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I am convinced Sony will go in the direction of Quad Bayer stacked CMOS sensors for the A7S series and it's a major reason we've waited so long for it. I also think the FS5's electronically variable ND filter will be in the camera too. Quad Bayer answers the conundrum of balancing low light performance and megapixel count. It is the best of both worlds and allows a 48 megapixel 8000 x 6000 image and 8K video - at the same time as 4000 x 3000 and 4K video with better low light performance. The proof of concept is sitting in my hands right now. Step forward the mighty Xiaomi Mi 9 smartphone with 48 megapixel Sony Quad Bayer sensor and 960fps slow-mo. Read the full article

Uh, Canon/Nikon/Panasonic would rather make you buy a $5000+ cinema camera for the better codecs than to put it in a $2000 hybrid camera. It’s called up-selling. Why Panasonic doesn’t offer it in its GH5S, a heavily video centric camera, I’m not sure. My guess is lack of compute power/heat dissipation in that form factor. BMD is doing the right thing. Offering great options in lots of different form factors. The fact that the P4K has BRAW for $1500 is insane.

But is that really wide when shooting in 4K? That’s a 28-60. Close to a Tamron 27-75 E-Mount zoom lens. Eh, it works but it’s an EF-S lens. Which kinda narrows its appeal. Im not hating on the EOS R. The final image out of the camera can be quite good. I’m just saying Canon could have and should have done better. We’re spoiled. It makes some shots much easier to do with one person, a camera, and a gimbal. Who wouldn’t want some half decent AF on their camera?

How did any of you lot manage in film production a few years ago, AF has only just become semi reliable? You all talk like you can't work without it? I'd say the RS is another major issue with the Eos-r - I've tried it and it is very noticeable and no you don't have to whip pan to see it. I had the Sony a6300 and I don't want to have to be so limited in how I move a camera again

This is possibly good news for MFT cameras and shooters. It sounds like a path to bring MFT into the 8K world in a cost effective way while combating some of the weak points like low light performance. I believe DoF will become a creative software choice in the future. I so enjoy the lighter kit and great video MFT offers. Especially when you have to lug it up a mountain or on long shooting days. Sure, the same can be applied to FF with even better specs but at some point I’ll trade image quality for other features I.e., better sensor stabilization, less weight, more FPS, smaller telephoto, etc..

I have also BMMCC, and I repeat myself several times, There is no difference between look and color between RAW and Prores!

I pray for world peace #1. But prayer #1A is for an NX2.

Definitely interested in seeing what these can do, but the problem (for me) with the Z-Cam and Pocket 4K is that still lack the main things I'm looking for in a video/cinema camera, namely internal NDs, great audio, and sensible ergonomics (buttons!). Not a fan of the box with a sensor in it system either, really. But I love that Z-Cam is doing the Super35mm sensor with an MFT mount - Can use MFT lenses (and crop in a bit on the sensor) for a truly lightweight rig or get the 0.64x speedbooster and have a wider FOV and a bit more light gathering ability than full-frame! So cool. Just hoping it could come from Panasonic.

This is, without a doubt, my favorite camera I've ever used.

Big fan of the new Cut page, I'm all about the fast edit and this makes it easy to quickly splice something together, then go to Edit for further refinements or just color and finish. I have to cut 9:16 and sometimes 1:1 social videos for IG and FB, anything that speeds up my workflow is a godsend. I absolutely love the triple timeline. The method of scrolling through the big timeline with a fixed play head will take awhile to get the muscle memory, I keep trying to move it instead of dragging the timeline. So I'm not saving much time just yet, haha. Fingers crossed the Cut page will also find its way to a Resolve Mobile iPad app with color wheels, scopes and other grading tools. Haven't found an app better than Lumafusion, but I rely on the RGB parade to remove color casts and balance things out, I tend to push things a little too far if I just eyeball it. Its my #1 complaint with photo editors like Lightroom, I prefer scopes to a histogram. Alas. So far 16 is a big winner, so glad I took the plunge and dumped FCP/Premiere. Chris

A lot of complaints of the latest episode being too dark for a lot of viewers. Hopefully not for this crowd. Watching it on my monitor in a darkened room, It wasn't much of a problem. But I can't remember the last time a color grade became the news. I do love the often painterly quality of the light in this show (although I do wish there was a bit more punch with the contrast).

https://vimeo.com/332730630 https://www.facebook.com/groups/888393238215598/permalink/1035263986861855/ From the DoP Charles Papert: The cinematography I think is amazing quality and shows amazing diversity of style for such a low budget!

