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$2000 for a camera that shot 4K 60p, 4K 4:2:2 and had class leading stabilization in 2017 was overpriced? We're literally only now seeing cameras that come close to the capabilities of the GH5. The price decrease is because of how much competition has shown up in the 2 years since release.

Dude, chill out. What is your problem. Why does it bother you people like the GH5 and use it to create quality content for two years. Did the GH5 steal your girlfriend/boyfriend? Based on your posts you seem like an angry person.

There are other reasons why someone would want a GH5 over a P4K. IBIS, flippy screen, higher frame rates, longer battery life, stills, reliability, smaller and lighter... and it’s these reasons why I shoot with one as opposed to a P4k. Not everything is purely down to image quality. Versatility is important for a lot of people. Can’t you just accept that the GH5 is the best camera for some people, are for others it’s not? No need to waffle about it.

The Z6 has not beaten the GH5 by any stretch of the imagination. Hell the Z6 can't even do 10 bit in camera, No F Log without a recorder, 29 minute recording time, no Waveform Monitor, on and on, no Anamorphic at all. Get real.

I think the Panny S1H might end up be the bargain of the year for all it could, and might have when it finally comes out. We could not of dreamed of a camera like this 3 years ago. I think you are underselling this camera by a huge amount. Sure I can't afford it, but if you can this thing is an industry game changer the way I see it. This camera is going to become the new norm down the road. Panasonic has given us a gift with this announcement. Every company is going to have to pick up the pace big time to match it, let alone beat it. Not counting the CS from the S1 cameras is to die for.

Maybe I can help. From mr Skip77 logic, GH5 is system of the past, and as such, people who still love and use it simply hate progress, of whom mr Skip77 feel himself as protector, because he knows what is road map and future - as well as GH5 relict-pensioners, being metaphorical ghosts from past, don't know anything about path to the future, and so they represent certain iteration of dark force against which mr Skip77 always remonstrate bravely and resolutely. As such defined haters, GH5 users deserve special treatment against their contamination influence.

Oh man don’t feed his anger. I suggest that they take a calm walk in the woods with a camera (any camera, I don’t care) before they die of a heart attack.

The GH5 is good enough where I keep contemplating on buying another one. There is still nothing out there that matches it. The Pocket 4k is amazing but its not a run and gun camera and neither is the Z cam. I think the GH6 can easily be a winner. Just update the specs a bit, incorporate IBIS, and have good auto focus. With all that there would be nothing else like it on the market. The price should also be $1500 new, same as the XT3. The Pocket 4k and Z cam are awesome but the GH5 still overall works better for a run and gun hybrid camera, especially considering IBIS. IBIS is the biggest reason most people get the GH5 combined with the pretty decent specs and low cost of an M43 system.

I am a bit of a Matt Workman fan (the creator of cine tracer) because of his old YouTube channel where he explained the lighting for famous movies and music videos. Unfortunately it was taken down because of copyrighted material. When it comes to Cine Tracer, it looks very promising with ray tracing. If it works halfway decent I think I'll get it. I'm used to making maps for old shooter games and the process seems similar which should make it rather fast as soon as you're familiar with the tool.

What? I'm not sure what you're even trying to say? You said the GH5 was overpriced on release. That is just silly. It's $2000 price tag for what you got was a bargain two years ago. It wasn't overpriced at all on release. That it's $1500 now is a sign that the gap between it and the cameras that have come out since has narrowed, not that it was overpriced on release. It's a much more competitive market now than it was then, and things are moving faster than ever. It's also probably a sign that the GH6 is coming sooner rather than later. They've raised the bar with the S1H, for sure. Whether it's successful or not, everyone else is going to need to come close to matching it. That might not be an easy task for Sony.

