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My wife that died was a huge photo fan.

Spent some time tinkering with the S1 and I have to admit I really, really like it. Ergos are fantastic and holy cow the EVF is flat out amazing! Touchscreen and LCD are so good, and IBIS looks really impressive as well. The AF and lenses are the big drawback right now. I'm always on the move and I now wear glasses, not going back to MF, especially with modern fly by wire lenses. Though that EVF certainly would help. The S1R/H combo would be a mean one-two punch for someone like me that splits paid work between stills and video. But until the 2.8 trinity and the Sigmas are out, the L-mount is a no go for me, so no GAS ... for now. Plus I'll see what Sony brings this fall with the a7s3 and possibly more with some of the leaked sensors @androidlad has been talking about. But man the grass certainly is greener when you have that camera in hand... I agree with the video above, the S1H is a big deal when looking at the overall market. Newsshooter's interview says Panasonic brought cutting edge cinema camera tech to a hybrid body before the EVA and Varicam lines, and elements will trickle up to the next versions of those respective cameras. That's huge. Chris

Slightly related as an alternative/supplement are programmable keypads so you can create your own surface. It has 23 programmable keys (ignore the keycaps as you also get a set of blanks) and these can be set to single keys or multi stroke macros. You can also setup four layers to increase the flexibility and it is very reasonably priced at £34, particularly when compared to something like the X-Keys products. https://www.amazon.co.uk/Mechanical-Keyboard-Koolertron-Programmable-Portable-23keys-Blue-Switches-Blue-Backlit/dp/B07SFFHQCJ

Don't even bother scanning your negatives. Way too much money for a good scanner, and the results are worse than sending the negatives off and having a professional company scan, and even print them for you. Might be worth having a printer, but even that is better left to Pro shops to be honest. I think the magic of this is getting and old camera with no Auto Anything and using a light meter to figure out what you need. If you are use to shooting you can use the Sunny 16 rule. But it will not be super accurate, especially if shadows are involved. This is more about being slow and observing your surrounds for a better angle to shoot more than just taking a picture quickly, then running to the next location. It is about the experience more than the shots. Just slow down and enjoy it, don't make it a job. You are suppose to look back at the 10 shots you took when you get the negatives or prints back and smile about the experience, fun you had, that is what it is about. Remembering the beauty of the location, smiling about the person you took a picture of. I just don't think you can do that shooting a Digital camera. It is too easy to accomplish with one. Just less satisfaction in it.

Where are you located? Language depends on many variables such as age, cultural group, geographic region and so on. Only to mention a few. English is 'the' international idiom by excellence, so it defies you to understand your English is everything you want but beyond your own or the usage you're used to in your circle. That's the cost to use an international code of communication. Not exactly the same to call it universal. I often think how hard should be to Andrew as British native to figure out what many of us are willing to mean over his pages. Me or you included : D About the poll, it is delivery related as title infers, not acquisition : -)

Alrighty.. I'll say it only because I know someone else will... Come on Panasonic, you have the words 'De-Focus' in the name!

Yeah, it's not too bad. In terms of what is a toy, if a 15 year-old kid who saved up money from a part-time job they worked after school to buy this, they'd be confident they've gotten the best pocket camera that money can buy. When the cinematographer who still prefers to shoot IMAX large format film for their features, but is resigned to the fact that they are sometimes forced by practicality to use an ARRI Alexa LF, looks at a P4K (or even an UMP) they may very well consider them to be toy cameras. It's all a matter of perspective.

I really like underexposed film though. Brings out the grain and looks really cool. Of course its a certain look that only works sometimes.

It depends on how you do it. For example, I develop my negs at home, then use an old slide scanner on an dSLR to take photos of them and then develop the image in Adobe RAW. This was you can really fine tune the image exactly how you want it to be. I used to send them off to the shop, but was never really satisfied with how they processed them (random chain store, nowhere near my develops in house anymore). This is a similar scanner, I got it for 5euros. Don't let any fear of delusions stop you, but maybe let them slow you down a bit and start with cheaper gear and see how you like it. I'd love to have the Xpan, and have them saved on my search lists, but the prices definitely stop me. Stills is a hobby for me, and having the stereo cam I mentioned before makes it that extra bit different to carrying digital. The Xpan would also do the same but at 500x the price. Have a look for a Sigma DP1 or 2, I've had both but sold them because the batteries drove me mad, BUT if you look at that as a replacement for changing out your film roll, then they really do offer a great alternative to film. The images have a very nice quality to them, and despite their shortcomings they are very fun to use, and they hold their value very well. I bought both from the same guy for 150euros and sold them for 125 each hehe. @Mattias Burling also liked them, and he paid even less for his!

