herein2020

For me the S5 is dead to me because of the lens mount. The cost of the body would be reasonable all the way up to around $2300USD to me, but having to buy new glass just gives me a headache. That's why I would much rather that a GH6 were released....I'd be willing to buy a new body if that was the only cost. But for me to spend upwards of $6K (body plus a few lenses) it will need to have better AF, and be useable as a true hybrid camera like I thought the R6 would be. I don't know why I still somehow think Canon will "fix" the R6, but that is my hope.

Yes I see them now, maybe it's only a 2 and 4 stop ND filter, I just can't imagine how they will cripple it, I've learned though thanks to the R5 and R6 fiasco; never underestimate Canon's cripple hammer creativity.
 
I'll bet Canon wishes they could only offer 1080P and get away with it. I think they won't offer RAW, probably no CLOG3, no XLR, no more than a 4 stop ND filter, definitely no IBIS, oh and it will overheat but only if it detects that you haven't yet purchased a Cinema camera. With the purchase of each cinema camera you'll get an unlock code for the CLOG3 and removal of the overheating timer in the C70.

Wow, $6299...no wonder why the specs are so good, this thing is specd and priced above the C200, I did not expect that.  Well that explains the lack of a cripple hammer then. They want you to pay A cam prices for a B cam form factor. On top of that you would have to buy RF lenses to get the most out of it.  I bet it also has backup video recording to both SD cards, and for that price it definitely has XLR audio as well. I'm so tired of Canon's games, if I had to buy a video camera right this instant I would get the Panasonic S5.

Yes I see them now, maybe it's only a 2 and 4 stop ND filter, I just can't imagine how they will cripple it, I've learned though thanks to the R5 and R6 fiasco; never underestimate Canon's cripple hammer creativity.
 
I'll bet Canon wishes they could only offer 1080P and get away with it. I think they won't offer RAW, probably no CLOG3, no XLR, no more than a 4 stop ND filter, definitely no IBIS, oh and it will overheat but only if it detects that you haven't yet purchased a Cinema camera. With the purchase of each cinema camera you'll get an unlock code for the CLOG3 and removal of the overheating timer in the C70.

Get a Speedbooster?
I'm using the Pocket4k (also M43 sensor) on jobs as a B Camera next to FX9's, Alexa Mini's, C300's, UMP G2's etc and haven't heard any complaints either on set or from post.
DP's have often commented on how nice the P4K image looks.
There are so many great lens choices from native anamorphic's to easily adapted full frame and cine lenses and everything in between.
I actually really like the M43 format for video capture, it's extremely versatile although if stills was my main game, i probably would go larger.

Absolutely. 
Any time you see a log profile with a higher than base ISO (400 in the case of GH5 V Log L versus 200 in the regular profiles) the camera is "underexposing" and then lifting to give more highlight headroom.
So aside from differences in the contrast curve (which might crush highlight detail in regular profiles), you will also get one more stop before clipping with V Log L. It has 4 stops above middle grey and many more below. And you can trade clean shadows for more highlights by intentionally underexposing further and lifting in post.
So it's worth it IMO

I agree, when I got my GH5 I did a lot of research and discovered the Voigtlander 17.5mm f 0.95 which has become my favorite video lens of all time. The shallow DOF that you can achieve on that lens is incredible and it turned my GH5 into a lowlight capable camera. For real estate and landscape I got the Olympus 7mm-14mm which nicely aligns with my Canon 16-35mm FF lens.
The main thing I dislike about the GH5 is the highlight rolloff...I'm not sure if it is so bad due to the sensor size or some other factor. I know my C200 with it's S35 sensor has incredible highlight rolloff. If the bad highlight rolloff is due to the sensor size then I would agree a larger sensor would be better but still would not need FF. If it is just due to the sensor in the GH5 then there is hope for a MFT sensor with better highlight rolloff. 
The MFT size has plenty of benefits over FF such as better battery life, lighter weight, no overheating issues, better rolling shutter control, much smaller lenses, easier for gimbal work, etc. This is why I wish Panasonic were announcing a GH6 right now instead of an S5; a GH6 with 4K120 and better highlight rolloff is far more interesting to me vs investing in yet another camera and lens system.
I have yet to be in a situation where my GH5 simply could not get a job done that could have been completed with a FF sensor. The one place though where I will always prefer my 5DIV over the GH5 is photography.

