Ranking gear can be interesting.
If I ask myself “what do I go to automatically when I…..” this is the hierarchy.
My best video cameras if limited to non RAW in-camera codecs, V-Log, V-Log-L, Flat, or Standard;
S5 has a slightly more natural look than the S5II with 14+ stops dynamic range.
S5II with full frame range.
G9II as a new generation MFT.
GH5s an older generation MFT (which has it’s moments).
BMPCC4k, an even older MFT camera, sharing the same sensor as the GH5s.
G9I (x3) which only has Natural or Standard with reduced contrast, V-LogL is a paid upgrade and I have not gone there.
Best camera exporting out to a RAW recorder ir recording internally;
BMPCC4k, because it not only records internally, but can also record ProRes RAW if needed (need to update the firmware, but easy enough). It needs to be used in 4k to retain its quality, but there is quality, tons of it.
G9II has the best integration with off board B-Raw and the best overall specs, but usually does not get used with a BMVA (see below). It lacks the dynamic range of a full frame but does get the benefits of later generation Black Magic support, like highlight recovery.
S5 is my most used B-Raw cam, simply because it is a great all rounder, but it’s output options are limiting (only 6k in full frame).
GH5s is enabled by B-Raw, it runs long and cool and lives in my “big rig” with the large 7” VMVA.
The rest cannot without paid firmware upgrades, but can export to ProRes.
Best static endurance camera;
GH5s which seems to handle 2 hours+ with no issues. Simple camera, low pixel count sensor, lower res screen, video centric design I guess.
BMPCC4k basically set the same as above.
S5 which does well with NP’s but better with V-Mount.
The rest. These all do ok and the S5II/G9II can run off external power with few issues.
Best camera for movement (camera and subject);
G9II MFT gives this a slight edge in depth of field (AF), stabilising and lens weight. The Leica 9mm is the enabler here.
S5II is very close, really only lens bulk is against it.
S5 is a hefty carry with my current rig, which with its very good (read better than most) stabilising is enough for professional results
G9I’s which are no slouch, just amongst strong company.
The BMPCC4k with its gyro stabe, which is ok, but no real threat to the cameras above and the body is very light and oddly shaped, reducing its effect.
GH5s has no stabe, although with the heavy V-Mount rig, it does that edgy “hand held” look really well.
Best camera for special effects and range;
G9II with All-i and high frame rates in camera is by far the best
S5II is good enough, just not a G9II (which is closer to a S5IIx)
BMPCC4k for its small sensor dynamic range, ProRes RAW and ISO performance.
GH5s with All-i and decent frame rates.
S5 is less happy here, but still capable
G9I is showing its dated hybrid pedigree, although it can do 4k/60 in short bursts.
Best Hybrid
S5II is limited in many ways, but is by far my most relied on “fall back” video camera.
G9I cannot be underestimated and are really only used this way. I shot a quick clip recently in Standard and if you avoid highlight clipping, the results are very decent out of camera, enough for me to carry a mic and ND filter for. The camera is capable of more, but not as used as a stills cam.
G9II with SSD gives me better potential quality enabled for ProRes V-Log, but it is more fragile and bulky, not really a hybrid, because I do not use it (enough) for stills.
S5 out of its rig is just ahead of below. De-rigging it is not an option in the field, but in an extreme situation, I might press it into service.
GH5s, my most video-centric camera, was in part bought over the BMPCC4k because it could be pressed into service as a stills cam. 10mp, no stabe, but otherwise a perfectly capable option.
BMPCC4k, which cannot take stills, so it fails here unless you lift frames from its 4k.
So, no clear winner.
The S5II is less used as a video cam, but my first choice to go “bare bones”.
The G9II is the most capable on paper and clear leader in several areas, but its superior capabilities in B-Raw are neglected in favour of its strengths outside of that.
The S5 is settled as my primary static-mobile video option, my BMPCC6k with perks and in its role as a B-Raw, cine lens platform, it is nearly ideal apart from limited RAW output options and that pesky little micro USB port.
The GH5s or my “mini full frame” in its big endurance rig is my ideal static camera. It is not as good in low light a s a full frame, but ahead of the G9II and in its role, it is safe and reliable.
The G9I’s, a pair of well worn and much loved stills cameras are the platform that launched me into video and with a few different choices, they might have carried me through (V-LogL firmware, RAW to off board recorders etc*). If needed, out of camera Standard with reduced contrast produce footage that will fool most.
The BMPCC4k was bought as a clearly better value option than another BMVA 5” off board recorder and to add better Resolve integration (and because I needed to know). I had all the many bits you need to make it work, but without those, I would have nearly doubled its second hand price, so a situational win.
Matching these together is possible.
The GH5s, G9II and S5 share a cooler colour palette, so they match decently, about the same difference as switching lenses and even when mixing B-Raw and ProRes V-Log, I can get a harmonious look.
The S5II is warmer rendering, but the differences in codecs and sensor are mostly irrelevant in its role as a hybrid and oddly, the footage matches quite well with G9I footage, it’s likely partner in that role.
The BMPCC4k in B-Raw is different to my other cams, but reasonably close in real terms and a good point of reference.
If I need to run all 5 cameras together, I will use a mix of V-Log, ProRes, or Standard profile, which tends to grade closely and in that codec, I can adjust the colours in camera to match close enough.
*The thing that mostly blunted this approach was information. I could not get clear direction about B-Raw, good V-Log examples etc and most users relied on its OOC capabilities. Turns out I can record ProRes on a BMVA, but as is, from only HLG, Cine-D or a Rec 709 codec.