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There seem to be a few people happy with the EOS R, but there's no denying for most people it's absolutely rock bottom for mirrorless video (like all their other DSLR / DSLM) cameras when it comes to video. Even Fuji are miles ahead for video capture now. The frustration targeted at Canon is there for good reason., however it's best to forget about it. There's also a lot of talk about autofocus. Rightly so, this is absolutely fantastic for solo gimbal and I'd love to have PDAF in the GH5. Not having PDAF doesn't stop me shooting. However, A LOT of people have got really, really obsessed with it as if they've forgot to use manual focus (which I use 99% of the time). Manual lenses are way more fun! There's also a hell of a lot of bashing about the S1 cameras due to unrealistic expectations (requests for internal BRAW etc, what?). For video, there's literally nothing else like it and people are still complaining? We're spoilt for choice these days and there's something for everyone. Enjoy it!

Facts: It has a rolling shutter, of course like most cameras without a global shutter. In 1080p the distortion is tolerable. In 4K it's worst on the market up there with A6300. It doesn't have built in ND, it's in the adapter. Adapter NDs you can get for any camera. When you want to go clear you have to change the adapter, so not the same as having a true built in ND like the FS5 or C300 High bitrate? No, it's average at around 136Mbit in 4K and much lower in 1080p. High would be 400Mbit in H.264 or 200Mbit in H.265. Seamless transition between photo and video would be a "one click" of a switch which the EOS R cannot do. Unless you are hitting record from the stills mode, in which case you can't use all the features and have to frame-up in 3:2. Opinion: Clearly the EOS R is a great fit for you. Nobody is claiming to overrule that and I really do like your reviews. Got to get the facts right though when you make statements like the above, as newbies come here to learn. One thing we CAN definitely agree on though is the lenses... Canon EF lenses are so dominant for all the right reasons... rendering, performance, range, price. Nothing comes close.

With all the rage of full-frame video on the high-end (C700, Venice, Alexa Mini LF, Monstro, etc), pretty crazy there is a $4k full-frame camera that shoots 6K and does it in what will at least be a 10-bit codec (probably). No, it may not be what everyone wants, but it is quite the accomplishment. I really do think there are a couple of big features not announced today - probably just in case the A7sIII is announced in the next 3-4 months, Panasonic can come back and say "well, we've got that too!" - the flippy screen is a great example of something they didn't announce and yet, there it is...

Fucks sake. Well done Panasonic for NOT mentioning one of the biggest changes and leaving it up to some guy at the show with a sneaky shot of the prototype!!!

oh lol Got S1 and G7, but i m thinking getting G95 for 10-25mm, and sell S1 & R to get S1H Well said, after coming from A7III to S1 the AF is acceptable for me, the new linear focus options is really great for manual focus, Sony one is just pain the ass unless you got expensive GM lens for MF.

Yeah we are forgetting 6K is up there with the big boys. When we Really find out all the specs it might be one of the best FF Hybrids you can buy if you are really serious about this stuff. We sure arn't going to buy any of the big boy toys.

The flippy screen situation has sold me. I need a $4000 Vlogging camera in my life.

Really without irony, I actually admire people that use AF lenses - every time I tried that, I find myself as stupid without possibility to directly communicate with lens... Also without aperture ring I'm lost. I feel lens as manual painting instrument - I sold nice collection of Contax Zeiss just because Leica R's set feels better in that regard

