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4000 very clean, barely any noise at all. 12,800 is fine. Better than the A7S II 25,600 is ok. If all camera reviews had to wait for the A7S III, you would not be getting any reviews at all.

The S1H is the best featured mirrorless camera on the market for filmmakers - just to put it into perspective, let's start by summarising the entire competition as quickly as we can. Read the full article

Here's the first one to begin with : ) Let's add more entries?

https://moviesincolor.com/archive https://film-grab.com

After today’s Panasonic announcement, I found solace in this thread... Although, I am certain the S1H will be an amazing camera, I am so glad that Blackmagic recognized the desire for good old fashioned 1080p raw and ProRes over 5 years ago. But times change and sadly spec wars have become the norm for the foreseeable future. Oddly enough, I kinda smiled when I learned there wasn’t internal Raw in the S1H because even at $4000, these large manufacturers cannot offer what BM offered 5 years ago at a quarter of the price or what the Magic Lantern team figured out 6 years ago in a full frame camera. I will admit that the first company that can offer internal raw and IBIS or DPAF, for less than $2500 will get my money. And here’s to hoping that Sigma will sell the FP for less than $2000, even though I suspect it will be closer to $3000.

Yes, you can dial it down to 0 in V-LOG and it looks organic. Yes, it's there to lessen moire, rather than win the 48 megapixel chart test.

Back by popular demand, here are the sock puppet episodes:

I see some Canon fanatics here are already selling their FS5/FS7 cameras for this one. It will be a huge Canon success.

Good to know! May look into it as I really like the 25mm look owning a 7Artisans 25mm. I own the zeiss Jena tessar 50mm f2.8. Very nice character indeed. Though it's just slow for a 50mm. Heard good things about the 35mm f2.4, but whenever I get a medium/wide lens, I'm somewhat forced to get the equivalent brand 50mm. I've already owned the pancolar 50mm but find it a little saturated like Jena tessars and not as organic as the contax zeiss line. Never tried the Rollei Zeiss QBM Mount, wondering if they allow for infinity focus with EF Adapters or EF Mount. Cheers!

Yeah the Z6 is getting stupidly low in price. I’ve always liked Nikon but with this ProRes Raw fumble, I think they may be better off bringing internal Raw to the camera to try and save the entire Z lineup. The Panasonic S lineup isn’t knocking it out of the park, either. I think they really need to release so close after announcement before BlackMagic figures out how to bring IBIS to their next camera in October... hahaha. Honestly, if the 90D ends up with 24p, it’s as exciting to me as any of these other cameras. Lol. And although, I am one of the few that thought Canon had some decent innovation with the EOS-R, if they don’t up their game soon... then they may as well become a 3rd Party lens manufacturer... a $20,000 cinema camera that doesn’t have Alexa or Red in the name, seems a little pointless when compared to what the other manufacturers are doing for a few thousand dollars or less. As of now, the FP is the only interesting camera for me. Hopefully, it lives up to the hype I’ve built it up to be.

It all comes down to the footage and like you said, Blackmagic nailed it many years ago and I have yet to see anyone match it at this price point. Today, all anybody is talking about are the specs of the camera. But there are very little discussions, minus the ones like this, where people actually talk about the look and feel of the footage. It's a spec war and at the end of the day people argue specs and don't seem to care about the footage. Another reason why I love this little camera so much, because it doesn't matter about specs - it will always output something special that these other cameras don't have in this price point. With that said - I will say the the S1H footage that I saw today looked really good and its the footage below that actually does excite me for the camera and not the specs:

Yeah, my friends used to call me 'Inspector Gadget' as I was really into tech, gadget, doing product reviews and what not (mostly good value Chinese brands). Then one time I decided to attend the Hong Kong Electronics Fair/Electronic Asia (previously only been to car shows, not a convention like this) and hop over the border at Lo Wu into Shenzhen, pretty but boy that wasn't the revelation I expected. Most of the original Chinese quality brands I'd come to know weren't represented and people never heard of. Instead it was shiny plastic fantastic underwhelment. That taught me to just stick to online resources. Much easier to weed out the silly schtuff and find the kind of stuff you're able to appreciate. Still though, if I'm not a total zombie I'll check it out. Might turn out to be fun.

I'll wait and see what Sony and Sigma and Red have to offer. I suspect I'm not the only one here thinking this? I do wish they had surprised us with usable AF and internal ND. Not convinced by the footage so far. Need to see more.

