herein2020

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

@MrSMW I'm with @Thpriest do you really need the entire walk in focus? You can't just set up on a tripod, set it to F8 or higher, focus on a point half way up/down the aisle/walk and throw away the softer parts before and after your focus point?  I'm assuming your final wedding videos are far more video than the ones I offer based on the number of cameras alone, but I still would think an entire walk really wouldn't be that interesting. Also I simply use a wider lens like a 24mm which provides even more DOF during things like a walk.
It's been my experience that for things like walks clients just like to see themselves performing the action, it doesn't have to be a razor thin DOF or the entire thing. But it also sounds like your wedding clients have a bigger budget than the ones in my area. In my area the budget seems to end up somewhere between are you kidding me and not even close so needless to say I don't film many weddings.

@MrSMW I'm with @Thpriest do you really need the entire walk in focus? You can't just set up on a tripod, set it to F8 or higher, focus on a point half way up/down the aisle/walk and throw away the softer parts before and after your focus point?  I'm assuming your final wedding videos are far more video than the ones I offer based on the number of cameras alone, but I still would think an entire walk really wouldn't be that interesting. Also I simply use a wider lens like a 24mm which provides even more DOF during things like a walk.
It's been my experience that for things like walks clients just like to see themselves performing the action, it doesn't have to be a razor thin DOF or the entire thing. But it also sounds like your wedding clients have a bigger budget than the ones in my area. In my area the budget seems to end up somewhere between are you kidding me and not even close so needless to say I don't film many weddings.

So I have been shooting more fashion and higher end work lately and wanted to improve my color grading process without adding too much time or going down the endless rabbit hole that is known as color grading. My current process is to simply conform each clip to Rec.709 using a VLOG to Rec709 LUT make some minor tweaks using the waveforms then add an adjustment clip over the whole project to give it a certain look and feel. This works fine for events, real estate, etc. but what I am finding is that the finishing LUT is also affecting skin tones in ways that I did not like.
So a quick YouTube search turned up the below video which is what really helped me develop a new workflow that is almost as fast as my previous one but allowed me to greatly improve my color grade without adding too much more time to my process.
My new workflow is as follows:
1 - Apply a VLOG to Rec709 LUT to the clip
2 - Adjust the highlights and shadows using a mixture of the Log Wheels and Color Wheels until I have a good starting Rec709 image
3 - Apply a false color LUT to Node 2 to check for skin tone exposures then remove it when the exposure is right
4 - Create an adjustment clip and adjust the curves, saturation, etc while creating a skin tone layered node to control the skin tones separately
5 - Clone the adjustment clip to each subsequent clip and make small adjustments to the skin tone node qualifier to keep the creative grade from affecting the skin tones
 
https://www.youtube.com/watch?v=HcFPJOLTFP0

As I was reading this thread and your lens lineup I was surprised that you were planning on relying so much on Sigma when everything I've read says that "native" Panasonic lenses are much better in the AF department...then I reached the end of the thread and saw you reached the same conclusion 🙂
I read a great article that I can't find now that discussed all of the weird quirks of trying to use Leica, Sigma, and Panasonic glass within cameras that are supposedly all fully L mount compatible and the article made it clear that beyond the actual mount there are a lot of issues between the alliance member's lenses and bodies; the article pretty much reached the conclusion that if you want the best user experience you needed to match the camera maker's lenses with their bodies, of course this kind of defeats the concept of an alliance.
This is also one of the reasons I am cautious about going all in on the S5, I feel like every native L mount lens I buy is pulling me into a system that may always have a lens shortage if you only count the 'native' Panasonic glass, so for me I decided to give up continuous AF in order to stick with EF mount lenses.

Ok, now I am truly impressed....you can finally change the timeline resolution after adding clips to the timeline. I know every other NLE could do this years ago, but it was one of my pet peeves with Resolve and they finally fixed it. Also, for some reason it stopped crashing for me, I am now editing entire projects with version 17 Beta and it is back to being rock solid. 
I haven't had time yet to watch their presentation to see all of the new features, but the ones I've found so far are great.

I would definitely keep the Panasonic since you already have it especially if the barrel doesn't fall out and in like the Canon. Also, you get to use continuous AF with the native lens. If I did not have so much Canon glass I would probably have gotten native lenses because no matter what everyone says about Panasonic's continuous AF, its still better than none at all which is what I get with EF glass.

