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Not sure about that one, I've never not used my tripod on a shoot. The movie business is booming in Detroit. I'd say camera equipment is a short term investment anyways, you make a bunch of money with it and the equipment itself loses value. Aside from maybe cinema lenses.

So I'm late to the party, but I've had the S5 for a few days and I must say I'm genuinely impressed. It's a real joy to use. It kind of blows my mind that it's an entry level camera, because it's capabilities are impressive. First, I was wrong to write it off because of the recording limit in 10-bit and 60p. It'd have been nice to not have those limits, but the 8-bit is quite nice with good colors SOOC. I think it will be more than sufficient for my event work, though I'll know for sure after this weekend. Low light is very good, at least as someone coming from a GH5. Speaking of the GH5, I've been able to match the two pretty easily. I was worried that wouldn't be the case, but I think using the GH5 and my G85 will work out okay as b and c cams. I LOVE that I not only can use the XLR module but that I can lower the pre-amps more than the GH5. That was always something that has bugged me. There aren't a ton of 3rd party accessories. It came with 3 OEM batteries, but I bought some third party batteries from Newmowa. They work pretty good, though after using the OEM batteries and seeing how long they last I probably didn't need to get them. They work with the GH5 though, so they're not a waste. I wish there was a third party battery grip, and more options for cages. Mine came with a Small Rig cage, which is okay, but it doesn't feel as robust and protective as the GH5 cage I have. Overall I'm very pleased. I had no intention of getting it until I was offered a great deal on one. Now I'm contemplating picking up a second one and going with two S5s and one GH5 for my set up. That probably won't happen for a while, but in the span of a week I went from being pretty resistant to going with Panasonic for full frame to debating buying a second FF Panny camera. 🤦🏻‍♂️

I think the compression acts as a denoiser in someway. But overall that footage looks fantastic. The camera has dual native ISO at 3200 so it should look very clean. I will probably get the side viewfinder eventually. I am not quite sure if it offers a full hdmi out, which could be beneficial. I think I will buy the tilt screen modification.

There's the whole issue with uploading to youtube as well, so yes it's better to look at the full quality frames to assess sensor noise. I don't even know if youtube applies a denoise before compressing the hell out of the image, but it would make sense if it did.

Just purchased this camera, coming tomorrow. I am really interested to see how it can match to the ARRI alexa.

Depending on your needs / circumstances, you MIGHT consider an S1 as a second FF cam instead of another S5. You can find used S1 cameras for not much difference compared to a used S5. The S1 main benefits are the unlimited 4K 10-bit and 6K 30fps internal at 10-bit 4:2:0. The 6K is limited to 15-minutes, I am pretty sure. You will need to get the filmmakers upgrade ($200) On the S5, there is something similar, in the confusingly named 6K photo mode (which is really 5K video but with photographic EXIF data instead of video EXIF data???) I haven't messed around with it a lot but I think it is ok. The S1 has a nicer (tilt-up only) screen and better EVF and is great on sticks (I have wonky eyesight so I really appreciate the better LCD / EVF / Focus Peaking of the S1). Also for handheld I like the S1 better than the S5 (better IBIS, heavier body = less micro-jitters for me), but much prefer the S5 over the S1 when shooting on a gimbal (on my Weebill S). Anyway, food for thought. They both do suffer from some moire / aliasing. And, of course, Panasonic autofocus.

Welcome to the S5 family, the S5 IMO is definitely a big step up from the GH5 in terms of lowlight and even image quality. The dual native ISO alone puts it in a different class from the GH5. With my GH5 I was having to shoot with 0.95 lenses to try to overcome its lowlight shortcomings. I personally never use a battery grip when shooting video, I like to be able to quickly go from handheld to gimbal, and battery grips don't play well with gimbals (makes the camera top heavy and harder to balance). Also, your cage options are typically much more limited with a battery grip attached. What I found with the S5 was the Panasonic batteries lasted so long I rarely worried about battery life. For long form event work I used a V-Mount battery and the USB-C port, this setup gave me about 8hrs of filming time. In between shooting stationary I set up my rig to be able to quickly grab the camera off the V-Mount rig and go handheld with the internal battery. You can check out my different rigging setups here. I will admit I finally moved on to the C70 because the lack of CAF with the S5 and EF lenses finally got to me, but it is still a fantastic camera with an incredible feature list. I still miss the S5's IBIS, aspect ratio guide lines, and level guide. Even the VLOG was a real joy to grade.