I agree, when I got my GH5 I did a lot of research and discovered the Voigtlander 17.5mm f 0.95 which has become my favorite video lens of all time. The shallow DOF that you can achieve on that lens is incredible and it turned my GH5 into a lowlight capable camera. For real estate and landscape I got the Olympus 7mm-14mm which nicely aligns with my Canon 16-35mm FF lens.
The main thing I dislike about the GH5 is the highlight rolloff...I'm not sure if it is so bad due to the sensor size or some other factor. I know my C200 with it's S35 sensor has incredible highlight rolloff. If the bad highlight rolloff is due to the sensor size then I would agree a larger sensor would be better but still would not need FF. If it is just due to the sensor in the GH5 then there is hope for a MFT sensor with better highlight rolloff. 
The MFT size has plenty of benefits over FF such as better battery life, lighter weight, no overheating issues, better rolling shutter control, much smaller lenses, easier for gimbal work, etc. This is why I wish Panasonic were announcing a GH6 right now instead of an S5; a GH6 with 4K120 and better highlight rolloff is far more interesting to me vs investing in yet another camera and lens system.
I have yet to be in a situation where my GH5 simply could not get a job done that could have been completed with a FF sensor. The one place though where I will always prefer my 5DIV over the GH5 is photography.

The examples were without Noam Kroll's LUT. I forgot to add his LUT to the examples. The LUT that I ended up using from him in the final project is so minimal that I think it just adds a little more contrast. I don't try to get too creative with the color grade for projects like these since the client typically expects true colors.
 
I think I would get better results with the Leeming LUT if I had a better camera like the S1, S1H, etc.  I would love to replace it with the R6....but...we all know how well that's going. The Leeming LUT combined with the GH5's sensor needs so much overexposure that the highlights get clipped pretty badly in certain scenes or the GH5 has to be pushed to high ISOs to get the necessary over exposure and then things start falling apart. So in lowlight or high DR scenes I just grade the GH5 with the WFM and a Noam LUT.
 
I emailed Leeming asking for a C200 LUT or a CLOG3 LUT and he said he will get to it if he has the time.  After using the Canon CLOG3 to Rec709 LUT and seeing how easy CLOG3 is to work with I realized I don't need a Leeming LUT for it.

@kye @Trek of Joy
 
Attached are screen shots from a typical project for me, lifestyle promo video shoot for a new multi-family community. I picked a scene where all three cameras were used (GH5, GoPro, DJI Drone). GH5 is the side shot, GoPro underwater, obviously drone from the aerial view.  
 
Cameras
Drone - Natural profile Sat/Sharp/Contrast set to -5, WB Daylight
GH5 - Cinelike D profile modified as per the Leeming LUT guide, WB Daylight
GoPro - Flat Profile, WB Daylight

Color Grade
GH5 - Leeming LUT + slight WB shift to magenta to match the drone
Drone - Expanded WFM to add contrast, sharpening 47, color boost +20, WB shift to warm
GoPro - Expanded WFM to add contrast, color boost +20, WB shift to warm
 
Time Spent on Color Grading all 3 cameras - Less than 2min. I forgot to extend the adjustment clip over the sample clips to show Noam Krolls LUT, but I went with a very subtle LUT that looks like it just adds a little more contrast.
 
Project Details - the rest of the project was shot during sunrise but as the lighting got cooler during the day I wanted to keep the warm sunrise feel (plus it was a really ugly grey day) so I moved everything towards the warmer side. I have yet to find a generic LUT that I like for the drones or the GoPro so I just do the exact same WFM grading process each time then throw a Noam LUT over everything.
The Leeming LUT I use on the GH5 if it works; I've had it do some weird things due to the GH5's terrible highlight rolloff so when there are hot spots in a scene I grade the clip by hand or I will get weird green skews and orange skin tones using the Leeming LUT. 
 
So yea, that's my whole process, very simple, very quick, probably far from perfect, but for my target customer base they are happy with the results. To your point though @kye when I shoot with the C200 and can properly light the scene and shoot in CLOG3 the results are just incredible. CLOG3 and the S35 sensor of the C200 is so easy to work with compared to my usual run and gun scenario with no control over anything except the camera settings. Exposing the GH5 properly for the Leeming LUT is so difficult, I never really know if it is right until I am grading it later. I'm always trying to retain the highlights somehow without underexposing the talent or the rest of the scene.
 
 

lol, no way am I setting that thing up for a few pictures, unless the client has the budget for me to bring at least two assistants and a good insurance policy when it blows over. When the sun is out I tell my clients...lets walk over there to those trees. It's always a balancing act between budget and meeting the customer's expectations.