I am using version II and honestly its not great. Its not a very fast lens so I mostly use it during daylight and outdoors only but the worst part about it is it won't hold its focal length if you point it up or down unless you hold onto the lens barrel. This isn't a big deal for photography but for video its really annoying having to hold the ring to keep the front element from sliding in or out, with a little more friction it would be way better.
I still like the range though and as long as you hold the camera level it works well and is definitely sharp enough, it also has a good weight to it which helps for hand held shots.  If I did not already own it though I definitely would not buy it for the S5. Its a great walkaround photography lens, but even then it should really have a barrel lock to keep the extension in the barrel when not in use.
On a tripod though its perfect, it could be used at the back of a conference or other event like that.  My favorite two lenses so far are the 50mm and 24mm primes.
That is good news I'm going to update today, I've been missing the shutter angle feature in the GH5. I do wish they would add false color capability though, it would be much easier to do it on set vs in Davinci Resolve like I am doing now.

For S5 (and S1-series owners), the new firmware update is out. Ver 2.0 for S5 owners, Ver. 2.2 for S1H owners, and version 1.6 for us owners of the S1 and S1R cameras.
https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/index4.html

Very true, actually, when you think about it, unless you are watching camera reviews, or sample gimbal and drone footage, the average viewer could easily never encounter the speed ramp effect. Even the real estate videographers in my area aren't really doing them.  I've gotten countless new clients for big real estate projects that say they want a video just like I did for xyz customer and almost 9/10 times speed ramping was involved.
I do think camera reviewers tend to overuse it but I also think real estate is one of those types of projects that its perfect for. No one wants to see 15s of you walking down a long hallway, or 2min for a drone to dolly into the target property, speed ramping is an elegant way to still show a particular direction without wasting the viewer's time and is less jarring than a jump cut

Very true, actually, when you think about it, unless you are watching camera reviews, or sample gimbal and drone footage, the average viewer could easily never encounter the speed ramp effect. Even the real estate videographers in my area aren't really doing them.  I've gotten countless new clients for big real estate projects that say they want a video just like I did for xyz customer and almost 9/10 times speed ramping was involved.
I do think camera reviewers tend to overuse it but I also think real estate is one of those types of projects that its perfect for. No one wants to see 15s of you walking down a long hallway, or 2min for a drone to dolly into the target property, speed ramping is an elegant way to still show a particular direction without wasting the viewer's time and is less jarring than a jump cut

I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed.  At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later.

By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement.
The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room.
But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

Amazing video and cinematography, not one thing seems off to me, I guess sometimes people just see what they want to see. They did a lot of speed ramping which isn't for everyone, but this wasn't supposed to be a corporate video; it really showcased the slow motion capabilities of the S5. What I found really interesting is they even used 1080P 120FPS for some of the shots which most people are saying is trash due to the bitrate; clearly pretty much anything is useable if you work within its limitations, have a good story, and know your camera. 

The entire video was flawless IMO and really showcased what this camera can do; they also managed to upscale the 1080P back to 4K without it being obvious which parts were which. Really well done. This video makes me look at 1080P out of this camera in a whole different way and I may try it one day if I want 120FPS.

I've been working with the GH5 for the past few years and the fastest lenses I could get were F0.95 MFT which translates into F2.8, so these lenses look great to me. I do wish they had a 14mm or 16mm prime on the way for real estate work, but other than that, the 24mm for video and the 50mm for portraits might pull me further into the "alliance".  If the 24mm outperforms my current Canon EF 24mm for sharpness and usability then I may go for it.
  
I tested the Canon EF-S 10-22mm; and holy sh*t I stand corrected @Lux Shots, the Sigma 18-35mm EF-S lens does work on the S5, but not the Canon EF-S 10-22mm. I also tested the Canon EF-S 18-135 F3.5-F5.6 and it worked also.  Maybe the EF-S 10-22mm does not report that it is a crop sensor lens and the rest of them do which is a real bummer because that 10-22mm would have become my real estate video lens. I'm still not sure why manually selecting APS-C mode does not make the EF-S 10-22mm work unless its a crop factor thing that gets adjusted when the lens reports its crop factor to the Sigma EF adapter.
This little camera just never ceases to amaze me; Panasonic has got to be the best kept secret out there. All YouTubbers will ever talk about is the AF, there's so many more important things to a camera system than just AF. 

You are correct, I rarely go below 2.8 with it so I forget sometimes just how fast that lens is.

There is an R5/R6 user experience thread so I figured it was safe to start a Panasonic S5 user experience thread.  I've only shot with it for a few hours, mostly setting up (and learning) the menus and I know there are already endless YouTube reviews, but I thought I'd share my thoughts on my experience so far; completely unbiased, unsponsored and as someone who will use this camera for everything from music videos to weddings and if all goes well I might even use it for photo shoots.