As you can see from the other replies, tripods are commonly used throughout the industry everywhere! And even for weddings which are shot gungho nonstop with a gimbal by some keen muscular dude, they'll still be using a tripod for at least some of angles for the ceremony and reception! And when I say "$100K indie film level" (or $500K) I mean also anything else at that "level", i.e. a web series or TVCs etc. Tripods are worth it, I have a nice one, basically the previous generation to this one here: https://www.bhphotovideo.com/c/product/1431251-REG/vinten_vb100_ftms_vision_100_system_with.html

I would agree on that issue if all cinematographers in this planet would't choose an external battery for power up their camera Some times half sized from their cameras . So you want to act as a professional and shoot your job at 8k ? Act like one and do what all do. The fact that in this camera is a excellent photo camera that can be used with internal battery as all of its kind it's a bonus.

Sure, real film sets need them because they are using huge cameras with big glass on them, and they are story boarding. That is probably never going to change I get that. I can see a tripod for photography a lot more than for videography. If you are shooting movement move the camera. Ehh sort of what video is. Just panning on a tripod all day is not my idea of an interesting shoot. Looks boring pretty quick. I did hundreds of weddings years ago and worked with other wedding photographers, and we never used a tripod even then. Now some of the richer ones came to a studio with their dress and had shots done after the honeymoon. Had a Hasselblad, 3 lenses, 5 rolls of 12 shot film and away you go, was the weapon of choice back then. Static wedding shots are boring as hell. We didn't use 3 cameras and carry 20 lenses like people do today, so I guess it has changed, not sure why but. Yeah, I guess if you are charging $50,000.00 for a wedding you need to look like you are earning it I guess. Sure they have a crew with bounce rigs, etc., etc. so I can see the complexity for a few super rich brides.

It really comes down to what kind of work you're doing. Event videos, corporate videos, short films...etc. All of these requires a tripod, while a gimbal may not be essential. The YouTube community makes many believe working in video production professionally is about making cool shots with gimbals or any other fancy new technologies. Making those shots are cool, but the majority of works are usually done in a more traditional, even boring manner. And I'm not even talking about working in a proper film set (I have only worked in no budget short films). I usually work solo or with one or two partners. It is safe to suggest I am the average (or below average) working professional.

it's the long awaited sequel: man taking a hat and looking out the mfin window

I know what you mean about that, since I worry about the youth of today as well. But then every once in a while I realize that kids are a lot smarter than I am.

That's the thing, testing stuff in the real world and see how they work for you. I am 4 events in to my season and have made a couple of changes based on the experience of those 4 events. Not that I am unfamiliar with the kind of work I do, rather that the L Mount system I use combined with a very limited and sporadic number of events last year meant that I could not test anything as thoroughly as I would have preferred. It's been full on now for the last 3 or so weeks with 10 actual days attended, so getting a good flow and feel now. The S5 I have had in the 'B cam' role for a while. Since last year actually. That is, always on the tripod, longer duration stuff and also switched to 8 bit for that so I am not limited to 30 mins as I have been caught out a couple of times there and had to hit record again! It's also my 'AF tracking camera' with native lens, but back in 10 bit 50p mode for the best chance. With my S1H, my main filming camera that is always on me, I have treated it to a proper cine lens and Fotodiox ND adapter and have gone fully manual focus. I have mostly been shooting mf anyway, but my photo lenses not being ideal for video, found that it wasn't as great an experience as I'd like so might as well do it properly! The S1H/cine lens/ND adapter will get it's first run out early next week with a 2 day job. And last but not least, my S1R got an upgrade. Well, not so much an 'upgrade' as a lens upgrade plus a new sidekick companion. I do quite like the kit 20-60mm, but it's just a bit meh for me so bought the Sigma 20mm f2 which is perfect for how I start any day/event which is with some local scenery, the venue exterior and interiors, some establishing room shots, plus it's great for late on after dark dancing and getting in amongst them. The 'sidekick' is a used Leica TL2 armed with the now redundant (due to the cine lens) 35mm f2 and 65mm f2 Sigmas with the 35mm (50 ff equiv) doing candid duty and then using the 65mm (100 approx) doing the longer stuff my S1R with 28-70mm can't do. That also gets it's first taste of action this weekend and I expect it to do well as it's an 'extra' not an 'instead of' so anything it brings is a bonus. My DJI Action 2 however is getting far less well...action, than I hoped for but it's just too wide for my tastes really and just isn't adding much. I'll still use it for some BTS but otherwise, nah, not my thing really. Good to hear the S5 is working out for you. It's a decent piece of kit for sure.

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations. I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly. The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff. I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body. Can confirm the lovely Olympus colours are still present and correct!

Yeah, 8K 50p / 60p looks like a new standard to come for acquisition: source Do we really need IBIS? ; )

The GX85 plus the poor-man's Nocticron - the Lumix 42.5mm f1.7, which is a very good lens: