herein2020

I'm a hybrid shooter but I'm not going anywhere near it either and not just because it is Sony. You could literally get a great stills camera AND a great video focused camera for the price of this one. I think this camera is literally targeted at the hybrid sports shooter if such a thing exists.  I'm with you, I think the quest for the perfect hybrid camera might be overrated and dedicated video cameras are more realistic.
Personally I'm starting to give up on the idea of a hybrid camera. I keep thinking that a hybrid camera would make my life easier on a hybrid shoot (less gear to carry) but then when I'm on a shoot there's so many differences between the photography portion of the shoot and the video portion (lighting / audio / camera settings / movement / etc) that I feel like I will always need two camera bodies. Even when it comes to the body, for photography I need a remote flash trigger attached and a battery grip with a vertical shutter release button so that I can shoot portraits, for video I need an audio module attached and can't use a battery grip because of the camera cage.

I don't think so, Canon is already working on the R1; this is in the 1DXIII price territory so its not a direct competitor to the R5, the A7SIII is more of a competitor to the R5. The R1 will be Canon's answer to this camera both in price and functionality.
I thought the exact same thing...except the MFT part. Panasonic is dependent on Sony for their sensors, so if they are able to use this sensor in a next gen S1H (and change their AF system).......oh never mind who am I kidding, Panasonic will never change their AF system; but anyway if they were to make a S1H II with this sensor that would be interesting...but probably at least $5500

I don't think so, Canon is already working on the R1; this is in the 1DXIII price territory so its not a direct competitor to the R5, the A7SIII is more of a competitor to the R5. The R1 will be Canon's answer to this camera both in price and functionality.
I thought the exact same thing...except the MFT part. Panasonic is dependent on Sony for their sensors, so if they are able to use this sensor in a next gen S1H (and change their AF system).......oh never mind who am I kidding, Panasonic will never change their AF system; but anyway if they were to make a S1H II with this sensor that would be interesting...but probably at least $5500

Of course everyone say that, but unfortunately that wont drive much traffic nowadays, open box photos get more likes than actual photos shot with said gear.

Your turn now Panasonic!

Give us a Sony A1 but with the smaller 4/3" sensor in a GH6 and at the low price of $1995! 8K 10bit? 4K 120fps 10bit? Yes please!

Well at least everything he said was obvious from the minute that Canon put in a fake overheating timer, refuses to offer dual slot recording for anything below a cinema camera, and also refuses to put any real video tools into their mirrorless line. It wasn't so obvious in the marketing material leading up to the release of the R5 or R6 but their real  view of their consumer and their cripple hammer plans were made pretty clear shortly after release; cue the C70 anyone?
The best thing Canon did for me was helped me gain a greater appreciation for Panasonic's S5, S1, S1H, VLOG, and endless video features. 

Guess I celebrated too soon....I needed that Fusion Render Clip feature yesterday...so I right clicked the clip > render in place....nothing happened. Went and watched the YouTube video just to be sure..went back in DR > Render in Place...nothing. It will probably work by the time its out of beta but at least for now I'm still watching endless Fusion caching progress bars.
Fortunately I never use that, I just put the clips on the timeline and color grade from there. Speaking of bugs...another nasty one is if you use Resolve while Photoshop, Lightroom, or other GPU accelerated apps are open...Resolve will crash every time and to the point that it takes Windows with it. The only way to get the display back is to reboot.

These rigs on a balcony rail are scary.
 
I'm with @herein2020 -- use a small "safety'd" tripod gently leaned against the rail.  However, in addition to weighing down  down the tripod with a bag, also safety it with a tag line(s) attached to something solid (or very heavy) that is further in from the balcony.
 
Don't even think about clamping to a glass balcony panel or putting any kind of torsion/flex stress on a balcony rail supported by a glass panel.  It is probably a good idea to avoid raining shards of glass and loose camera gear/rigging onto hapless pedestrians below.
 