I think its a bit like the Pocket6K launch which made the "enoughness" of the Pocket4K and £1200 to spend on lenses look like a better bet in many respects. As much as the S1H does, I gulped a bit at the price and considered whether the now heavily discounted S1 and the big chunk of change would be the better play. I can't help thinking that it would probably be possible to hustle a deal and get an S1 and a Pocket 6K for not far off the same price. Keep the faith, the FP will save us all !

Kinefinity Terra 4K can do 4K 125p and is definitely under $15000.

Actually I think cinema camera systems are dust resistant as the fans help keep the inside clean, Sony says the fs7 is also splash and dust resistant.

How the hell is advertised as DUST AND SPLASH RESISTANT with those holes on it ?

In the Panasonic presentation, the presenter says it around 8:52. Newsshooter also reported the same thing.

I think if you are in the area then there should certainly be enough to keep you amused for a day, particularly if you go and watch a few of the booth demos of editing/colour correcting/lighting stuff but just be aware with it being a broadcast show its obviously heavily biased towards that. Have a look at the exhibitors list and make a plan though as its a lot of halls to be traipsing through if you have no interest in broadcast encoders, cloud playback servers etc ! https://ibc19.mapyourshow.com/8_0/explore/exhibitor-alphalist.cfm#/ NAB is similar in a lot of respects with it being a broadcast oriented show but traditionally has had a better balance of things that will interest more people on here and has a lot more product launches and small booths with quirkier products. Again though, I'm not sure if in this more connected world where there are so many "accidental" leaks and you can watch product launches live on YouTube I'd be inclined to make the trip over there any more. Photokina has got more to offer these days, I think.

I think what it comes down to is actually even more simple than that - which camera will have the better image? At this point in the race, Sony is close to dead last, if not dead last when it comes to how the footage actually looks - so it's hard to actually say how much improvement we will see with the new A7S. Their colors aren't great and the footage lacks the cinema look that I am seeing from these S1H videos today. Obviously these video today were shot with super expensive lenses and by professionals, but they still look very impressive with great dynamic range, great motion cadence, and great color - with a subtle softness and good highlight roll off. To me that gives a very pleasing cinematic look that I do not have confidence in Sony to nail. I am curious, who makes the sensor in the S1H? Is it Sony or Panasonic?

I've been there variously as an exhibitor, journalist and a visitor on and off for the past 20 odd years. Its never exactly been a riveting experience in any of those capacities to be honest. If you can get there for the day and don't have to deal with the eye watering hotel prices in Amsterdam for the duration its on then its just about worth visiting but unless you're into broadcast/transmission stuff there's probably not enough to really justify doing two days there. I'll be going again this year though obviously

Soooo while Panasonic releases their latest beast of a full frame video camera Nikon quietly sneaks out a silent “we fucked you”.... nice.

Supposedly: "Shot on Atlas Orion for Anamorphic and TRIBE7 Blackwing T Series (Binaries) for spherical."

That vari angle screen design is clever. They were able to get around canons ff mirrorless vari angle screen patent with it.

Both Chinese Sony internet information war bots are reading from the same script today. Even the spelling is authentically human.

Maybe blog should go blank until Sony A7S III is out in 2022? No comparisons to actually existing cameras allowed! By the way ProRes RAW looks to be in development for the S1H although not got the official announcement text yet.

Lol very well said, sony fanboy being saying that since gh5... That was like 3 years ago!?

I just rewatched I think the around 8:52 he says it, although it hard for me to understand what he is saying TBH

Updated specs from CanonRumors. THIS is much more like it for their high-end cinema camera. Still leaves some room for the C300 III to play in. Still really needs 120fps in 4K though. Canon Cinema EOS C500 Mark II rumored specifications: Full-frame sensor Records up to 5.9k at 60p RAW full frame Records 4K60p in Super35 crop internally in Cinema RAW light Records 2k120p in Super16 crop in Cinema RAW light Can record in XF-AVC in 4k and 2k oversampled from the 5.9k sensor with 4:2:2 10- bit sampling CFExpress is needed because of the bitrate, the 5.9K RAW is 2.5Gbps, 4k is the same bitrate as the Cinema EOS C200 at 1Gbps RAW internal recording (both 4K and 2K). 4K is up to 60p, 2K up to 120p. Optional XF-AVC recording in 4:2:2 10 bit (4K up to 60p, 2k up to 120p) User interchangeable lens mount Optional modules with EVF, genlock, timecode, 12G-SDI, etc EF and PL mount available at launch