I think this is going to be priced out of reach for most indie filmmakers and jobbing one-man-bands. Where I can see this being really popular is as a b-cam, tricky-corner cam, backup body, etc. on professional crewed shoots. If I was DPing on something critical with a top end cinema camera, I'd really love to have something like this sitting in a bag on standby. It looks like it's capable of being tuned to deliver footage that could live alongside top level stuff quite convincingly (based on how the S1 is shaping up). I can't think of a better combo for that particular usage (which is big money if it really catches on). Also, small productions (web series', multi-cam doc, etc.) might be interested. There's a lot of money to be saved over full-blown cinema cameras, especially if you're buying several units. I just can't see solo operator / owners coming in in large numbers. So far, there's not enough to suggest value over the other fantastic cameras in the sector. Plus, if you really need to step up in quality the fully-featured cinema cameras start to come into range for just a bit more. Also, the inbetweeny market is starting to come to life a bit (Z Cam), so there's that temptation too. I'm not so fixated on either FF or 6K as selling points. Of course, I'm happy to take them if on offer, but give me a really super-functioning S35 camera at 4K and my money's yours. The market as a whole may feel differently! So far Panansonic's L-Mount offerings all seem perfectly interesting, but from a selling POV, a bit niche. I hope they know what they're doing.

Ahahahahahhahahaha

This single photo tells us more than that whole press conference. What. The. Hell. 1. Active cooling. 2. Flip screen. What else does it have that they neglected to leave out of an important press announcement? How many people have been screaming for a capable full frame camera with a flip screen?! God, they bungled this announcement. They needed to create buzz and excitement. But it’s been named the most underrated camera of 2019 by Matti Hapaaja. Never mind it’s only June 2019. Never mind he received two free cameras from canon and “wasn’t paid” for his views. Uh huh. Boogles my mind that Panasonic did not try to hype this up. I mean canon can hype a 5DIV in 2019 (EOS R).

I shot and edited this back in November 2018, but didn't feel like sharing it. Looking back months later, I actually like the grade I did, so here you go: And here's some of this footage with a Super 8 look:

I have the S1 and plan to buy a second. Here’s my reasoning: I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND... Total discount (not including value of 2 3-year warranties) when compared to buying all items separately: 2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip. Retail total $7123. My total $5044! And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity. And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD. And Sigma native primes are coming. And Kipon makes a Mamiya MF focal reducer. Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings... I could go on. Seriously. How can everyone not be buying S1s?

Not everyone needs AF. Just as not everyone needs IBIS... what you really need is a camera that captures gyroscopic metadata and stores it with the movie file so that you can use software such as Reel Steady to stabilize your footage in post. I'm often using motion controllers. I like to use the motors to drive zoom instead of focus. With a reliable AF this works amazingly well. It's great for effortlessly creating parallax shots. I guess my point is, reliable AF gives you options... and can make getting the shot a little easier.

What I'm proud for is reaction of user base, including this forum. Passion and seriousness, in spite of different angles and voices, I think that make serious corrective impact. It seems that S1 price now is mostly in the acceptable and balanced frame for those who, whatever the reason be, need FF - all of that exclusively due to corrective force of market.

The train is obviously leaning heavily to the left. It’s bad and looks unrealistic. No “panPan” in that shot. People blog on the EOS R. There is a lot of panning when they flip the camera around or spin at all. No one wants to get in a pissing match about your camera and that you love it. Many people (even people who own it) express disappointment with Canon with it. It has some great features but a lot of compromises people can’t get over.

It will look like a 18-45 f3 on a GH5S. Which is even a bit more wide. On a GH5 with ETC it can be a 20-75 f3.5. If one doesn’t already have fast prime already (I don’t) this is a no brainer purchase. Especially since it has manual focus clutch and reduced focus breathing and a stepless aperture wheel for smooth aperture changes.

Shot on GH5 and GH5S with the new lens. Looks really good to me. This lens with ETC is a powerhouse.

You can get the FotoDiox ND Throttle Variable ND Filter to work with nearly Any camera. I have one and it works great, and they are cheap as hell. And Sony's new AF is even better than DPAF. Canon, unless they come out with something amazing, and soon , is fast becoming a has been company. They are far behind. The Canon ND adapter is a dust magnet more than anything. What the hell you suppose to stick in there if you Don't want a ND? I will give them credit for developing it, but it is an unfinished, half assed product.