Hello! I've been looking to replace my 20$ Zomei variable ND filter for some time. It isn't unusable, but has its own quirks, which I was quite fed up with. I decided that I don't want to spend more than 40$ for a new one ( high-rolling, ain't I? ). So, after doing a little research I put my money on a K&F ND2-32. In the meantime, while I was waiting to get it from China, I also managed to find a bargain on eBay: an used Genustech ND filter (not the Eclipse version, unfortunately). Each of these filters cost me ~40$ Here is how they compare. I used Panasonic G85 and Minolta 58/1.4 (set to f/2) on a dumb adapter, which roughly translates to 116 mm eqv. Color cast: White balance was set manually, each time I put on a new filter. To do it, I simply held a white card in front of my camera and let it save the results as a custom WB setting. So, without any filter I got 5650K and +10 tint. With K&F: 5250K, +21 With Genustech: 5100K, +25 (though it still looks yellowish to my eyes) With Zomei: 5250K, +22 2. Sharpness and contrast This was a bit tricky to evaluate, since Genustech acted as a some kind of a diopter. When I put it on, my focus point shifted just a little and I had to refocus the shot. These are 100% crops from image above. No filter (SS: 1/250 s): K&F at ND2 (1/100 s): K&F at its maximum (which, truth be told, is closer to ND16 than ND32) [1/13 s]: Genustech at ND2 (1/100 s): Genustech matching K&F max (1/13 s): Genustech at its maximum (around ND 200 [7.5 stops]) [0.8 s]: Zomei at ND2 (1/100 s): Zomei matching K&F max (1/13 s): Zomei at its maximum (also around ND200) [0.8 s) : 3. Bokeh Both small and big 'balls'. Once again, 100% crops. No filter: K&F: Genustech: Zomei: 4. Other thoughts What I really like about the K&F filter is the fact that it has hard stops at minimum and maximum. It's a shame it goes only up to ND 16. Genustech doesn't really work as a polarizer. If you rotate it, it won't block reflections (both K&F and Zomei will). Instead, it changes reflections' color (from brownish to blueish). I'm not sharing my conclusions since I don't want to influence yours. Which filter would you keep with you, taking everything into account? Regards.

I'd point to GH5 as a pattern of well balanced expectation and probably already deserved status of rare legend. But everything changed with Panasonic's calculation with GH5s that came almost year after, with price that inaugurated steps of +500, nothing less. Why I'm still on thread about no existing camera with just hook thrown to users - is to express worry and respect for Panasonic GH2's spirit. I was eager to buy GH5s, idea of make a pair with GH5 is clever and nice with their specs that complement but not surpassing each other - but price was restrictive, tolerated just from those who can afford curiosity, who can immediately return expense etc. - but that's the moment where Panasonic lost balance with lower base or more need-to-move-fast base of indie filmmakers, staying stubborn while witnessing enormous success of Pocket 4k in spite of all its expected quirks... Around me - no one of the extremely rare buyers from industry (planning to use it as B or C or sometimes A camera) didn't keep it longer than year, while still keeping GH5 - every single one go to Pocket 4k. If I remember correctly, one of the benchmark user with great skill and opportunity whose works I admire greatly - mr Peters - in thread devoted to what to buy next to pair with GH5, didn't choose GH5s in spite of easiness he probably could return expense. How much all of that could be different just if Panasonic placed initial price of GH5s to 2000, showing also in that way that it is complementary camera? It seems to me that Panasonic made rigid long road projection of prices for products on producing line - and stubbornly stay with that projection as leading imperative. My feeling is that GH2's leading spirit was different, govern with more flexible idea of getting users at first place, not taking money form them. Look just numbers of pages in thread about P4k and GH5s that are closest competitors as could be... Grounded on fact information about disaster of sale I have, as wrote, just for my region of Europe... GH5s, produced initially in far less pieces dropped price accordingly to GH5 (but always too late for better sale because of initial level), and at the moment reach around +/-1400 pounds, while GH5 is on the level +/- 1000 p. with 2 years warranty (that's where I can buy them with lowest price). But it is too late - with all enormous number of targeted users who already went with Pocket 4k and patiently/proudly wait their subscribed acquisitions to come. Panasonic even ignore better priced offer from Zcam, company that should be considered as hand made one in comparison with Panasonic mass production capacity. I know that +/- 500 can be seen as too much or as not so significant. But, there surely exists some interesting threshold tolerance in users, when we started to react psychologically, not just as consumers. That's threshold of perceived treatment and global strategy profile or direction of manufacturers. (Maybe worth to note about direction is that Panasonic priced G90 in level of XT3 and Pocket 4k.) That's threshold when we more seriously start to look around weighting offers of others. I simply worry that Panasonic's dedicated team again makes even bigger mistake with this one 4000 for dream camera announcement. Camera that for months will tiе for itself greatest part of developing resources of Panasonic's division.

