this setup is I can't half press the shutter to achieve AF.

NVIDIA still lists the RTX3070 for $499.00 so if that is the video card you want in your next build, then I would base everything else on obtaining that card for that price. Set up some watch lists and get notified the minute someone gets one in stock for that price. 
Once you have the GPU on hand the rest of the build should be easier (and less costly). That's just what I personally would do. Also, I have to believe that Intel will have an answer to the Apple M1 soon, so if you can wait, I would try to wait and see what their answer is. The M1 seems pretty future proof for now, nothing Intel is producing can compete with it but I am sure they are working on it.

Thanks for the tip.
Didn't realize about the difference in focus peaking when doing that setup with Canon EF lenses (I use the EF 16-35 f/4 L on the MC-21 adapter on my S5 and S1).
I think also that setup you mentioned works for other manual focus aids such as punching in with the joystick... at least I remember that there after I changed the back switch from the MF position to AF-S position it wouldn't punch in anymore. Maybe that was just due to a setting somewhere.