There is one area that favours good AF and that's when covering live events (festivals, sports etc) where you don't have any kind of control over your subject. You have about 1-2 seconds to capture the moment and nailing focus manually within that time frame is quite difficult (atleast for me). In those cases the difference between a average AF and good AF can be a life saver. So I do think that AF provides value to a camera even though maybe a lot of us never have to use it in controlled situations.

The EOS-R isn't perfect but it has no rolling shutter, biggest and most affordable lens lineup in the world, built in ND, stabilization, c-log, high bitrate, great audio, seamless transition between photo and video, and of course a great stills camera built in. Until another company releases a camera in the same range to replace it I don't have much choice but to use the awful Canon..

If Sony finally does release a full frame camera with 4k60p and 10 bit internal it is going to have to be a much bigger camera than the A7. Their track record for dealing with the heat these specs would bring is abysmal. People have grumbled about the size of the S1 but I don't think a smaller body would work. Panasonic are the masters of dealing with heat - their cameras haven't suffered with that issue like all it's competitors have. I'm pretty sure that's a big reason we've not seen a Sony a7s3 - there's no way they can squeeze 4k60p in those bodies without it exploding, and now Panasonic have pushed the specs even higher with 6k, Sony will have to bring out a much bigger body to compete

Yes i'm usually always at 120p. Tbh where you setup your camera makes a huge impact. I shoot pro soccer sometimes and cant stand the size of the field. I actually think soccer would be a lot more interesting if they set the field marking to be around 30 or 40 yards shorter and no more than 50 yards wide. There would be more goals per match. Something like a Sigma 150 - 600 would be ideal for soccer but that's besides the point. Don't be afraid to move to get a better shot, If your kid plays forward/striker set your chair on the offensive end, middie? set up to dead middle or slightly to the left or right of the mid field line whether they are an attacking middie or defending middie etc, etc. Most of my reel shots and favorite overall are where i'm physically closer to players. Oh and I saw this paintball edit a few months ago and got hooked, planning on shooting the next local pro tournament. caution: music is explicit af

In Italy i have paid 3250 € for the Kit S1+24-105 with 4 years warranty and 1 spare battery. Now with the free firmware i find is a good deal...

They look nice af, but i'm not at the point in my career where I need a studio monitor for something like video village.

Looks like it does 5.9K @30p 16x9.

After this, the A7SIII better have a flippy/flip-like screen!

Framing in post is definitely a thing, but I could never learn to shoot wider than what I needed - my framing while shooting habits were too strong! The extra resolution definitely wouldn't go astray for you either.

Does it give the "tourist with huge camera" look?

The 3:2 full frame 6k is great for the marketing world. We normally have to shoot two or three times for 16:9, 1:1 and vertical video. 3:2 gives us a lot more flexibility.

Well this video sort of sums up our thoughts and concerns.

You make a lot of fair points, well done. I am not going to argue that much. I do think the S1 + Filmmaker Update is a good deal. Yes it has cons, as a system it is early days, the autofocus is a problem for many, many people... I get that, but let's not lose sight of the stuff we should be excited about, like the full frame sensor, doing oversampled 4K from 6K, really nice 10bit codec, V-LOG (from July), great colour science, market leading EVF better than even the Leica SL, superb ergonomics, articulated screen and huge battery. Also, it's a great stills camera for manual focus glass with that huge EVF. I think full frame 10bit 4:2:2 V-LOG and nice 1080p up to 180fps is something no other camera currently offers. Not Sony, not Canon, not Fuji, and when you consider it is $2500, that's a very good offer. I agree with your deal-breakers though. The AF situation will lose Panasonic a lot of customers. The lens situation is, shall we say, challenging when it comes to native stuff. Expensive, may be another word. Built in ND should be there on the S1H, but would add to the cost as well. I think Panasonic wanted to make an S1H based as closely on the S1 as possible without too much mission creep. I agree that larger screens we are seeing on a select few... BM Pocket 4K and Sharp 8K cams - would be great to have... but those cameras don't even have an EVF. Let's not decry the S1 for lacking a few niceties when it packs in a FAR more complete and well rounded feature-set. As one-man operator who needs AF, IBIS, built in ND, 10bit, 4K.60p, honesty you are not gonna find it ALL in one camera for $2000... Let's be real. Closest you will get is Fuji X-H1 or X-T3.... Maybe the A7 III... But not even these do all of that in one body. And if you go Blackmagic, you lose even more convenience. And good luck with an EOS R... You might need to buy new lenses to get any sort of wide end, if all you have is designed for full frame... And the rolling shutter is shit. No IBIS. No 10bit. No 4K/60p. No built in ND, the adapter is needed and it's not a pro piece of kit, sucks in dirt, not easy to go instantly to clear filter, and to top it all off, there's no kind of 120fps at all... Unless you count the 720p line skipped shite. I don't.