The EOS M doesn't have any added hotshoe contact (data) pins, so either won't work.

I know people who have tested the EVF-DC1 on the original EOS M and have stated that it "doesn't" work. Not sure about the EVF-DC2 I would presume that won't work either. I use this: https://www.ebay.com.au/itm/V6-Magnifier-Hood-LCD-2-8x-Viewfinder-Extender-Magnetic-For-CANON-Eos-M/252672339287?epid=874907218&hash=item3ad471ed57:g:0RAAAOSwsW9YyVQF Does the trick. Funny thing, I actually superglued the frame to the EOS M, looks great and the Viewfinder works like a charm!

I recently purchased the Original BMPCC and have only tested it gently using a Lumix 20mm f1.7. I'm waiting for a Metabones Speedbooster to arrive to officially test it with my awesome lens pile, but so far I can say the EOS M RAW is sharper and more detailed. People describe the BMPCC as having "cinematic" image due to its soft cinema look. it's like someone stuck an invisible 1/8 Black Pro-mist filter in front of the sensor. Until the other gears arrive for the BMPCC, I really do prefer the EOS M.

I worked on a collaborative team editing a large documentary consisting of 8,500 4k H264 clips, 220 camera hours, and 20 terabytes. It included about 120 multi-camera interviews. The final product was 22 min. In this case we used FCPX which has extensive database features such as range-based (vs. clip-based) keywording and rating. Before touching a timeline, there was a heavy organizational phase where a consistent keyword dictionary and rating criteria was devised and proxy-only media distributed among several geographically distributed assistant editors. All multicam material and content with external audio was first synchronized. FCPX was used to apply range-based keywords and ratings. The ratings included rejecting all unusable or low-quality material which FCPX thereafter suppresses from display. We used XML files including the 3rd-party utility MergeX to interchange library metadata for the assigned media: http://www.merge.software Before timeline editing started, by these methods the material was culled down to a more manageable size with all content organized by a consistent keyword system. The material was shot at 12 different locations over two years so it was crucial to thoroughly organize the content before starting the timeline editing phase. Once the timeline phase began, a preliminary brief demo version was produced to evaluate overall concept and feel. This worked out well and the final version was a more fleshed out version of the demo version. It is true that in documentary, the true story is often discovered during the editorial process. However during preproduction planning there should be some idea of possible story directions otherwise you can't shoot for proper coverage, and the production phase is inefficient. Before using FCPX I edited large documentaries using Premiere Pro CS6, and used an Excel Spreadsheet to keep track of clips and metadata. Editor Walter Murch has described using a Filemaker Pro database for this purpose. There are 3rd party media asset managers such as CatDV: http://www.squarebox.com/products/desktop/ and KeyFlow Pro: http://www.keyflowpro.com Kyno is a simpler screening and media management app which you could use as a front end, esp for NLEs that don't have good built-in organizing features: https://lesspain.software/kyno/ However it is not always necessary to use spreadsheets, databases or other tools. In the above-mentioned video about "Process of a Pro Editor", he just uses Avid's bin system and a bunch of small timelines. That was an excellent video, thanks to BTM_Pix for posting that.

Yeah I just bought a EOS M myself yesterday. Haven't got it yet from Amazon. Get it the 4th. So a new toy to play with. Too hard to pass up for the 140 Dollars I paid for it. A white body at that. I will be using my M42 lenses on it until I save a few more pennies for other options.

I just did a few jobs for independent candidates running for parliament. Besides some gopro adventure footage at the beginning of the first film, it's all 5D MK3 14bit lossless. 99% shot with an old Leica 35mm summicron-r, a few shots with the 90mm summicron and 135mm elmarit-r. Almost all of it shot from the shoulder. Also used a B+W Käsemann polariser and a cheap Hoya ND. Cut and graded in Resolve 16 with filmconvert and http://www.colorghear.com/ , upscaled to UHD.