Since there is so much that I like about this camera I've decided to just put my dislikes first because it is such a short list.
The Grip - This is my biggest dislike. holding the camera is so uncomfortable. The grip is really shallow and the strap mount sticks out and digs into your hand when you are holding it in a landscape configuration. Not so much a problem with video for me since I use the back display, but using the viewfinder for images is very uncomfortable. I'm going to try getting a dual battery grip to see if that improves it. The R6 by comparison feels like it was custom molded for my hands. The Lens Mount - I knew this going into it, but there are so few native Panasonic lenses for this camera that I will have to use an adapter which I hate doing. I know more lenses are coming but they are very expensive and everything I've read says the Sigma versions focus very slowly. I would love a Voigtlander fully manual 35mm lens for gimbal work like I have for the GH5. I have no idea yet what I will do for photography or if I will ever trust this camera for paid photo shoots. The Battery - I don't understand the battery at all. It fits the GH5 and has contacts for the GH5 yet for the S5 the contacts are on the other side? Why didn't they do what Canon did and simply make a higher capacity battery with the same contacts?  Not only are spare batteries impossible to find right now, this means all of my GH5 batteries won't work in this camera....so annoying. Ok, short list over now lets get to the stuff I care about that made me realize this was truly the camera for me. I first ordered the R6 and returned it (horrible user experience for my needs) so I am going to kind of compare my experience with the S5 to the R6 since they probably kind of are targeted to the same buyer and since it is hard to ignore the Canon hype machine even when you know about the R6's overheating issues. 
No Overheating - Ok we all know that but I had to put it out there anyway. This was the number one reason I returned the R6. The S5 on the other hand shoots glorious 4K until the card fills up (some limitations of course for 10 bit and 60FPS but it does have unlimited modes). Even if the R6 didn't overheat you would still hit that 30min limit and every single 4K mode overheated. Dual Slot Video Recording - The S5 gives me every option I could want and even a few I don't care about. The R6 will only record to a single slot. Electronic Level Meter - The S5 has it....of course, and it actually stays on while recording video. For some crazy reason the R6 disables the electronic level from showing on screen while recording video. XLR Audio Module - As annoyed as I am at Panasonic for the battery situation, the XLR module from the GH5 works with the S5 so all is almost forgiven. The R6 of course has nothing for XLR. I tested the module today, the S5 recognized it instantly and the audio was perfect. Free VLOG - Ok "Free" is a very generous term, but it does not cost extra. And this is real VLOG not some flavor that just flattens the profile, unlike the R6 which currently ships with CLOG. Canon said CLOG3 was coming in the future, but who knows if it will actually include the R6 or when "the future" really is. Body Quality - The S5 actually feels slightly lower quality than the body of the GH5, but that could be because it is lighter and smaller. Regardless, the quality feels way better than the R6. Sync/Desync Photo/Video Settings - It took me a long time to find, but it is possible to separate the photo and video settings and you even get to pick which ones stay synced with the other. When running and gunning you want shutter angle, VLOG, etc for video and shutter speed, Natural profile, etc for photos. You can set it so that they are completely separate, not all cameras let you do that and even the R6 did not let me pick which settings to keep in sync (i.e. keep just ISO the same between the two).  Dial Position - It is great to have the video mode and Manual photo mode side by side on the dial. The R6 had them at literally opposite ends of the dial....very annoying. Dedicated Buttons - There is a dedicated ISO button and a AF/MF switch on the lens. The R6 had neither. I use the AF / MF lens switch all the time, its the fastest way to be 100% certain all of the AF stuff is off, especially if you are switching between photos and video. Video Footage - The footage out of the camera so far to me in with my very limited testing is incredible, I didn't think Panasonic had it in them. The colors are perfect to my eyes, the codecs are super easy to play back in VLC and actually easier to edit in Davinci Resolve than the GH5's footage. Both 4K60FPS and 4K30FPS play smoothly even after color grading. So far the footage grades as easily as the R6 footage with the added benefits of not needing proxies. Codecs - You get to pick H.264 or H.265 and still get to shoot in VLOG and 4:2:2 10bit. For some crazy reason Canon with the R6 forces you to shoot in H.265 if you want to use CLOG. I will happily sacrifice a little storage space to never have to try to edit H.265 again. Manual Focus Features - I hated the focus rings on the Panasonic MFT lenses, they were non linear which made manual focusing nearly impossible. I ended up getting manual Voigtlander lenses instead. Panasonic has fixed that big time; not only can you now pick linear you can even pick how many degrees to go from stop to stop. I think the R6 let me pick linear but not the focus throw. I do miss Canon's 3 little triangles when manually focusing, to me that's still the best MF guide in the industry. On my S5, focus peaking doesn't seem to work; its on but I can't see it so I have to play with that some more. Timelapse Photography - Ok I had to throw this one in there. Maybe other cameras have this, but this is literally the first camera I have ever owned that lets you do a time lapse in body without an intervalometer AND that lets you take more than 99 images. That's always been a pet peeve of mine for most cameras.  Wireless Flash Control - Another pet peeve of mine answered by Panasonic, it can wirelessly control up to 4 flashes without needing an additional transmitter. Of course I'll never use this feature since I already have a complete flash system, but for someone starting out this means even less gear to lug around and to buy. Big Red Recording Box - Who hasn't thought they were recording when they weren't? I turned on the big red box right away (as soon as I found it). This is great, and will definitely help in the future. The R6 of course didn't have this. LVF Button - I didn't understand how important this was until I shot with the R6. It was so annoying in the R6 to have to  pick view finder or back screen display. If you picked view finder you had to go into the view finder and navigate back to the setting to change it back. If you picked auto, the screen kept shutting off on me when the camera got to close to my hand or body. Maybe you could map a custom button but I like leaving all of them at their defaults. For the S5 if you want to turn off the viewfinder sensor just press the LVF button...switch to just the VF press it again, switch to auto press it again. So easy to disable/enable one or the other. Auto mode is terrible, switches off the screen all the time if anything gets near the sensor. Here is my neutral list, either I don't really have an opinion yet either way, or I haven't tested the camera enough to feel good or bad about it.
Photography Capabilities - I'm still kind of neutral on the photography department. All I have is the kit lens and didn't have time to try the photography part. If it comes even close to the R6's photo performance that will be good enough for me.  My Sigma adapter gets here Friday so I will be able to test it with my Canon lenses. Auto Focus - I never used it in the GH5 but this time around it is different because I want to try the photography features as well. In my brief testing, the AF worked fine for photography. It still has the hybrid AF option where you half press the shutter button for the initial focus then can fine tune it using the focus ring so that's good enough for me for video. Menu System - It is improved a bit over the GH5 but still nowhere near as intuitive to me as Canon's menus. I think once I set up my Favorites menu it will be fine, but there's so many features I'm having a hard time finding some of them. I never did learn the GH5's menus, I just created a video Favorites list and that's all I use. My 5DIV is a different story.  
Final Thoughts - This camera makes me wish I was a travel photographer/videographer. It has so many uncompromised features that would be so useful when traveling that you could practically literally bring just this camera, a wireless flash, XLR module, a few lav mics, variable ND filters, a small video light, travel tripod, and shoot just about anything photo or video. I'm already thinking about projects that I want to shoot with this camera vs the R6 where all I could think about was if it would even make it through the shoot.