@kye @Trek of Joy
 
Attached are screen shots from a typical project for me, lifestyle promo video shoot for a new multi-family community. I picked a scene where all three cameras were used (GH5, GoPro, DJI Drone). GH5 is the side shot, GoPro underwater, obviously drone from the aerial view.  
 
Cameras
Drone - Natural profile Sat/Sharp/Contrast set to -5, WB Daylight
GH5 - Cinelike D profile modified as per the Leeming LUT guide, WB Daylight
GoPro - Flat Profile, WB Daylight

Color Grade
GH5 - Leeming LUT + slight WB shift to magenta to match the drone
Drone - Expanded WFM to add contrast, sharpening 47, color boost +20, WB shift to warm
GoPro - Expanded WFM to add contrast, color boost +20, WB shift to warm
 
Time Spent on Color Grading all 3 cameras - Less than 2min. I forgot to extend the adjustment clip over the sample clips to show Noam Krolls LUT, but I went with a very subtle LUT that looks like it just adds a little more contrast.
 
Project Details - the rest of the project was shot during sunrise but as the lighting got cooler during the day I wanted to keep the warm sunrise feel (plus it was a really ugly grey day) so I moved everything towards the warmer side. I have yet to find a generic LUT that I like for the drones or the GoPro so I just do the exact same WFM grading process each time then throw a Noam LUT over everything.
The Leeming LUT I use on the GH5 if it works; I've had it do some weird things due to the GH5's terrible highlight rolloff so when there are hot spots in a scene I grade the clip by hand or I will get weird green skews and orange skin tones using the Leeming LUT. 
 
So yea, that's my whole process, very simple, very quick, probably far from perfect, but for my target customer base they are happy with the results. To your point though @kye when I shoot with the C200 and can properly light the scene and shoot in CLOG3 the results are just incredible. CLOG3 and the S35 sensor of the C200 is so easy to work with compared to my usual run and gun scenario with no control over anything except the camera settings. Exposing the GH5 properly for the Leeming LUT is so difficult, I never really know if it is right until I am grading it later. I'm always trying to retain the highlights somehow without underexposing the talent or the rest of the scene.
 
 

@kye @Trek of Joy
 
Attached are screen shots from a typical project for me, lifestyle promo video shoot for a new multi-family community. I picked a scene where all three cameras were used (GH5, GoPro, DJI Drone). GH5 is the side shot, GoPro underwater, obviously drone from the aerial view.  
 
Cameras
Drone - Natural profile Sat/Sharp/Contrast set to -5, WB Daylight
GH5 - Cinelike D profile modified as per the Leeming LUT guide, WB Daylight
GoPro - Flat Profile, WB Daylight

Color Grade
GH5 - Leeming LUT + slight WB shift to magenta to match the drone
Drone - Expanded WFM to add contrast, sharpening 47, color boost +20, WB shift to warm
GoPro - Expanded WFM to add contrast, color boost +20, WB shift to warm
 
Time Spent on Color Grading all 3 cameras - Less than 2min. I forgot to extend the adjustment clip over the sample clips to show Noam Krolls LUT, but I went with a very subtle LUT that looks like it just adds a little more contrast.
 
Project Details - the rest of the project was shot during sunrise but as the lighting got cooler during the day I wanted to keep the warm sunrise feel (plus it was a really ugly grey day) so I moved everything towards the warmer side. I have yet to find a generic LUT that I like for the drones or the GoPro so I just do the exact same WFM grading process each time then throw a Noam LUT over everything.
The Leeming LUT I use on the GH5 if it works; I've had it do some weird things due to the GH5's terrible highlight rolloff so when there are hot spots in a scene I grade the clip by hand or I will get weird green skews and orange skin tones using the Leeming LUT. 
 
So yea, that's my whole process, very simple, very quick, probably far from perfect, but for my target customer base they are happy with the results. To your point though @kye when I shoot with the C200 and can properly light the scene and shoot in CLOG3 the results are just incredible. CLOG3 and the S35 sensor of the C200 is so easy to work with compared to my usual run and gun scenario with no control over anything except the camera settings. Exposing the GH5 properly for the Leeming LUT is so difficult, I never really know if it is right until I am grading it later. I'm always trying to retain the highlights somehow without underexposing the talent or the rest of the scene.
 