Looks like it does actually have that flippy screen so many were interested in though, so that's good: I did read somewhere, newsshooter maybe? That it does indeed have the same IBIS as its sister S cameras, I'll try to find a reliable link.

The overpriced infinitesimal lens selection part + no reliable AFC part Fine for you is not a criteria of a sucsesfull camera on an already crowded FF market. Drawing an example of RED or Arri is inadequate as they are specific cinema cameras that imply a CREW and a budget, I could have extra 5 ppl helping me to pull focus, comb my hear, blow my dick and read me news simualtenesly, if I am shooting with a 50k camera as well. A single cinema lens might cost around 20k alone, so thats a production level at which one can afford a dedicated focus-puller-boy (or girl for that matter, I prefer girls) Suggestion about having an extra 6400 in your pocket is quite funny. So I have to buy all the extra lenses for it right? And my focus-pull girl will carry it and shoot with it herself I guess. Need to remember about her salary as well. I dont want to invest in 2 completly different systems just cos Pana doesnt want to implement PDAF ignoring their users asking it for years. Will it? And only 1 year, why are you so sure about that? You think cheap Sigma lenses will solve everything? Not for me - they are a) huge old sigma lenses with build-in adapter, b) they have no CAF! Noup thanks. So it might be 3-5 years all we know or might be never. And I dont want to make such an expensive guess. I want to invest in system and start shooting day one. You can wait ofcourse but dont try to sel it as a feature. Its a huge drawback of an L-mount in general. We are talking about how to sell a 4000$k DLSM with an unpopular new mount, where both other of its relatives have failed in sales. Yes, you need to give customers MORE than just beeing equal or slightly better. Why is it hard to make build in-ND for fuck sake? Who needs shutter in a cinema-oriented camera for 4$k? And yes I would critisize everyone for not having a built-in ND in a video-oriented DSLM. But Pany is not in a position where they can make a slighly better camera with a miserable autofoucs, absent lens lineup and charge whatever they want. And the market shows that. I think its been answered many times before. Flip out screen is good not only for selfies. Its a generally more comfortable screen for video shooting. I would go further and make screens like Sharp did on their 8k MFT camera - now thats how you make it, if you want attract customers. Not an expensive or very innovative thing to do, but surely an attractive for buyers. You just want to ignore sales and marketing demand concetrating on few ppl who dont need aoutofocus or have external monitors. We are not talking about how good Pany cameras are stand-alone vs competition spec to spec. We are talking about L-mount system cost\features in general vs other systems. And right now they dont look very good. ------ For myself I have decided that I am not moving to a system with a shitty unreliable autofocus. Whats good having all those 4k60p 10 bit 422 raw bla bla if its out of focus? And dont start that old song about "pros doing manual focus for years". They've been doing many thing for years - with a crew and a budget. I need camera to work for 1 man crew. I need it to work on a gimbal or flycam. And I need it to be fast and efficient. Autofocus solves that for me. I love Pany cameras, I own one, but I guess Pany doesnt need my money anymore.

OK, so I finally got some time today to shoot a few shots with the PL 50-200 I received a few weeks ago. I'm very pleased with this lens. Everything shot in 4Kp24 at 150Mbps LongGOP in HLG on GH5S.