If you insist on clamping to a rail in lieu of using a tripod, definitely use one or more tag lines as described above, and don't make a hi-CG nor awkwardly offset rig.  Keep the rig light-weight, compact, low and well balanced above the rail.  That Dedolight clamp is a more expensive and less stable version of the original Tota-Clamp, which has a shorter baby pin that tucks into the clamp for travel.  That shorter pin is safer on a balcony rail and there are several compact ways to mount a tilt/ball head to that baby-pin.  Tota-Clamps can scratch surfaces if you don't tape the jaws.  The Camvate clamp with the ball head could likewise work, but the jaws might be to small (just like the Tota-Clamp).  There are other clamps not shown that would work better.
 
If you don't have a lot of rigging safety experience, it probably would be best to avoid complex grip solutions on the edge of a balcony.  Regardless, always use a strong tag line(s) on any gear on a balcony, and don't detach the tag line until the gear/rig is moved safely away or below the balcony rail.

Call me paranoid but in your situation I'd rather just take a travel tripod. I just can't imagine trusting my camera setup to something like a clamp. Induro, Manfrotto, and other brands like that make some great travel tripods that are very light and collapse using 4 joints instead of the usual 3 so they get really small. What I do is put the two front legs against the balcony, extend the third leg until the tripod is fully braced against the balcony, then I typically hang my camera bag or some kind of weight to a hook at the bottom of the tripod center pole.  I've shot quite a few time lapses like that and the nice thing is, I can also use the tripod for other things too like long exposures. Of course lugging around a tripod can take the fun out of any vacation, but travel tripods in my opinion are a reasonable compromise.

Same as it ever was!

Yess.....thanks Mark, I hadn't found that one yet, that's exactly what I meant. I'm sure I wasn't the only one, but I emailed that feature request directly to the development team back in Resolve 16 one day when I got fed up with Fusion constantly caching....and they did it properly meaning you can go back to the Fusion comp later if you need to make a change, fortunately its not a one way trip.
I have that problem with multi-cam edits, certain things you can't do to a multi-cam sequence such as change the crop factor so you first have to flatten the clip but it loses the color grade and you can't switch camera angles after that, so my workaround is to copy the clip to a new layer first, flatten it then edit the copy. If I need to go back later I delete the clip and copy the underlying multi-cam clip again to the top layer; who knows....maybe they improved that in DR17 as well, I need to watch the full DR new features video or read the new features list one day.

I think the biggest thing that I have discovered is that 10 bit lets you push around the mids more than 8 bit without losing color quality. Everyone typically talks about recovering the highlights and preventing noise in the lows and looks at dynamic range...for me the biggest problem is usually recovering exposure on the skin in difficult lighting situations when you have the highs and the lows all well within the WFM but the skin tones are under exposed which you can't control because you can't properly light the subject. I run into that situation all the time and 10 bit lets you fix the exposure on the skin tones without losing color quality. 8 bit used to fall apart every time and typically it was better to just leave them underexposed than to try to fix them without fill lighting.
Even with 10bit there's only so much you can do to the mids before you start losing color (that's where the whole latitudes limitations come in) but I will take 10 bit any day over 8 bit for this situation. A good example is with a sunset behind a subject and no fill lighting, with 8 bit you have no choice but to severely under expose the subject or completely blow out the sunset, with 10 bit (and the benefits of VLOG and the S5's sensor) I am able to recover the skin tones almost to the bottom edge of the proper IRE while retaining the highlights and not washing out the lows.
One day I may try to shoot the exact same scene right after the other with a sunset behind the subject one with 4:2:0 8bit and the second shot with 4:2:2 10 bit then demonstrate how the mids fall apart when trying to recover the subject's exposure, but I typically don't have that kind of time during a shoot.