 

I have the C200 and it will do Canon RAW but I have shot everything from music videos to commercial work and never used the RAW capabilities. I do shoot literally everything in 4K because it gives you crop and recomposition options in post but I wouldn't recommend shooting RAW if you have never used that codec and it does sound like overkill for YouTube.  Two things I would not recommend doing for the first time on a paid shoot is using a gamma curve and a codec you have never used before.  I don't know what other codecs the FS5 offers but I can tell you that the 4:2:0 8 bit out of my C200 has been more than enough for everything I throw at it. For my workflow though I am very careful to get the WB correct in camera and control the highlights because it will fall apart in post if I got either of those wrong.
If you have never shot 4K I would definitely test that as well ahead of time mainly due to the data rates. Many SD cards can handle 1080P with no problem, but some cards can't handle the 4K data rates. Also, just  a personal thing, but I have never used an external recorder, to me its just more gear that can break, batteries can die, and that can be misconfigured.

I found this by accident on my own. I got rid of Premier and learned Davinci Resolve in 1 week, but in that week it was just the basics. My very next project was a music video so within Davinci Resolve I did not know how to nudge the audio track or video clip by just one frame so a few cuts were off by a frame or two. During playback I was actually surprised how some of them looked better that way. In the end I ended up leaving some of them like that.
 
I do think the "off center cut" as I call it does not work all the time. The contents of the clip, the type of song, and especially how close together the beats are will determine how effective this is so I use it sparingly even though I am aware of it. While experimenting I discovered that if there is a subtle underlying beat and it is close to where you want to cut with the primary beat it is better to make the cut on center with the primary beat otherwise it will look like you tried to synch with the underlying beat but missed the proper spot. I also have yet to find a time where cutting one frame late looks good.

I'll see if I can put something together, my projects take up so much space I archive them as soon as they are done but I'll try to put together some samples, I definitely do not have anything at the level of the professional YouTubers where you have all the cameras side by side; also in that scenario the different cameras would probably be more obvious, but I'll try to find a couple of clips from the same project and show before and afters.
The most challenging for me is shooting a scene with the C200 locked down then trying to match the footage out of the GH5 to the C200 since it is the same scene. My method is quick and easy as long as two different cameras do not shoot the exact same scene.

I decided long ago that I will never be very good at color grading....there are only so many hours in a day to do anything and I'm working on average 80hrs a week as it is now.  I provide an even mix of photography (models, fashion, events, real estate, landscape, etc) and video (weddings, music videos, events, promo videos, etc) all as a one man band. So I've worked myself into a place where I am more of a generalist vs. a specialist, everything I do must be economical and above all efficient if I'm going to keep up with the endless inbound stream of projects. 
So I approach color grading the same way I do everything else; what is the quickest way to reach a point where the client is happy with the final product? For me that involves a few simple things....properly WB when shooting on set, try to properly expose for the scene (sometimes a little under and sometimes highlights are clipped due to factors beyond my control), shoot a flat profile (CLOG3 out of the C200 ,a modified Cinelike-D profile in the GH5, a neutral profile in the drones, flat profile in the GoPro), and in post I use the Canon CLOG3 to Rec709 LUT for the C200 and the WFM for all of the other cameras. Within the WFM I expand the image to the edges of the Rec709 limits for each clip to give them all a neutral grade starting point. 
At this point every clip is pretty much looking pretty good but only conformed to Rec709...so my secret sauce is a LUT pack that I bought from a professional Hollywood colorist Noam Kroll.  His LUTs are amazing and much more subtle than most of the ones you find on the Internet. I've found his LUTs to be better than the camera makers themselves. So after I have my whole timeline conformed to Rec709 I add an Adjustment Clip over the top of the entire timeline in Davinci Resolve and apply one of Noam's LUTs; his Master Pack III is probably the most expensive LUT pack out there but so worth it. I haven't used any other creative LUT since I bought his. In my opinion this process gets me to a very professional look very quickly without having to spend a lifetime learning the job of a colorist.
Noam Kroll
https://cinecolor.io/