Wow.. that extra 100mm sure adds a huge amount of length to the overall size! and strange considering that the longer one is a 3x zoom and the shorter is 5x, which you'd think would be the other way around. Optics doesn't make sense to me a lot of the time! Ha!

I'll be modest and minimal - at this moment: update from any manufacturers of Pocket 4k specs and accordingly proportional price for improvements that include absence of fear of bugs, internal SSD slot and 1000 nit flip screen... it will not hurt if olympusian IBIS would be also there.

I don't know, I feel like the 1DX MK2 did well enough with solo operators. Granted it has and still has the best auto focus one can get. That said the Panasonic punches ahead in terms of low light, dynamic range, resolution, bit depth and codec. I think people are also underestimating the value of a flippy screen. Some vloggers have been using Pana G85's or GH5's almost solely for the flip screen. A full frame flippy screen camera that isn't a handicapped Canon has been long awaited. Probably a pretty niche market though. We'll see how well it does at $4000.

At least I include alot more detail than your blanket statement "Panasonic is the most expensive of the bunch... by a reasonable margin, asking $500 more than Canon or Sony" without taking into consideration of everything it has over EOS R. I was a Canon users for 10 years! No it's not. I got it for $2250 with free battery and grip ($450), free 3 year extended battery, free vlog FW update ($200). After selling the battery grip, it's $2000. Bargain really compared to 1DXII/5DIII days of buying camera. 1. While 30 mpx is nice for cropping, 24 mpx isn't bad either. I blow my image large to 24x36 no problem. I do it alot for weddings and I know plenty of wedding photographer do it for Sony A7III/A9. They have a 96 mpx mode if you really want the mpx. 2. I do wish Panasonic has better AF and eyeAF like Canon or Sony, but it's more than enough for me to do the job. Hopefully they get there. 3. S1 has -6 EV. I used it for 1 wedding already. 4. True. They have the best integration 5. ND adapter - yes excellent use of the adapter but it's $400 for it. Not bad but it doesn't come free with the EOS R. 6. Robust codec? What does it has after the free vlog FW update? 7. S1 works with EF lenses. I do wish they have AF-C but it's temp band aid until Sigma lenses available. 8. Great color science? As someone who shoot for 10 years, I find that is rubbish. Panasonic has great color. Heck even some scene, I find Sony to look nicer. 9. Size/weight. Sure if you want extremely portable package not 28-70 F2 or Sigma 105 1.4. For professional lens with 24-70, 70-200 2.8, it isn't much differences. EOS R doesn't have IBIS, better EVF, 4K 10 bit thus the smaller size. 10. Canon - that's all it take for you to buy? I say this from a Canon user of 10 years who own Rebel, 6D, 5D III, 5DIV, EOS R that is stupid to remain loyal to any company. I switch to any manufacturers provide me with the best value propositions. This include electronic like smart phone, big screen TV, CPU, car. I don't go by legacy brand name prestige. There are things I wish Panasonic does better like AF/eyeAF, and better EF-L adapter support, but I am overall happy with my purchase. I sold my 5D IV for $2000 and got the S1. It's crazy how much people value Canon and I get a great camera with IBIS, EVF, 4K, better sensor, and functionality. I can see the appeal of EOS R, A7III, Z6 and S1. S1 is just better value for me since I don't value AF-C, 30 mpx, seamless EF lens support or ND adapter as much. If you do, enjoy it. I know what I need for my shooting style and S1 it is for me.