Apple certification, license fees, can't be that expensive or difficult as Blackmagic manages it all the time on much cheaper cameras than the Panasonic S1. Sort it out Japan!

The prores does look like mush compared to RAW, though its barely noticeable when not zoomed in 400%, to me at least. That RAW is so sharp lol

H265 files for import are supported. I believe you can not export in H265. @BTM_Pix I had to do a very simple and small 5 sec/5MB video for use on a site, so I did the exact same on my gaming laptop (i7/16GB RAM/1060 6GB) and the 8GB RAM Surface Go. I used 4K H265 footage from NX1 cameras. I have no clue how the new CUT function works, so I did it in the traditional way. The export took 8seconds on the laptop and around 30seconds on the Surface Go. It is not ideal, but honestly I was expecting much worst. Certain things are possible.

The Z cameras do 10 bit external and 12 bit RAW is on it's way. When another mirrorles camera besides the S1 can do 12 bit Raw comes along then I'll agree that the Z lineup is "desperation attempt by them." (Nikon). The EOS - R is a joke for video and the S1 is almost a clone of the Z6. And don't come back with "if" the Z6 get Raw or no one wants Raw. ProRes Raw is no the data hog of other Raw codecs. What would have made the Z6 a breakthrough in your mind ? 4K60FPS pr two card slots? Because we all know the FS7 has two card slots. Nikon has the advantage of all the users that have Nikon glass coming over to the Z line up. Nikon owners are not switching to Canon or Panasonic.

The cinematographer is defending his work. https://www.theverge.com/tldr/2019/4/30/18524679/game-of-thrones-battle-of-winterfell-too-dark-fabian-wagner-response-cinematographer "people don’t know how to tune their TVs properly” .... “We tried to give the viewers and fans a cool episode to watch,” he said. “I know it wasn’t too dark because I shot it.” Well... I tried to give my wife a 4 course meal. I know it tasted great, because I cooked it. If she didn't like it, its because her tastebuds are wrong.

I have experience as Rob Ellis (https://www.youtube.com/watch?v=K8edgNMjj6M) BMMCC (orig.BMPCC fairchild sensor) colors and looks are amazing for my eyes. Just a simple adjustment of contrast and saturation and it's there! not DNG, just simply ProRes

NO SPOILERS PLEASE

My sister complained about it. I don't watch the show so I don't know though. I do hate stuff that is difficult to see. Works for some situations but for action I like to see everything well.

The problem is how fast and how smoothly the focus mechanism in the lens can track focus, which is both: working out if focus is lost, which direction to go to find it, and by how much; and also being able to actually change the focus fast enough. The other method is to analyse the lens ahead of time and store that data, in which case you don't need to assess how focused anything is, you just get a zoom reading from the lens and compensate. The XC10 does this, with its fixed 24-240mm equivalent lens. Unfortunately I found in real life that if you zoomed quickly it wouldn't be able to keep up, and also it wouldn't reacquire it through the lens data, but would require the focus mechanism to do it's thing. If you zoomed slowly then it worked though, so that was nice.

I have a GH5S, so no IBIS, and I just received my shiny new Pana-Leica 50-200mm f2.8-4. The OIS on this lens is pretty insane. I didn’t expect I could hand hold it at 200mm and get rock solid video of birds in flight. I deliberated between this lens and the Olympus 40-150 f2.8 but finally settled on the 50-200 because of the OIS. So glad I did. The variable aperture is not a problem with the GH5S as I can easily shoot up to 8000 ISO before I need to do some noise reduction in post. Especially if I’m downsampling 4K footage into a 2K delivery. Cant wait to start shooting some projects I’ve had on my list.

Yes it does. Windows is missing the codec, you can get it free from Microsoft here: https://www.microsoft.com/en-us/p/hevc-video-extensions-from-device-manufacturer/9n4wgh0z6vhq?SilentAuth=1&wa=wsignin1.0&activetab=pivot:overviewtab

Let's list out the Shortcomings of the EOS R 1. No 4k 60p and no DCI 4k. 2. 1080p only at 23.98/24/29.97/59.94fps. 3. No 120fps 1080p. It still has 720p for high speed video (in 2019???). 4. MP4 video format instead of MOV 5. Internal codec limited to 4:2:0 8-bit internal recording despite that monstrous 480mbps codec MP4. 6. Huge 1.7x crop factor with 4K (some even claim an imaginary 1.8x crop). Meaning low light would be an issue and the quality of sharpness may be debatable 7. Recording time limited to 29:59 for continuous video recording. 8. No IBIS and many of it's new lenses don't have OIS meaning shake would be like a bad amateur after effects job. 9. There was banding in photos, but it seems to have been improved substantially. 9. One of the lowest rated full frame Mirrorless sensors (especially for dynamic range). 10. Class leading rolling shutter (?) 11. PDAF not as effective in 4k as it is in 1080p (only a few people seem to have noticed this, apparently). 12. Not the most impressive battery life. Ok, I got bored writing this. There are a few more points. Maybe you could fill them out when you read this. Hehehe.