I can tell you that I'm a believer. I have the S5 and have had to recover from some really horrible lighting and had to push the WB to the other side of the spectrum....and the footage held up flawlessly, I am able to recover from situations where I had no control over the lighting in ways that I simply was not able to when shooting 8 bit. I am the first one to say I think something is overrated....like I personally think ALL-I is just a waste of storage space, RAW footage for YouTube and Vimeo is an even bigger waste of storage space (unless your editing machine really can't handle LongGOP), external recorders are a waste of money for most people, etc, etc. I have reached the conclusion that for anything short of TV quality commercial work, documentaries (maybe), and feature length films, LongGOP, H.264, and H.265 are good enough. 
But after shooting 8 bit for years and fighting with the color grade especially when the WB was off, I am a believer in 10 bit. I also think 10 bit handles highlight roll-off better than 8 bit which is something that even YouTube viewers will notice if you don't manage to get it under control during editing, but anything beyond that (ProRes, BRAW, etc) as I mentioned before I think is a waste of space, time, and money. External recorders for certain cameras do let you record higher resolutions (like 6K for example) but unless you really do need to crop and recompose that much I think anything over 4K is also a waste.
There is a video that shows 8 bit vs 10 bit side by side on YouTube, I don't remember the title now, but in his side by side tests he reached the same conclusions that I reached on my own; there is no noticeable difference in the final footage, but 10 bit handles highlights and WB correction better.  I think 8 bit is the better way to go if you have the time to properly WB, expose the footage, etc. but when you are shooting hectic events like I typically shoot, or real estate where the lighting is always some weird mixture that you can't control; the extra editing latitude that 10bit provides is very noticeable.

I think the biggest thing that I have discovered is that 10 bit lets you push around the mids more than 8 bit without losing color quality. Everyone typically talks about recovering the highlights and preventing noise in the lows and looks at dynamic range...for me the biggest problem is usually recovering exposure on the skin in difficult lighting situations when you have the highs and the lows all well within the WFM but the skin tones are under exposed which you can't control because you can't properly light the subject. I run into that situation all the time and 10 bit lets you fix the exposure on the skin tones without losing color quality. 8 bit used to fall apart every time and typically it was better to just leave them underexposed than to try to fix them without fill lighting.
Even with 10bit there's only so much you can do to the mids before you start losing color (that's where the whole latitudes limitations come in) but I will take 10 bit any day over 8 bit for this situation. A good example is with a sunset behind a subject and no fill lighting, with 8 bit you have no choice but to severely under expose the subject or completely blow out the sunset, with 10 bit (and the benefits of VLOG and the S5's sensor) I am able to recover the skin tones almost to the bottom edge of the proper IRE while retaining the highlights and not washing out the lows.
One day I may try to shoot the exact same scene right after the other with a sunset behind the subject one with 4:2:0 8bit and the second shot with 4:2:2 10 bit then demonstrate how the mids fall apart when trying to recover the subject's exposure, but I typically don't have that kind of time during a shoot.

DR's history is actually quite fascinating and it is nothing short of incredible that the software coders have been able to modernize it to where it is today. It is no surprise that some features that you take for granted in every other software application took DR 17 revisions to add, there's still some weird quirks like not being able to take a screen grab from anywhere except the Color page but each version just gets better.
I really think Adobe going to the subscription model was the best thing they could have done for Blackmagic Design. All of the new revenue from new users looking for anything that's not subscription based had to have helped them hire more coders and make it more user friendly. I always feel like I've only scratched the surface of what DR can do, especially when it comes to Fusion. 
If they would just improve the performance of Fusion or at least let you right click > convert to video clip after all of the Fusion edits are done so that its not in a constant state of caching for simple things like Text+ titles it really would be the perfect NLE. I have more Fusion related performance and stability problems than anything video clip related.

Oh, that's cool.  Only being able to copy one node at a time is occasionally frustrating.
One of the things that I am very aware of is that Resolve is the software component of an ex $100K+ hardware solution.  The heritage of hardware solutions really came from tape cutting/splicing rigs for editing and things like colour timing machines:

On such machines the workflow is determined by doing whatever the hell the hardware wants you to do, and the user-experience is that the engineers push the potential of the technology and the user learns to jump through whatever hoops are required to make the machine go.
The reason I bring this up is that these limitations are often still hidden deep in the way that something like Resolve works.
For example, a machine such as the above would be configured with the settings for the whole roll of film, then the roll would be processed.  I ran into this "configure things on the input" philosophy in Resolve when I was half-way through an edit and was looking for some function in the edit page to change settings on a clip, and the answer was that I change it in the Media Pool, because (you guessed it) the workflow is designed for you to ingest and configure / code all your media before you edit.
That's one example, but there will be many things that are constructed in a certain way that was relevant back in the day but is no longer required, but is kept, either because they haven't thought to change it, or because it's baked into the workflows of Company 3 etc.