I decided long ago that I will never be very good at color grading....there are only so many hours in a day to do anything and I'm working on average 80hrs a week as it is now.  I provide an even mix of photography (models, fashion, events, real estate, landscape, etc) and video (weddings, music videos, events, promo videos, etc) all as a one man band. So I've worked myself into a place where I am more of a generalist vs. a specialist, everything I do must be economical and above all efficient if I'm going to keep up with the endless inbound stream of projects. 
So I approach color grading the same way I do everything else; what is the quickest way to reach a point where the client is happy with the final product? For me that involves a few simple things....properly WB when shooting on set, try to properly expose for the scene (sometimes a little under and sometimes highlights are clipped due to factors beyond my control), shoot a flat profile (CLOG3 out of the C200 ,a modified Cinelike-D profile in the GH5, a neutral profile in the drones, flat profile in the GoPro), and in post I use the Canon CLOG3 to Rec709 LUT for the C200 and the WFM for all of the other cameras. Within the WFM I expand the image to the edges of the Rec709 limits for each clip to give them all a neutral grade starting point. 
At this point every clip is pretty much looking pretty good but only conformed to Rec709...so my secret sauce is a LUT pack that I bought from a professional Hollywood colorist Noam Kroll.  His LUTs are amazing and much more subtle than most of the ones you find on the Internet. I've found his LUTs to be better than the camera makers themselves. So after I have my whole timeline conformed to Rec709 I add an Adjustment Clip over the top of the entire timeline in Davinci Resolve and apply one of Noam's LUTs; his Master Pack III is probably the most expensive LUT pack out there but so worth it. I haven't used any other creative LUT since I bought his. In my opinion this process gets me to a very professional look very quickly without having to spend a lifetime learning the job of a colorist.
Noam Kroll
https://cinecolor.io/

I think my problem is I have yet to work with a camera that has reliable AF when shooting video. I hear about all of these great new AF systems but I'm still shooting on the GH5 using 100% manual lenses so no AF even if the GH5 had any, the C200 which is typically locked down on a tripod or hand held so I prefer using MF there too, and my 5DIV which puts a big box in the middle of the screen and you better hope that box is on your subject.
Speaking of the C200 it supposedly has good AF, but the few times I've tried it, it always seems to be a scenario where it doesn't work; like if the talent is wearing a hat or wears glasses then the face AF doesn't work, if you've added haze to the scene the AF doesn't work, if the ND filters are too strong, the AF doesn't work. If I ever end up with a camera that actually has reliable AF I'd be the first one to jump on the AF bandwagon.

I for one am really starting to feel like I have been supporting the wrong company for all of these years. This overheating issue has really opened my eyes to just how far Canon will go to maintain their product segmentation.  I was always frustrated by the little things Canon did, like put MJPEG only for 4K in my 5DIV, no dual slot recording for video, 1 card slot in the EOS R, no XLR module for any mirrorless or DSLR camera, not a single DSLR or mirrorless with unlimited recording time, clunky way to set a manual white balance, 1/200s flash sync speed, etc. But then I would see that color science and menu system and ergonomics and I would be reassured that I was still using the best system available.
 
But the more I look at how Panasonic stuffs every feature I keep waiting on Canon to provide into every body they build (even the "entry level" S5) and even Sony of all companies with their A7SIII (never thought I'd ever have anything good to say about a Sony camera), it is making me really rethink the ecosystem I have bought into. I don't make major changes to my gear lightly, and everything I have now just works within well known limitations; but if Canon keeps doing what its doing now I may make a decision to go all in on a new system and it would probably be Panasonic if they ever get their AF act together.

I like the GVM lights for video, and Godox everything for photography. All of my studio strobes and speedlights are Godox. For video I use the GVM LED panels and my new favorite lights are the GVM 150W RGB lights. No more gels and they are reasonably bright when set to white. I also have a whole kit of Yongnuo YN360s that I like to stick in odd places to add fill to a scene. They are also RGB and work great in music videos.

I use the GVM LED panels for interview type setups and the GVM 150W RGB lights for everything from music videos to commercial work. They are reasonably priced especially since you don't have to buy gels and the quality is about right for what you pay for. 

I have a GH5 and have always manually focused but there is one simple scenario where I would definitely use AF...on a gimbal. I don't trust AF in 95% of the situations I encounter yet I will not replace my GH5 with a camera that does not have a better AF system. I am typically a one man band run and gun shooter shooting everything from music videos to interviews, the main time I would like AF is in certain situations when doing gimbal work.
My GH5 is good enough for most of the situations that I encounter that I don't see a reason to replace it if I cannot use the replacement for both photography as well as video and if the AF is no better than what is in the GH5. If I had a focus puller or had any way to manually pull focus while the camera is on a gimbal it would not be that important to me.
It is pretty funny though, just the other day I was shooting a music video and I had just filled the room with smoke and set the lighting and was shooting on the C200; I decided for one of the takes to use AF.....well guess what, the C200 could not focus at all on any of the talent due to the smoke, so back to MF I went.
 