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 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 stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed.  At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later.

By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement.
The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room.
But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

I stopped using any IS for my real estate GH5 gimbal work. I just turn it all off, I shoot 60FPS and stabilize in post if needed.  At least for the MFT sensor size I found I could get much better results this way. I also spent many hours tweaking my Ronin S settings and perfecting my ninja walk. What I have learned after many years of shooting real estate videos is that you literally should slow every movement to nearly a crawl, especially pans and walks. If you don't start out super slow with every movement you will regret something about the footage later.

By moving super slow you will not need IS at all as long as your gimbal settings are optimal. I then use speed ramps and 60FPS to control the actual speed of the footage. You can always speed up footage, you can't always remove instability or slow down the footage enough to make it smooth. But if you start super slow and focus on stability you have much more flexibility in post. For really large properties I've seen people on YouTube use things like skateboards, etc.....to try to remove the up/down bouncing, but if you perfect your ninja walk and go super slow or use speed ramps Resolve can even remove the Z axis movement.
The other mistake people make is when they speed ramp real estate footage they only go to 200% or 500%, that's a mistake, that just magnifies any instability that is already there; if you are going to speed ramp do it right.....jump to 2000% or higher then add the motion blur FX and suddenly your footage is buttery smooth; then drop the ramp down to 50% since you shot 60FPS and it looks great. Obviously don't over use this technique and its better for larger houses or commercial properties; for smaller ones I use a mixture of a monopod for pans, tilts, and detail shots, and only a little gimbal work and jump cuts to go from room to room.
But back to the S5, I haven't shot any real estate with it and really don't know what lens I would use if I were to shoot one tomorrow. I feel like the 16-35 EF Canon lens that I have would be too front heavy for the gimbal. It would be great if Panasonic released a 14mm F1.8 prime lens for landscape/real estate use.

It has been rock solid for me and all I seem to use are the beta versions. The only source of instability that I have ever had was in Fusion. Even the betas are far more stable than Premier Pro was for me. Stability in my opinion is its best 'feature'.
 
I had many infuriating performance issues with Resolve for a long time, I also started with the free version then paid for the Studio version...one very simple thing fixed everything for me...I  had to create a new user account on my system in Windows 10. I think something on the free version got left behind in my user profile and kept HW acceleration from working properly. If you are using Windows 10 I would try creating a new user account and testing it there.
 
You can, you just need to use proxy files. Once you  generate optimized media in Resolve its like editing any other footage. The problem though is generating optimized media takes forever since there is no HW acceleration.