Yes that is correct that has always been possible in DR16, you can also use remote grades, create a gallery image and apply the grade from there, hit SHIFT + = to copy a grade from a previous clip, store a color grade in a memory slot, etc....NONE of those ways are intuitive nor do they work the way EVERY other program works which is a simple CTRL A  > CTRL C > CTRL V to copy anything to anything.
Only with DR17 and even then only with the latest build can you finally simply go into the color grade node tree, select all nodes, CTRL C, go to the clip where you want to apply the grade and CTRL V. With every previous build you could only use this method to copy the first node which made no sense.

I can tell you that I'm a believer. I have the S5 and have had to recover from some really horrible lighting and had to push the WB to the other side of the spectrum....and the footage held up flawlessly, I am able to recover from situations where I had no control over the lighting in ways that I simply was not able to when shooting 8 bit. I am the first one to say I think something is overrated....like I personally think ALL-I is just a waste of storage space, RAW footage for YouTube and Vimeo is an even bigger waste of storage space (unless your editing machine really can't handle LongGOP), external recorders are a waste of money for most people, etc, etc. I have reached the conclusion that for anything short of TV quality commercial work, documentaries (maybe), and feature length films, LongGOP, H.264, and H.265 are good enough. 
But after shooting 8 bit for years and fighting with the color grade especially when the WB was off, I am a believer in 10 bit. I also think 10 bit handles highlight roll-off better than 8 bit which is something that even YouTube viewers will notice if you don't manage to get it under control during editing, but anything beyond that (ProRes, BRAW, etc) as I mentioned before I think is a waste of space, time, and money. External recorders for certain cameras do let you record higher resolutions (like 6K for example) but unless you really do need to crop and recompose that much I think anything over 4K is also a waste.
There is a video that shows 8 bit vs 10 bit side by side on YouTube, I don't remember the title now, but in his side by side tests he reached the same conclusions that I reached on my own; there is no noticeable difference in the final footage, but 10 bit handles highlights and WB correction better.  I think 8 bit is the better way to go if you have the time to properly WB, expose the footage, etc. but when you are shooting hectic events like I typically shoot, or real estate where the lighting is always some weird mixture that you can't control; the extra editing latitude that 10bit provides is very noticeable.

I can tell you that I'm a believer. I have the S5 and have had to recover from some really horrible lighting and had to push the WB to the other side of the spectrum....and the footage held up flawlessly, I am able to recover from situations where I had no control over the lighting in ways that I simply was not able to when shooting 8 bit. I am the first one to say I think something is overrated....like I personally think ALL-I is just a waste of storage space, RAW footage for YouTube and Vimeo is an even bigger waste of storage space (unless your editing machine really can't handle LongGOP), external recorders are a waste of money for most people, etc, etc. I have reached the conclusion that for anything short of TV quality commercial work, documentaries (maybe), and feature length films, LongGOP, H.264, and H.265 are good enough. 
But after shooting 8 bit for years and fighting with the color grade especially when the WB was off, I am a believer in 10 bit. I also think 10 bit handles highlight roll-off better than 8 bit which is something that even YouTube viewers will notice if you don't manage to get it under control during editing, but anything beyond that (ProRes, BRAW, etc) as I mentioned before I think is a waste of space, time, and money. External recorders for certain cameras do let you record higher resolutions (like 6K for example) but unless you really do need to crop and recompose that much I think anything over 4K is also a waste.
There is a video that shows 8 bit vs 10 bit side by side on YouTube, I don't remember the title now, but in his side by side tests he reached the same conclusions that I reached on my own; there is no noticeable difference in the final footage, but 10 bit handles highlights and WB correction better.  I think 8 bit is the better way to go if you have the time to properly WB, expose the footage, etc. but when you are shooting hectic events like I typically shoot, or real estate where the lighting is always some weird mixture that you can't control; the extra editing latitude that 10bit provides is very noticeable.

