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If you don't care about: timecode, unlimited record times, a more substantial build, slightly more usable screen configuration, top LCD, better EVF (I never use it for video anyway), then I would get the S5. I don't notice a huge difference between 400 and 150 10-bit recording, so you should be fine there. Can always get 6k or ProRes Raw (soon) or All-I ProRes recording with an external recorder.

I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions. Big thanks to Dave for taking the time to let me ramble and for listing to my waffling! https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

Don't forget the S5 has a mini HDMI port vs the S1H with the full HDMI port so if you use an external monitor a lot that could be pretty important. For me personally, the S line never interested me until the S5 due to the cost of the bodies and the lenses. With the S5's reduced cost and the EF lens adapter, my two main reasons for not considering the S line were removed. For the S1H specifically, I was never sold on the fan either. Of course it prevents overheating when shooting video, but for hybrid photo/video shoots I felt like too much dust and moisture could get pulled into the body via the fan. As far as All-I goes, most if not all of the tests that I have seen say there is no difference in 99% of the scenarios, supposedly All-I is easier to edit since there's a keyframe for every frame, but the data rates are so high that you need special cards to support it, storage is up to 4x more required, and it is still LongGOP compression; I would rather create temp proxies than deal with the headache of All-I. For All-I data rates I'd rather skip straight to raw if I'm going to deal with that kind of headache.

I haven't used the S5 yet, but I do own and have used the S1H for the last year. I love the camera. For me, the biggest advantages are timecode (a must for my doc work when I have external audio), the All-I 400Mbps (sometimes required), and the unlimited record times. The ProRes Raw is great, but the S5 will be getting that soon. Otherwise, I think the S5's more compact size, better AF (though the S1H is confirmed to get it), and the already amazing 10-bit 422 150Mbps codec that I most often use on the S1H anyway, make it a pretty compelling option.

I was safe - I knew you’d pick it up! (With apologies to @ntblowz for rather getting side tracked by obscure reminiscing).

Video of the DJI ToF focus in action

Yes, thank you, but where is it?! They have to act fast, most people in business I know will get a Canon from now, till Christmas. Canon will "dominate" the video market again. It has been at least 2 years since the XH1, it wasn't a huge success, I thought they learned by that release, "smaller" companies have to do a couple of right moves to put them ahead the curve, BM does alright, Fuji had a few nice releases lately, but they have to be pro active, and get ahead. Also, they need some better "video" lenses, less breathing, some kind of parfocalness, I.S on hybrid lenses (a better 16-70mm 4f, this one is a very expensive dissapointment), the excellent 10-24 on a newer version, e.t.c Their ecosystem is 95% photocentric right now, and do not tell me about their 2 manual MK lenses, they are nice, but not enough, and certainly not up to what we expect in 2020-2021.

For me, Canon's RF Mount has been a bit frustrating because using EF lenses actually gets you some really useful features on RF cameras. For the EOS R, R5, or R6, it's being able to use the amazing variable ND filter adapter, making swapping lenses so much easier. And now, for he C70, you can get full-frame FoV and an extra stop of light by using a speedbooster. The RF lenses are amazing, but since they are full-frame, give you some awkward focal lengths on Super35. The 24-70mm would be amazing with the C70 since it has IS, but a 35mm FoV on the wide end isn't wide enough. And the 15-35mm just won't have enough reach. If I do end up getting the C70, then I think for doc-work, I would definitely snag the speedbooster and a 24-105mm f4, which would have the same FoV as on a full-frame and give me a f2.8 from 24-105mm. This is what I did with the Sony FS5 when I had it, and it's nearly perfect for doc-work. Either that for a 24-70mm (Canon or Sigma with IS) and have a 24-70mm f2 - pretty great lensing options there.

Surely you meant HOURS not days? Otherwise CAD$3800 is waaaaaaaaaaaaaay undercharging!

2010 and 2020 is quite a lot of difference The house price went from avg $440K to $950K here, but the wage didn't increase double. As result of that more people just do civil marriage or smaller weddings, and the number of people getting married is down each year as well, while more wedding videographer pop up each year as equipment is getting much easier and cheaper to aquire. So more people grabbing a shrinking pie. We done jibs before too, album covers, poster etc, and even rent Red Helium. Just the overall trend of wedding market is down in general. I stopped wedding as my main income around 2016, I only do second shoots if my video friend need help, otherwise i just defer inquiry to my friends as it just not worth the hassle for me when I get better return elsewhere.

Basically an S1H with 120fps in 4k in a video-camera body (XLRs, internal NDs, etc). Has to be 20-24 megapixels to get 6k raw output or maybe even get it up to 8k raw output (36 megapixels?).

No you would be too happy if it was the case right ahah. Little brother let it fell off... Thank you, im going to check this but i really don't know if there is such a thing where i live, i already did some soldering myself on small parts like this but this seem very tricky this time, might have to buy an other one but that's ok, i reaally want to use the f3 at its best again.

Yes we use it to match with EOS R and C300 c-log 1 — it works well. The M50 dynamic range is limited but Andrew’s profile helps squeeze the most out of it. Grades well.

Indeed : ) And if Spielberg's Saving Private Ryan is typically the finest example for high shutter speed creative use from Janusz Kaminski's tip, Mel Gibson's Apocalypto (cinematographed by the Aussie Dean Semler) is the opposite for a 360 degree shutter or open shutter, that is, double motion blur when a video smear look ends as purpose. Just for our matter of taste on the basis of need, function and alike. Not everyone sees it in the same way, no matter what. We can't all share the same yellow colour in point of fact. a7RII release, as for instance, came along its slower shutter speed capability in video mode beyond the 360º shutter as a very special hybrid acquisition experiment tool as you wish (I am used to shoot both video and stills with my Blackmagic Pocket series in 2020). Here's Dan Chung's sample: https://indietips.com/shutter-speed-and-shutter-angle-explained/