Yup, I know I shouldn't have gone this high, but there was nothing I could've done to improve the lighting conditions. It was either that, or not getting the shots. Tell you what, I even boosted the RGB values only to get more gain.. But hey, both the band and I are happy with the results, so there was no harm done. ( :

That's why every one of us should ask Fuji for an open gate video recording - maybe they will incorporate it in some future update. I've already suggested it via https://www.fujifilm.com/contact/

Agree - no point in capturing in analogue if you are going to mash it up with a digital scan. Back in the day drum scanners did the best job with everything else quite a way behind apart from perhaps the Imacon. Not even sure if drum scanners are still around as the tech needed to run them is now obsolete.

No it’s the neighborhood dog terrorizer.

A matter of taste I guess. No part of any frame was too dark for me. Lovely looking and well worked. One of the better showcase films I've seen. I know you need a fair bit of production budget to get results like these, but what times we live in for entry level cameras, eh?

Sooooo......... not an 8K camera then.

I think that it's important to understand why you want to get into film in the first place. If you're looking to use film for the aesthetic of modern film (great colour, DR, infinite bit-depth lol, etc) then you'll probably want a fully automatic camera that is easy to use and you can easily execute your vision by controlling it like a semi-modern camera. If you want the aesthetic of vintage film because there's a surprise and (I think) magic in the imperfect aesthetic then you may not care so much about being able to execute your vision, but in a sense it's more a case of pointing it in the right direction and seeing what aesthetics come out, rather than what you specifically tried to put in. Both will (to a greater or lesser extent) give you the experience of using a film camera without burst modes or the ability to see the image until it's processed. For me the attraction was in the process being slowed down, but also in the kind of random magic that came out, even from the Tintype app I used. One thing I didn't mention about that app was that it stored the original image with removable changes on top, so you could revert it back to the straight image that the camera took, and I tell you, reverting to the original image removes 100% of the magic of those images. The beauty is in the horrific distortion. I would go out with the family to the beach and take maybe 20 shots (ie, went nuts!) and half of them would be keepers. The distortions in that app are almost a nostalgic art production-line. Almost anything looks great. Anyway, I'll stop now.

For me film is plain fun and I shoot all my personal photography on 35mm and medium format cameras. It helps to separate my day to day work stuff (product photography amongst other things) from my passion. There’s a lot to learn and a lot of experimentation which I enjoy. I like the results more than digital for family stuff, I spend less time in front of a computer and I love feel of the cameras. I like the delayed gratification of the development process and the anticipation of seeing the results. You can pick up a canon SLR for £10 and a roll of B&W for £5, lab development costs in the UK are £4 a roll and you can scan with a DSLR and an IPAD (light-table). Give it a go but go in gently I say.

In my opinion, and I know many people won't agree, but I wouldn't buy a film camera just for the experience. You can get that digitally. Turn off all burst modes and all auto functions. Limit yourself to one click every couple of seconds, turn off the preview and don't put the card into your computer for a few days. Of course it's still different, but the lessons of intention will still apply, and you'll quickly find it's not all that romantic. The Sigma DP1 and DP2 do a very good job of replicating the experience. As for making it look like film, yeah sure, nothing beats the real thing, but why stop with stills? Grab a 16mm camera for video while you're at it. With all that said, film cameras are mega cheap. I don't want to tell you how to spend your money, but I'd definitely start out with an old AE1 before moving to the Hasselblads and Leicas, test the waters before jumping to the big guns. Also, maybe consider a camera that does something a digital body cant. For example I do shoot a fair bit of 35mm, but only because there's no worthwhile, reasonably priced digital equivalent. The Stereo Realist and others like it expose two full 35mm frames with each click, so you have the standard photos, but you can also make a stereo image, which is really immersive. Queen's Brian May has always been into this type of photography, and his website www.londonstereo.com has some great info on getting started etc.

I agree about the feeling of it feeling special. I used a few different apps, the first shot was from an app called "Tintype by Hipstamatic" and I can't recall the other app I shot the second photo with, but googling will find some cool apps. In a way the app doesn't matter much as long as it does those delays and limitations. I really recommend Tintype though, a great all-around experience, and as you can see it can deliver really lo-fi results!

Edit: I played around with an app for iPhone that simulated the experience of film. It gave a square format, introduced a random amount of shutter delay, and wouldn't let you take photos faster than a few seconds apart. It then applied various filters to degrade the image (which had random factors built-in) and would save the photo but not show it to you. Even with this "far from analogue" setup the experience of shooting photos was remarkably different, in a good way. It made you slow down, there was anticipation about what you'd get (eg, if the tin-type stains would frame the person or obscure their face!) and the photos had some X-factor to them that made the whole thing worthwhile.