I have been thoroghly enjoying fast editing with Lumafusion on my iPad Pro 2018. As we already know, it handles multiple 4K tracks with ease, making the editing part of the project a breeze, compared to the sluggish performance from Premiere in particular. File managment is however, as we also already know, a fucking nightmare on the current OS. Hopefully this will be rectified with the upcoming new iPad OS (Apple is however flaky as usual about it). But if external storage will work properly with this update I really feel the iPad Pro is becoming a very good option when it comes to creating on the fly, with minimal hassle. As a journalist I see many benefits from a fast and light weight option like this on the field, when speed and quick turnaround is key. What do you guys think? And here's hoping Lumafusion adds waveforms and scopes ASAP. https://appleinsider.com/articles/19/06/03/apple-supplements-ios-13-with-new-tablet-specific-ipad-os-branch

The computer starts at $5999, 6k panel starts at $4999. Plus iPad OS fixes many of the gripes about iOS when trying to replace a laptop. Nice. https://techcrunch.com/2019/06/03/apple-releases-the-6000-pro-display-xdr-a-32-inch-6k-display-available-this-fall/

June has a long road yet to walk by... : ) last Friday was still May! And end of July, eight weeks away... The year is not even in a half so far ; ) July the beginning of its second portion which composes the whole... and next season, some people who met for first time in May, they have no clue they will end divorced in July... LOL ; -) *The magic of life*

Well, Panasonic delivered some beasts and a lot of the internet are still complaining. Then there’s a guy on here saying the GH5 is outdated. What a strange world. As a Panasonic shooter, the S1 is looking tasty - too early to call on the S1H. Wish all these brand new lenses were more affordable though - the premium has certainly increased over the last few years.

Thanks, I'll no worry. And I believe and compassion with you in both.

Yeah, sorry I contributed to that. On a side note I discovered the ignore feature.

I think whats very interesting is how hard Apple themselves are pushing LumaFusion in their own ads. I'm not sure whether it means they are more likely to offer the sort of file handling that is required or that is more likely they are going to buy them out ! The feedback I've been getting regarding my interface bridge for LumaFusion also tells me that it is definitely on the rise as an alternative to a desktop editor for some projects even when people are sat at an actual desktop rather than just out in the field.

It is also good to see that Apple has added non-destructive video editing with IOS 13 that supports most of the photo editing capabilities including support for 4k60p. It will be interesting to see how Apple continues to develop this.

Guys, you should not answer, seriously... he killed the z6 forum post with the same attacking, illogical-disturbing behavior, like a palladin jumping on everyone for... hm, yes, good question, why ? The manual to handle the guy is in the name : "skip".

I Seriously doubt anyone makes a knock off of those feet. Probably the reason you got it cheap. Unless the tripod meets your needs and is a heck of a good tripod depends if you buy the feet from Vinten or throw it away. They make damn good stuff, but there low end is nothing to write home about just like all the others players are also. A Good, great Tripod and head cost a fortune unless you really luck out on a used one. And they are about as important as anything, even today to have.

Came across this very cool looking “video game” called Cine Tracer which allows you to play cinematographer and use the built in tools to create pre-visualisations for your films. Lighting, compositions, sets, actors... all that stuff. I’ve not used it but I could imagine it has great potential. Anyone had a go? Do you think it could be a useful tool? A sign of the future? https://store.steampowered.com/app/904960/Cine_Tracer/

I think I’d get too addicted to this. Lighting, on a video game? Geek out!

Why does the GH5 upset you so much? Did someone throw one at you? I’d understand if that was the case. But think of it this way, both Panasonic and Blackmagic offer the market products much different to others. We all win. Hooray! P.s I think I might get an S1.

Yes, but hopefully they fixed all these issues in 16. Will report back once I can test it. I'm still on 15.

It came out almost 2 years before the Pocket 4K and uses a more compressed codec. So yeah, the Pocket 4K should look better. It's still very good on the GH5; I'm certainly happy with it. $2000 is quite different than $3500. And mentioning the "horrible AF" immediately after mentioning BMD is pretty funny. The GH5 is a capable stills camera, far from horrible, but you seem to love hyperbole so... They're almost completely different markets. Most of us M43 shooters don't want a full frame camera and the heavy lenses that come with it. There is some overlap, but it's not significant. It's ridiculous to say Panasonic lost the M43 market to BMD and ZCam. The GH5 likely sold more than the Pocket 4K and every ZCam camera combined. Your perspective is terribly skewed. The bottom line, the GH5 gives me the versatility I need. It can do the entire range of work I do, and do it well, whether it's a run and gun scenario, doing green screen work, or shooting interviews. There's a damn good reason why those of us shooting with it are incredibly happy with it. It will remain a relevant camera for years to come. I expect, for those wanting a full frame camera, the same will be said about the S1H. There are always going to be those people that, no matter how happy you are with something, will insist you're wrong!