We are on the similar line of thinking, it seems to me (subtle, almost "unnoticable", more unconscious-driven repetitions of little patterns). And, after you finish, let it remain for a day or two (or more, better), and than come back and give to it the "final cut". Your task is to find a shape to a mass of clips, to arrange a chaos, and also you could use, perhaps, the school so-called "3 minutes" rule (i.e. after every 3 minutes sequence put something diffrent, or begin a new sequence). - All I say is "theoretical", of course, and just suggestions, but sometimes it helps. ? Good luck! (I also use, very often, XC10 for docos, now combined with DJI Osmo Pocket which is better than my 6+ iPhone because of stabilisation and 4K. P4K is when I want to go special. ? )

I have a Tokina 80-400mm and it is amazingly small for it's reach. They are like a 120 Dollars or less on ebay. Built like a tank and a bit on the heavy side due to it's construction, comes with a nice factory bag also. Even the lens hood is about 50 miles ahead of any Sigma lens hood, which are mostly crap. Use it on my Nikon. This picture shows it fully extended hood and all. My Sigma 170-500mm seems like it is 3 foot long compared to the Tokina!

Indeed it is! TBH I'm a quite disappointed. I found his review to be more from the perspective of a YouTuber rather than a cinematographer. For someone who reviews things like Kinefinity, EVA-1, FS5, C200, Fuji MK cinema lenses, cine primes, etc (and quite well and thoroughly I have normally thought) he basically just tested the marketing claims of the GoPro and Osmo, and gave us a Codec and IQ 101 mini-class. He accepted the premise of the products (as action cameras) instead of ignoring the premise and testing how well they would perform from the point of a cinematographer. What was missing was all the stuff that we argue about on here: No talk about ecosystems and how they do or don't fit with basically any other equipment (recording time limits, mounts, audio, use on tripods, etc) No discussion of post-production except in the context of stabilisation or to examine the DR Really not much acknowledgement that anyone would use these cameras as anything other than action cameras Things we should have learned (that I already know) include that the X3000 has tripod mounts not GoPro ones, and has a 3.5mm audio in jack that doesn't require an extra converter, how good the low-light was on any camera other than the GoPro and Osmo, what the 3D flippy camera footage looks like (was it in there at all?), what they might be good for other than stabilising the footage you take with them, etc. Beyond knowing that productions with real budgets use GoPros and other prosumer/consumer cameras, I know very little about why they use them, how they use them, how they hide it, and what things I should be considering. PB knows a lot more about shooting than I do, but he didn't bring anything new to the table on this one, unfortunately. Speaking of things we didn't learn..... Imagine is the key word here, because it was notably absent. In fact I would sum up his video as the antithesis of the title - I think it was just another action camera comparison, just like all the others that grabbed as many small form factor cameras as they could, made a thumbnail, introduced the video as a huge camera roundup, then mostly ignored the others and only compared the GoPro to the Osmo and forgot that Sony, Yi, SJcam, etc even exist.

Very nice! Shot on GH5 and GH5S.

Interesting ideas. I'm familiar with repetition and evolution in music, but how would you do this kind of thing visually? Just thinking out loud here, but at a shot-level it would be kind of hard to create in the edit, but you could have little patterns in sequences like a wide-medium-tight at the beginning of each scene perhaps, or a certain rhythm in the cuts perhaps. I heard that in film school they talk a lot about layers, so you have these recurring themes that don't directly influence the plot but kind of weave the footage together on an aesthetic sense perhaps, like colour schemes, or set design, or language, etc. I guess the answer is probably all of these things. In a sense I have developed my own visual language with a title sequence that is similar for all videos, and I tend to do straight cuts when I'm cutting within a location or event, and use dissolves when I'm transitioning from one location or event to another one. I have noticed that other travel films have used a quick fade-to-black for scene changes which gives a different feel. I'm still working out how best to get from one location to another, if it should be travel b-roll or not, etc, but it is a repetition of sorts. I mostly just edit down the events I film in the order they happened, and I know that docos are often highly chopped up. It made sense to me how you could have a three-act structure (or other structure) in a drama, and also in a doco, but I couldn't see a link in-between my sequential editing and these structures, but I think I'm starting to understand how I could subtly weave such things into my edits. It wouldn't be obvious, and I already have a kind of emotional arc by using the shape of the music I include, but I can see that you could push things further with subtle things like edit timings, grading changes to make the film ebb and flow a bit more, etc. These techniques might be the way to give my films an ending without deviating from the chronology of how things actually occurred, which I'm keen to stick to, at least for the moment. Definitely something to contemplate!