I see that it has done a lot of work, cut is amazing. But filmed it was what ? Fuji? A7III ? GH5 ? A7SII ? BMPC4C ? I still see the same image I don't like ..sorry. I am still waiting for something from the BMPCC 4K camera that will fascinate me in the picture ... and yet it doesn't come but it should be on time. On the contrary, I find more and more amazing stuff from old BMPCC and BMMCC. (Of course, a lot of waste ). I like your RX100 videos the most! the little beast RX100 is also interesting ... If I traveled like you, I'd rather have a RX100 in my pocket if BMPCC4K + Sigma 18-35 ?

Did it, I don't recall it saying "CineAlta" anywhere on the camera body itself? Maybe it got mentioned a little bit in the marketing for having 24p And for sure, for its time the Sony EX3 was very capable of and used a lot for low budget cinema shoots. It is easy though to dismiss it from a 2019 perspective, and forget the context of the time.

He doesn't have the camera to test it. Here is a review from someone who has it since 4/4. The Panasonic S1 REVIEW. Darn NEAR PERFECT Digital Camera Here is from someone who used it more than 3 months. Video shooting with Panasonic S1: Long Term Real World Review https://www.youtube.com/watch?v=95sH-HDHN4M He lack any credibility when he doesn't even have the S1 to try it for long term.

They confirmed they are working on ND's but not for the Z cam E2

Ah thanks for that, quite disappointing for such a new 'full frame' camera. They measured Panasonic S1 as having 12.2 stops to the eos-r 10.7 and that gap could grow even bigger when full v-log comes to the s1

I've read that FF is more expensive than APS-C because the same number of defects on a wafer will mean a lower percentage yield if you are cutting larger sensors off of that wafer. In other words, 5 defects on a wafer that will be cut into 100 sensors could mean 5 defective sensors and 95 good ones, 95% yield in the worst case. If you are only cutting 4 sensors off of that wafer, those same 5 defects give you a 75% yield at best. The conclusion is that a large sensor is actually more expensive per sq. mm than a smaller sensor. I'm not sure what the actual numbers are--maybe it is just a $150 difference as you read.

I think its bad idea for anyone, especially a professional reviewer to dismiss a camera that they haven't spent time with. That said for me with the X-T3 the EOS RP seems like a good way to get into FF. I already have some Canon FF lenses to try with my X-T3 and Viltrox speedbooster so would just need the body and adapter. Also while it does crop 4k the 1.6x factor is a perfect match for an EF-S lens. Where can I get equivalent lenses for the S1 crop? The S1R seems to do everything but for the price with kit lens I can have the X-T3 with gimbal, a zoom, couple of primes AND a speedbooster plus a Canon zoom and primes while I wait out the mirrorless FF wars.

The truth is that most filmmakers are doing fairly subtle zooms, so AF does work well enough in many cases to render the need for parfocal lenses redundant.

Nikon will get into the crop sensor mirrorless market for sure. With DX lenses and Sony, Fuji and Panasonic in the market it's a no brainer. Not everyone wants full frame and limitations on full frame makes it easier on crop sensor.

Works great with the C300ii and a 70-200 as well. You could say it performs as if it is parfocal, but there are situations where it won’t work

it doesn't make it parfocal, since that is, by definition, that the focus doesn't change when you zoom. But the focus does change and it is corrected by the focus. Sony got an interesting solution with the 18-110mm f/4.0 too, where the focus element is moved to correct. The problem with such electronic solutions is, that fast zoom movements can be too fast to correct and that you can't use those lenses on another non supported mount via adapter

What now?!