The S1 always has eyeAF and animal AF with retail FW. Still has it with the latest FW 1.1 I'm not sure where you are from but in the US, you get free battery and grip when you pre-ordered ($430 value), 3 years extended warranty, and free VLOG FW update ($200). Current promotion is free MC-21 EF-L adapter and free VLOG update. I got the camera for $2250 via GreenToe, sold the grip, and got the price down to $2000. I bought Canon 5D IV and EOS R and I have never receive any free accesories, VLOG upgrade or 3 years extended warranty. I also ordered A7III for a friend with my edu discount. It doesn't even include a wall charger or additional accessories of value.

depends on how you measure the length. looks you measure it at the longest. if measure in shortest, kowa's length<diameter. But Isco Ultra Star is internal focus lens, never change in length.

The P4K beats the GH5 all day long for $1,295 No one has beat the GH5 except the Z6, S1 and these are FF cameras. Who was suppose to beat the m4/3 GH5? The only other m4/3 company beat them. All other were FF cameras or getting into FF. Camera companies stick to the $1,000, $1,500 and $2,000 price points year after year and decade after decade. And in the GH5 all your talking is specs only. The 4K 60p on the Gh5 is not great compared too cine cameras or the P4K? It seems people get caught up in the "I spent $2,000 and got 4K 60p " and expect that to be good 4K 60p . If it was really good 4K 60p then no need for the S1 or S1H. The 4K 60p out of the S1H will be cine quality and is truly bridging the gap.

You can buy GH5s for 1500£ with 2 years warranty at panamoz https://panamoz.com/digital-cameras/panasonic/panasonic-lumix-dc-gh5s-mirrorless-micro-four-thirds-digital-camera-body-only.html or with 12 months warranty for 1399 at einfin - https://www.e-infin.com/uk/item/3545/panasonic_lumix_dc-gh5s_mirrorless_micro_four_thirds_digital_camera At the moment you can buy it on "grey market" via eglobalcentral for 1398£ (although eglobal central is legal and extremely reliable shop from my experience) https://www.eglobalcentraluk.com/panasonic-lumix-dmc-gh5s-camera-body-only-pal.html as well GH5 for 999£ with 12 months warranty at https://www.e-infin.com/uk/item/3282/panasonic_lumix_dc-gh5_mirrorless_digital_camera_(body_only) From my region and possibility to buy (asking friends mostly in UK, rarely in USA and sometimes in China for favor) grey market acquisition of Panasonic products is risk that I'm ready to take. Panasonic is so great in that regard, because of unbeatable solidness and quality control of their products. But recently I bought Pocket 4k with best found legal price of 1100£ in UK - even if exists grey market for Pocket4k or BM products in general (but it never existed ), I wouldn't dare to buy it there... Simply, in comparison with Panasonic, BM is too unreliable regarding quality control. ... So yes, GH5s dropped in price significantly pretty fast, but, as I wrote, too late, missing opportunity to indeed becomes a hit, exclusively because of wrong initial price estimation. Danger that, as I see it, is even more over the head of theme of this thread.

I usually try and get between the 50mm and behind post (about halfway or slightly to the behind post). Reasons for that are the action has to get closer due to the smaller width and that is were they are converging on so you can often get more action. Means I can also get away with shorter lenses too (a short zoom often as well as a longer lens) If the game is one sided, it is easy enough to just go to that end (and switch each quarter). I would often go that position (switching at the quarters) but might have one quarter experimenting elsewhere. Again, being anti-social taking photos helps.