Exactly....you simply cannot have it both ways. Panasonic knew many users would not miss ALL-I and had to make some kind of tradeoff to get the body so small; also we are talking 10bit here not 8 bit or line skipping. The ONLY tradeoff that I wish they hadn't made was using a micro HDMI port instead of a full HDMI port which is funny because I never used the HDMI port on the GH5 anyway but knowing its not useable especially when it can output 5.9K raw is still a little annoying.
 
 
I tried the R6, it was without a doubt the worst camera for me that I have ever held in my hands. There simply is no scenario where the R6 is the better option. Despite all of its other shortcomings. the simple fact that it does not do dual slot video recording and the level meter turns off when recording (level horizons are critical with real estate and wide angle lenses) those two factors alone make it a terrible RE video camera. Should I even mention the overheat timer.....? I can imagine a nightmare scenario where I am filming a big all day commercial real estate project and have to quit half way through because the camera has "overheated"....some of the properties I have filmed have AC problems or large outdoor areas in direct sunlight and are all day or multi-day shoots.
 

I personally believe that one of the reasons / the main reason that the S5 doesn't have all-i is because it just can't handle it... maybe the processor is different, maybe it is just a heat dissipation issue. I mean, the S1H has a fan and weighs, like, 27 pounds for a reason.
Sure, the GH5 has All-I but the sensor is half the size of a full frame sensor, and with the S5, Panasonic has somehow managed to fit a full frame sensor in to a body that is slightly SMALLER than a GH5.

For me personally the difference actually is absolutely worth it. The ability to crop in when shooting 4K and editing on a 1080P timeline simply cannot be understated; its like having a complete second set of lenses in your bag; but without the lenses. And not even just regular lenses but zoom lenses since you can stop the crop at any point in between when you have the framing where you want it. I think if I specialized in one specific area of video and was able to completely optimize my kit for that type of work then 4K would not be as important to me; but when you shoot literally anything that comes along you have to be prepared for events where you don't have a long enough lens, multi-cam looks when you only have a single camera, and 60FPS for when the talent simply will not slow down enough to properly frame the shot.
As far as editing without ALL-I, I did make the choice to simply keep throwing HW at the problem until it fixed itself. It was certainly more expensive than simply buying more storage, but for me it was worth it especially now when I can use what I consider the perfect camera for me (the S5) and edit anything the camera can record without dealing with proxies or lag.
Another reason why I am adverse to anything that increases my storage requirements is because I never change memory cards at a shoot. My current setup lets me shoot every type of event that I encounter without ever changing memory cards. I know it sounds minor, but little things like that are important to me when things get crazy hectic. When you are shooting with up to 5 completely different cameras each with a specific purpose as a OMB for a single shoot little things like that get pretty important.  That's also why I stick with the EF mount adapter even though I wish I had CAF in the S5....another lens type would add more complexity to my setup.
So you say...just get bigger memory cards....its not that easy either; for one thing memory cards fast enough to handle 400Mbs sustained write speeds typically aren't as large as regular cards and my entire kit stops at 256GB cards because they don't make CF cards any bigger than that and my 5DIV requires a CF card.
 
 

I have found YouTube hates timelapses and water even more than shadows. Anything where nearly every frame changes from frame to frame is a disaster on YouTube unless you are a celebrity on an upper tier. I have had to go back and just completely remove a timelapse because I couldn't get it to work on YouTube; and living in FL you are almost always filming something with water; so even there I've had to edit out certain water scenes just because of YouTube.

150 Mbps Long-GOP 10bit, my friend! 🙂 Once you shot the S1/S5 in Vlog, you will feel shocked, how good it is.
The 10bit Long-GOP is an exellent codec. Scary, how good it is! Would be fun to be able to test it on a real cinema size screen, sometthing like 30 feet wide.
But the 10bit 200Mpbs HD on the GH5 is beautiful, the 100Mpbs also.

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.