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my vid is up! outside of the review aspect, i would love your feedback on my edit/ tone of this video.

If we are talking in general terms of Panasonic v Sony rather than being camera specific, while the new S5II is a step in the right direction, Panasonic are not even playing in the same ballpark as Sony for anyone more than a hobbyist. Sony are dominating the market and Panasonic really need to start producing some exceptional cameras both at the FX3/FX30 end and to rival the FX6 if they want to compete in the next few years. Most professionals are not going to jump ship from a system of bodies and lenses unless they are given a very good reason to. Panasonic need to produce an FX6 which is as good or better than Sony's but at a much lower price for people to even consider changing system. Same for FX3 and FX30 level cameras. For enthusiasts or people who do their own projects then it's less of an issue to swap systems but to people who spend a fair amount of money on equipment, throwing that all away for a 1-5% improvement when pixel peeping is not going to happen. Panasonic have waited too long to get up to speed and without a proper video camera like the Fx6 I can't see them growing too quickly in markets other than hobbyists.

Cool story bro. If you can't get images out of the FX30 that don't make you want to vomit, that's user error. You're doing something very wrong.

Gents! I’m most likely preordering the S5II. The videos that compare to Sony seem like Panny is the go to!

Yes, if EF lenses are working well when adapted then this camera is a no brainer for a lot of people, including me.

Some pretty convincing autofocus test with Sigma lenses.

Just a casual little 120 shoot with my Yashica Rookie and Ilford Delta 400. I've really fallen in love with the 6x6 square format. Nailing focus at f3.5 with this camera is hard sometimes. I still kind alike the photo anyway. FRaming with the ground glass is something I'm still getting used to. It bugs me that the guy's knee snd toe are framed out but otherwise I like the photo.

Personally I’m not bothered about high frame rates. I’m all about ergonomics, image and reliability. The GH6’s LCD is a much better design giving much more flexibility.

Nah I’m good, skin tones just do not look good above 1600 or so. That infamous Sony blotchy-ness rears its ugly head. Noise is terrible too compared to the a7IV. So yes weird color shifts on someone’s face to me is vomit. YMMV. But this is a silly circle jerk since the OP wants something for photos. An ES only camera, without a stacked sensor or an EVF, that can only do a single shot like it’s 1953 instead of 2023, is just a poor recommendation. As a one camera/lens solution they’re looking for - the superior DR and photo capabilities makes a FF hybrid like the a7IV an infinitely better choice. And I actually like the FX30, even thought about getting one as a b/c cam, but it won’t cost much more to get better FF options like a minty used a7IV or a7sIII. cheers chris

The S5 follows the example of the GH6 when it comes to menus, if that makes you feel any better 😂 It's certainly an interesting possibility. It would be great to be able to say to potential clients that you can offer them a range of flavours of log, all from the same camera. Perhaps people with external recorders have been able to do this for a while now. You can make a LUT to convert to and from a range of gammas and gamuts using LutCalc http://cameramanben.github.io/LUTCalc/LUTCalc/index.html However, there's probably a bit more to it than that insofar as the colour response of sensor A is still going to be different from sensor B. In the same way that many Panasonic cameras have V-Log but do not necessarily match, eg: GH5 and GH6. Presumably, the difference between Sony and Panasonic [converted to SLog] could be even greater. (I guess Cinematch addresses by doing further colour matching based on model? If it doesn't, it should ideally) In complex edits where 2 or more different cameras were used it would certainly be more convenient to have the conversion of one camera to another baked into the file, rather than trying to discern or remember which camera took which shot and therefore which needs a conversion LUT and which doesn't. Nevertheless, I would do extensive testing before baking anything in for a few reasons: 1. The maximum size cube LUT in-camera is 33 point (or at least it is on the GH6 and I'm presuming it's the same). Might this create banding in some situations, where a 65 point LUT dropped on the timeline wouldn't? 2. There are a few hoops to jump through in creating the LUT to load in camera. The LUT you create might work well in your usual NLE but will give unexpected results when applied in camera, particularly in terms of whether it is designed to work on data or video levels. All this stuff can be figured out for sure, but like so many things in life there's more complexity to it than first meets the eye.

Panasonic (or at least their partner: Sigma) need to play this same game. Bring out an absurdly cheap couple of lenses. Don't care what they are, just make them cheap and preferably more than one. Could be a 40mm f4 pancake for $199. Could be a 35mm to 105mm variable f-stop zoom for $250 Could be a 50mm f2 for $199 Could be a 35mm f2.8 for $299 Whatever, just make a couple of them asap! To draw people into their L Mount ecosystem. As they have to play the same game the other companies are playing. Nikon/Canon/Sony/Fujifilm/Pentax all do this. (yes, even Pentax!) Pentax 50mm f1.8 = $97 Pentax 35mm f/2.4 = $117 Canon EF 50mm f/1.8 = $125 Canon EF-S 24mm f/2.8 STM Lens = $129 Nikon 50mm f/1.8D = $132 Nikon DX 35mm f/1.8G = $180 Pentax 40mm f/2.8 (it's an amazing pancake lens!!!) = $230 Nikon DX Macro Lens 40mm f/2.8G = $280 Nikon 28mm f/2.8D = $287 Canon RF 50mm f/1.8 = $149 Canon EF-M 22mm f/2 = $179 Fujifilm 35mm f/2 = $199 Sony FE 50mm f/1.8 = $248 Sony E 16mm f/2.8 (pancake!) = $248 Canon RF 16mm f/2.8 = $249 Nikon Z 40mm f/2 = $277 Nikon Z 28mm f/2.8 = $277 They need to do the same too for camera bodies, how else can they compete with the gateway drugs of: Nikon Z5, Canon EOS RP, Sony a7C / a7mk3 ?? Let alone the other gateway drugs they all have of APS-C cameras for dirt dirt cheap: Nikon Z30, Canon R10, Sony a6x00 Because as fantastically great as Panasonic MFT cameras are, they're unfortunately not a smooth pathway into the L Mount Ecosystem. Am glad to hear that Panasonic will keep around the S5mk1, as that's a smart move. Because as I'll say over and over again, Panasonic (and Sigma & Lecia) **NEED** a gateway drug (camera) into the L Mount system. Sony does this by keeping around their older a7mk3 (and even a7mk2!!) at cheaper prices. If Panasonic had the S5mk1 available for US$1.7K , then dropping down in the second half of this year to US$1.5K, then the S5 would do well at serving that critical niche point. (and just keep on dropping it down by another $100 each year, until five years from now it's being sold for US$1.1K brand new)