I voted for Internal H264/H265 but I did get a bit torn between that and internal RAW. My rationale is that I want the best quality I can get, but with a limited bitrate for practical purposes like ease of editing and stage bitrates. I use GH5 with UHS-I cards, so I'm limited to the 150Mbps h264 4K mode or the 200Mbps h265 6K codec, and whilst I'd love to shoot the 6K mode all the time, saying it's a PITA for editing is possibly the understatement of the century, so for the moment I've gone back to 4K mode because the h264 is so much nicer. If the manufacturers started offering internal RAW then I'd be very very interested in codecs like BRAW 12:1 (46MBps) or maybe 8:1 (68MBps) for short projects or hero shots. But every Prores except Proxy (22.4MBps) and, at a stretch, LT (51MBps) are beyond practicality for me. I also voted for 6K resolution. For me, I'm currently publishing at "1080 quality" which means that I'll probably export to YT in UHD but I don't sweat it if there's a shot that is only 1080 quality because either I've cropped into a 4K shot, or it was a 4k50 150Mbps LongGOP shot conformed to 25p and possible slightly cropped and/or stabilised in post. Of course, I'd love for every shot to look like it was shot natively in the export resolution in full uncompressed RAW, but that's not my expectation. In this sense, taking in consideration my ~500Mbps bitrate limit, it's a toss-up between modes like: a very high bitrate 1080 HFR mode which would have less resolution to crop into and stabilise, but also less compression, more chroma subsampling, and higher bit depth a 4K "middle ground" a 6K oversampling approach which will have the most resolution, but the most compression and least data-per-pixel as-shot, but when downscaled to 4K may give a better result, especially considering that stabilisation is only as good as its tracking accuracy, which is a function of resolution. When 1080 and 720 came out I did some tests comparing what resolution gives the nicest output for a given completed file size. When you compress a video file to 1080, 720, and SD where all have the same output file size, the file with the highest resolution was easily the best quality. This quality test assumed the same codec, and all files were quite compressed, so the test may not be directly applicable to a compressed vs RAW comparison, however it suggests that a comparison might be worthy. Given this logic, the h264/h265 6K or 8K file may have advantages over a lower resolution but much higher bitrate file. I'd be open to both options, especially when you consider that a 4K sensor doesn't have full colour subsampling, whereas an 8K sensor can do 4K at full subsampling. This then leads into the question about if you should downsample from 8K to 4K in-camera before compression or downsample in post after compression. I suspect there are advantages to each.

How was the EOS RP competing against the Nikon Z6? Not sure how the GH5S is an upgrade, kind of just a different camera that was priced higher than the GH5 at launch for no particular reason.

Yeah I shoot sports and occasionally product reviews, I want absolutely nothing to do with super large pro res like file sizes.

I'll add to that: easy buttons! I'm with @newfoundmass. I'd prefer a camera with options: H265, ProRes and Raw all at once would be ideal. However, if I only have one internally, H265 is the best option. For one, you can easily get an external recorder for ProRes and even ProRes Raw. How many external recorders have H265?

There is no mention to one of the most important factors, now that specs are really great in most cameras: easy menus!

Interesting stuff. I think colour science is a big one. Comes for free with RAW, but what I'd like to see is the ability to bake a LUT into a ProRes recording in-camera. Saves grading time in post and speeds up the edit. Dual Card slots causes a big hype and debate... I think that's why people feel it is overrated. I think it's a small feature but a critical one for pro work. If a single card does fail then it's an irreplaceable data gone and imagine if you lose somebody's wedding... disaster. There is no need NOT to do dual card slots on a pro camera, especially a $3000+ one, and it has hurt the Nikon Z series so badly in shops with photographers. I think it could be interesting to split a poll up into sub-categories, as big features lumped with small features will always show the big features coming out on top, but that's not to say smaller features aren't also important.

Promoting the competition.... I would much rather have heard it was yours

I have the S1 and plan to buy a second. Here’s my reasoning: I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND... Total discount (not including value of 2 3-year warranties) when compared to buying all items separately: 2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip. Retail total $7123. My total $5044! And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity. And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD. And Sigma native primes are coming. And Kipon makes a Mamiya MF focal reducer. Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings... I could go on. Seriously. How can everyone not be buying S1s?

Does it give the "tourist with huge camera" look?

The new Panasonic S1H with Sage's LUT should be a real winner.