Here we go! I like the looks of it, minimal focus distance and minimal breathing.

Nikon video AF looks fine, but currently Sony seems to take it to another level, with magical levels of stickiness with object tracking. Considering a camera that is capable of wildlife and action video/photography, this could be a deciding factor.

Nice test. I'm glad the dynamic range benefits come across, and the other main priority was getting the Nikon colour science into LOG format. I don't like the colour in N-LOG over HDMI, looks whacked. In-camera it is SUPERB and comes through in Z-LOG. The Z6 has come in for a lot of stick in reviews and not hard to see why but it's very capable. Nikon made a few critical mistakes which shafted it on the market so nobody is buying it No dual card slots on a pro camera. Cheap looking, but expensive F1.8 primes. Consumer leaning design rather than all-out aimed at pros and high-end Sony users. Speaking of which, Sony users tend to be quite satisfied at the moment and most have Canon lenses, not Nikon. So Z6 is a hard sell to quite a big proportion of the market. Canon users can't bring their lenses. Sony users haven't got a big reason to move sideways. Nikon users probably only just bought D850 and not ready to upgrade. So hard to see a market for Z6. When you get down to it though, the nuts and bolts of the Z6 make for a wonderful camera and shooting experience especially for video. Great ergonomics and feel, no crop factor in any mode, really good for full frame 4K, very good full frame 120fps as well and will be getting ProRes RAW over HDMI when nothing else is. I also find it has very good 5 axis IBIS, more steady than Sony's version, amazing colour science, again better than my A7 III and very good AF for video with Nikon / native glass. Come to think of it, it's a tough choice between the Z6 and S1 for the most capable FF mirrorless prize. Of course S1 has better codec... Well it will do come July... but there's a smaller gap between 8bit and 10bit than people realise when 8bit is done well (see Canon 1D C... and Z6 / D850). To get a big leap you really need RAW not 10bit. It will be fascinating to see how S1 with Filmmakers Update and Z6 with ProRes RAW compare, although I still HATE external recorders. The S1 also has a more "pro" body, dual card slots, springy high quality shutter like X-H1, higher 180fps for slow-mo and an even bigger EVF although the one on the Z6 is very good indeed. What would you guys choose if only one?

I picked up one yesterday to test and the non-locking doesn't really bother me. The mic jack fit is snug, plus you can run it without a lav. It sounds best running it at it's lowest gain setting into a mixpre-d, it would be the opposite running into noisy DSLR mic inputs of course. It sounds even better with a Sennheiser lav as tested in this vid, but in a noisier or live room I don't think non audiophiles would notice any difference. I just bought 4 or them, and I'm thinking of getting 2 or 3 more. People have had issues with the dead cats falling off, but mine fit well. Rode said they were working on a fix, I may have picked up one of the new ones, Rode HQ is about 20min drive from my house. No sponsorship deal as yet, but I've been using Rode mics for 10 years and these babies should complement my NTG-3 well. I do prefer the sound and the XLR receivers on the Sennheiser XSW system, but the 4 things that swayed me to the wireless go were: 8 unit operation vs 5, 3 gain settings vs 1, optional lav vs lav, and $250 vs $600.

The reviews mention better "image stabilization" is improved. Did everyone miss this? 4K oversampled from 6K "With a completely new sensor, the camera now does a 6K full pixel readout to produce ‘perfect’ oversampled 4K video. At the same time the image stabilization is also more improved." http://thenewcamera.com/panasonic-s1h-camera-press-release-full-specification-and-intro-videos/?fbclid=IwAR13sfO2ASgqwWoY05mKtGHkiDFAU1lZmjcORO1x2r0uNsh6atQLRy6Pw30

3:2 works well for 1.5x anamorphic