I'm so happy that I get to shoot all this but that I don't have to edit any of it. The files go straight to the theater's in-house editor and he can decide how to cut the whole thing together.
A quick explanation of why I am happy to pay $1800 and more for some of the Panasonic S-Pro lenses. Since we're working in low light on projects like this one I seem to end up shooting a lot of stuff with my lenses at their longer settings; and also set to their maximum apertures. In the case of the 70-200mm f4.0 I find myself shooting at f4.0 for most shows. If these were like lenses from the past I'd be hesitant to work at such a wide aperture but it seems that Panasonic are taking their lens design cues from Leica. The prevailing philosophy seems to center around making lenses that are so high performing at their maximum apertures that there is little to be gained from stopping down other than to increase depth of field.
I surfed through 300+ handheld images, shot at the long end of the 70-200mm, with the f-stop at its widest and the lens is sharp and contrasty at those settings.
Same with the 24-70mm which I use a lot at the 24mm focal length, also wide open. They work well and deliver very sharp files. Sharper than the images I got from nearly all previous systems. Nice.