I actually just got a 90s Nikon 35mm camera. Film really isn't that expensive and can be digitally processed pretty cheaply. Film cameras are pretty dirt cheap too(depending on the model), I am only going to shoot film for paid photography work now. Its just way more interesting IMHO, digital photography is just a bit boring to me. Why try to replicate the film look when you can just shoot on film.

I have always had a soft spot in my heart for the Mamiya RB67. It is a big Ox but if you are going to shoot MF, shoot 6x7. You have to crop the shit out of the Hasselblad 6x6 that you end up with only a 645 size which is not so hot. Why bother. Plus the view in the optical viewfinder, and even the pop up waist level finder is to die for. And you can print Really big with one. And the big bonus is they just about give away the bodies and the lenses. Cheap thrills. But they are not a speed demon. Hell just go out and buy a 4x5 view camera and get crazy good results. You really learn a lot about movements using them. Shoot B&W, that is where they excel. Toyo makes a beautiful full metal Field Camera that is a piece of art for not much moeny. I like Horseman ones also. I have owned at least 30 MF cameras easy, and 10 or more view cameras.. They are habit forming.

Poor AF is really Panasonic's main roadblock to greatness. Virtually everyone else has at least somewhat usable AF at this point. Panasonic has no excuses left.

The micro port on the Focus locks in place in a slot so it doesn't move and is relatively protected from the elements. I trust it more than an exposed full hdmi connection.

Nice work, that looks like a really cool spot and event! By the way, for those using Linear, I am recommending a blanket desaturation to 90% following the conversion, until the next update is released

It's not that consistent, though. You can't always rely on it, which is frustrating. For some shots DPAF is great but it's not an AC. Just rent one for the right project imo–I think it will scratch the itch. The more I play around with C200 raw footage, the "thinner" I'm realizing it is, despite the great dynamic range. I'm surprised how much abuse C100 Ninja footage can take and how little the C200 can take. The log profiles are just so flat. The more I think about it the more I'm just like-I should just use either a dSLR/mirrorless if I'm focused on story or rent an Alexa if I have the resources. Alexa footage, even transcoded to 8 bit, can stand virtually any amount of abuse in post. My t2i had the best skin tones and best neutralizing of fluorescent lights. (Film is worst at that imo.) No other camera I've worked with behaves like the Alexa, possibly film scans do.... or the F35 maybe? It's something about the noise structure. Yea so I like the Alexa because it's noisy and soft lol... The C200 is also a lot heavier than a C100, let alone the 5D3. And it's not truly weather-sealed, though I have had great luck with durability from Canon in general. And Canon Log 2 sucks for grading. It's harder to find a fast wide lens than with the 5D3. I'd stick with the 5D3 if it's working for you. But yeah having your camera moves limited by not having an AC is frustrating and DPAF helps there. I do the most rudimentary blocking so everyone is standing in one place. Not good, but on the other hand whatever. But I enjoy the tech stuff and flexibility the camera provides, I'm happy with it. I mean I don't like the F55 raw either and was underwhelmed by the Red, I must be an Alexa fanboy. But I recommend renting one still, it's a pretty cool camera.

Might be the first of it's kind in a good way.

I am pretty sure there will be a GH6, but what price? I guess it depends on what they add to it over the GH5. But I still don't see how they can charge Any more than the S1.

There may not ever be a GH6, who knows. I don't see how they can sell a m4/3 camera for as much or more than the S1 FF is. Panasonic has put their ass in a peculiar spot. What, they going to admit the GH5 was too expensive and come out with a GH6 for 1500 Dollars? They may just give up on m4/3. I don't see how you can sell them when the XT-3, Canon RS is so damn cheap now. Look at the A6400, 900 dollars. Yeah we might not think the A6400 is the best thing since sliced bread, but to the average person getting into video it seems like a better buy being APSC than any m4/3 camera. And a lot of people don't even know Panasonic Makes cameras.

Kind of funny in almost the same year, 1981 as he did I paid $7000.00 Dollars for nearly the same system! So he might be right It could be a bargain. I made a Lot of money with mine.

Probably a case of sending your receipt to Panasonic by email or sending them your serial number, then they send you the Upgrade Key. It's free 10bit 422 VLOG so probably worth a quick email, just my guess. So $600 more than a Sony A7 III but superior specs in almost every category? Picture quality, colour, video modes, codec, frame rates, 4K 60, slow-mo 180fps, EVF, back screen, ergonomics, weather sealing, build quality, battery life, HDMI output (full size) and top LCD display? Sounds like a terrible deal! Damn if only it came with a freebie like a memory card!