But back to the topic of the S5...it is DOA for me, if this camera is why there is no GH6 then I will be sorely disappointed. I have all the MFT glass I want and my GH5 already has no recording time limits, never overheats, does dual card slot recording, etc. I have a feeling the S5 will have a recording time limit like the S1, may not work with the XLR audio module, and will require me to invest in L mount lenses. It also does not do 4K120FPS, and I still would prefer my Canon 5DIV for photography.

I have a GH5 and have always manually focused but there is one simple scenario where I would definitely use AF...on a gimbal. I don't trust AF in 95% of the situations I encounter yet I will not replace my GH5 with a camera that does not have a better AF system. I am typically a one man band run and gun shooter shooting everything from music videos to interviews, the main time I would like AF is in certain situations when doing gimbal work.
My GH5 is good enough for most of the situations that I encounter that I don't see a reason to replace it if I cannot use the replacement for both photography as well as video and if the AF is no better than what is in the GH5. If I had a focus puller or had any way to manually pull focus while the camera is on a gimbal it would not be that important to me.
It is pretty funny though, just the other day I was shooting a music video and I had just filled the room with smoke and set the lighting and was shooting on the C200; I decided for one of the takes to use AF.....well guess what, the C200 could not focus at all on any of the talent due to the smoke, so back to MF I went.
 
But back to the topic of the S5...it is DOA for me, if this camera is why there is no GH6 then I will be sorely disappointed. I have all the MFT glass I want and my GH5 already has no recording time limits, never overheats, does dual card slot recording, etc. I have a feeling the S5 will have a recording time limit like the S1, may not work with the XLR audio module, and will require me to invest in L mount lenses. It also does not do 4K120FPS, and I still would prefer my Canon 5DIV for photography.

I have a GH5 and have always manually focused but there is one simple scenario where I would definitely use AF...on a gimbal. I don't trust AF in 95% of the situations I encounter yet I will not replace my GH5 with a camera that does not have a better AF system. I am typically a one man band run and gun shooter shooting everything from music videos to interviews, the main time I would like AF is in certain situations when doing gimbal work.
My GH5 is good enough for most of the situations that I encounter that I don't see a reason to replace it if I cannot use the replacement for both photography as well as video and if the AF is no better than what is in the GH5. If I had a focus puller or had any way to manually pull focus while the camera is on a gimbal it would not be that important to me.
It is pretty funny though, just the other day I was shooting a music video and I had just filled the room with smoke and set the lighting and was shooting on the C200; I decided for one of the takes to use AF.....well guess what, the C200 could not focus at all on any of the talent due to the smoke, so back to MF I went.
 
But back to the topic of the S5...it is DOA for me, if this camera is why there is no GH6 then I will be sorely disappointed. I have all the MFT glass I want and my GH5 already has no recording time limits, never overheats, does dual card slot recording, etc. I have a feeling the S5 will have a recording time limit like the S1, may not work with the XLR audio module, and will require me to invest in L mount lenses. It also does not do 4K120FPS, and I still would prefer my Canon 5DIV for photography.

I have a GH5 and have always manually focused but there is one simple scenario where I would definitely use AF...on a gimbal. I don't trust AF in 95% of the situations I encounter yet I will not replace my GH5 with a camera that does not have a better AF system. I am typically a one man band run and gun shooter shooting everything from music videos to interviews, the main time I would like AF is in certain situations when doing gimbal work.
My GH5 is good enough for most of the situations that I encounter that I don't see a reason to replace it if I cannot use the replacement for both photography as well as video and if the AF is no better than what is in the GH5. If I had a focus puller or had any way to manually pull focus while the camera is on a gimbal it would not be that important to me.
It is pretty funny though, just the other day I was shooting a music video and I had just filled the room with smoke and set the lighting and was shooting on the C200; I decided for one of the takes to use AF.....well guess what, the C200 could not focus at all on any of the talent due to the smoke, so back to MF I went.
 
But back to the topic of the S5...it is DOA for me, if this camera is why there is no GH6 then I will be sorely disappointed. I have all the MFT glass I want and my GH5 already has no recording time limits, never overheats, does dual card slot recording, etc. I have a feeling the S5 will have a recording time limit like the S1, may not work with the XLR audio module, and will require me to invest in L mount lenses. It also does not do 4K120FPS, and I still would prefer my Canon 5DIV for photography.