Price war on the G85 and X-T3 please

The A7iii was such a good value proposition at launch, that if it offered 10-bit 4-2-0 internally at launch, it would have completely destroyed almost all other cameras in its segment. I still think that while the S1 has superb video features (usable IBIS while walking, that insane promised VLog, superb low light capabilities etc), because the VLog will cost other $99-199 more, the gap between the S1 and others in its category will increase substantially (I am guessing it may go up to $700). Considering the lack of PDAF, the much larger and heavier body (like 1.4 times the weight and 1.70 times the volume of the A7iii), lesser battery life (especially in comparison with the A7iii), Panasonic should be careful with the pricing of the VLog. Or they should have charged $2200 for the S1 at launch (wonder if it would have been possible with the class leading EVF, the best IBIS, one of the best weather sealing, and other class leading hardware) and charged another $300 for the VLog (since it may require a lot more work and be too advanced for most users) I feel the price difference between $1999 and $2499 is huge, especially if one plans to pick up more than a single camera. The S1 prices will also go down, the only question is when. The Eos R on the other hand, is at the bottom of its category, and should, therefore have been priced accordingly. PS: These guys believe that a price cut is in the offing wrt to All Mirrors Cameras, including the S1. I am personally hoping the S1 hits $1999 and stays there. https://photorumors.com/2019/04/26/the-full-frame-mirrorless-price-war-has-started/

You know they will Gimp the hell out of it somehow. It might be a Turkey. Canon had better wake up on it, they are in a Hell of a crowded field now. This isn't just them and Nikon battling it out anymore. DSLRs now are really pretty much dead. Unless you are a Wildlife or a Sports shooter there is no reason to buy one anymore. And a APSH, APSC makes more sense anyways on both just for the extra reach of the crop sensor. Heck I keep reading about more and more people going to the Olympus EM1 X. It's cheaper than the top DSLRs, so why not. Crazy good IBIS is hard to turn down, along with lighter lenses.

Definitely considering a Micro. For me right now though the Ursa Mini 4.6k seems like a great deal. Just saw one for $2500 on ebay. Quite expensive compared to a BMPCC but crazy cheap for what kind of cameras it can compete with.

GH5s in a C100/XC10 form (or even Sony VG30 form) would be great. A real lightweight all rounder.

@thephoenix that is absolutely fantastic! I retime things quite a bit, and optical flow is great, but it doesn't do a good job when there is movement in the background, but this new SpeedWarp mode is really great. The video the guy uses is actually a really good test and shows the weaknesses in both the approaches. DR just keeps getting better and better!!

The man seems to be on something of a mission at the moment to sow the seeds of the destruction of his YouTube channel and therefore business. (Afghan Girl saga). Muppetry.

Bit rate has less affect on grading potential than the color depth and chroma subsampling. If you want to grade a look into your videos, or are shooting a lot gradients or contrasty scenes, you’ll want that 10-bit AND 4:2:2. However if you like the colors right out of the camera, like many canon people do, and don’t mind a little color banding here and there than 8 bit is fine if your not heavily grading. BUT like other people have mentioned different cameras have different compression hardware and Canon’s 480Mbps all-I isn’t necessarily the same codec quality as Panasonic’s 400 Mbps all-I. In Panasonic’s case, their 150Mbps LongGOP encoder is solid in almost any case except when motion cadence is of particularly importance (sports) or the scene has a lot of random motion (ocean waves). That’s when All-I comes in. For example I find Sony’s 8bit 100Mbps codec pretty crap compared to the 100Mbps IPB one in the GH5. I do wish however that Panasonic would release a firmware update for GH5S that would allow a rec. format that had 10bit and VFR that doesn’t cap out at 60fps. Or better yet 4K option higher than 60fps. I’d even take a 5 min record limited 96fps 4K HD wide (3840x1600). The sensor can do it! I’m not sure that is going to hurt their cinema sales. People buy cinema cameras for the ease of use and with more robust ports and battery options and monitoring solutions.

Shoot Braw or ProRes and compare it to cdng, Redcode, Arriraw, Canon Raw etc. In case you don't notice it, it isn't my fault and I don't care nor have the time to convince you.

I agree. This video looks really DSLR-like. Probably shot using strong internal processing (Braw or ProRes) and bad color grading in the limited V4 colorspace as well. But using cDNG and using the right colorspace this camera is actually really cinematic.

It isn't. With Braw and ProRes you get strong sharpening and NR (known as the DSLR look), with cDNG there isn't any - when sharpening set to 0 in Resolve. With Colorspace V4 you get weird lifeless greens and clipped reds which cannot be recovered. With Red IPP2 or ACES (after pulling back) you get perfect reds and greens. Small test I made using new Rokinon lenses and cDNG inside Red IPP2 last week - download in 4K https://drive.google.com/open?id=1RRTci4cyRqRsN7vNH1EMEKV1N89AXY9p

The old ProRes output didn't have any of these new issues. To bypass these newly introduced issues by the heavy internal processing you need to shoot cDNG and work in a better colorspace such as ACES or IPP2.