I suppose it says something about the degree of mistrust of Canon's motives and excuses that even jokes like that have enough of a whiff of authenticity about them to be taken seriously

IMO not, but for a different reason that you might think - it's not EF. The amount of times I rented/borrowed my EF glass to friends, 2nd shooters and even rental places made the lens not only free but it also earned me some cash. The amount of times I was asked to borrow/rent m43 glass? zero

This is one thing I like about having a normal backpack that opens at the top - I can turn it around and wear it on my front and get into it without putting it down. Great for touristing (which is what I do typically) so you can change lenses while waiting in line or shuffling in a queue or whatever, and it also means it doesn't get put on the ground and get dirty, scratched, etc. Of course, if you had a set and weren't moving then that doesn't really apply and you'd want something you can lay down and access it on the long side rather than through one end.

a tad offtopic, but I have to admit that the VLOGs of @DaveAltizer are one of the very few hat I really enjoy watching until the (suprisingly not so bitter VLOG) end. Top notch content!

In Europe usually you have to take out lenses and camera bodies. It has happened a lot to me lately. @Sparky I did a similar search not very long ago. I finally went for the Protactic because I had the impression that it would be fit for international travel. I have only traveled locally since then, and the local airlines are somehow loose on regulations, especially when you do "TV jobs" but I see it fit for most airlines. Chech beforehand with low cost ones, or take out the biggest lens before check in and put it back in after. What I do not like in this bag is that it can easily be scratched (you have to face it down to open it), maybe the similar Tenba has better material.

How many arms and legs will it cost?

Hallo friends, now here are the photos of my camera. I already revealed my choice in this awesome thread: the semilegendary Lumix G6 and the Fujinon 12.5mm 14. C-mount lens. Beautiful lens and awesome to hold with the G6. It does not quiet cover the whole sensor in 16 to 9, of course. I also used the 2x digizoom to really feel free from worries and creative limits. I think this setup is perfect for cinema verité pieces. Also, it was so enjoyable to realize camera movements without in body or lens stabilization, such a gratifying feeling. I think shooting 8bit 420 and with a rather slim codec was giving me some special kind of concentration during filming. A camera like the G6 or others put the focus on filming rather than to have to worry about battery life or 14 stops of DR. Handling is great and image feels very dear and unique to me. In 2x digizoom it felt like the readout was much faster. I was able to pull off some very steady camera movements. A bit of stabilization in post and sastisfied. Camera movement felt much more immediate than doing it with IBIS or in lens stabilization. Filming was done alot with 7000K in Vivid picture profile with contrast with everyting to -2. Grading and edit in Davinici. Like all of us I enjoyed filming and the results a very big deal and the write ups and crazy camera setups as well. Such a fun challenge and awesome two days of filming and editing! Let´s do it again, guys! Next challenge ahead with great anticipation and exitement!

So much this. WTH/F Adobe? There's no reason with their budget that they couldn't have released a cohesive "PRO" version of their editing software with strict hardware requirements and support so it's an effective reliable tool. Nope, just an endlessly buggy BS. My favorite new annoyance is this: I do a lot of slow-mo, and I like to shoot in 60p. So, I batch apply 50% speed to my clips for my 30p sequences. In bins I can scroll the thumbnails, which is helpful. However, latest version, for no discernible reason, will now "blank" all thumbnails of clips with any speed variance applied. They get turned to black. So now I'm looking at a bin full of black thumbnails. Basically, making thumbnails of clips with speed adjustment useless. https://forums.adobe.com/thread/2622768 Yes, it's not the end of the world, but it affects the workflow. One needs to fight Premiere to work effectively. That's always been the problem. It just doesn't play nice. I've been using Premiere on and off since version 1, so I know it's always been a problem child. Had a 15 year run there when I was on Final Cut and that was nice. One of my colleagues is still using FCP. I might return to it although I don't find it as appealing as the traditional version. Ugh, I dunno. Gave Resolve a spin but their version of using proxies was unreliable and everything I do is proxy editing...so still looking.

Yup, you know how many Ursa Pro owners are so happy right now that they have a B-Cam for their EF glass without having to putz around with huge clunky adapters? I get the appeal of a mirrorless mount and a speedbooster and the argument in favor of it is very valid but to say that the EF Mount was a huge mistake doesn’t really align with the majority of shooters the camera is marketed to.

I just posted a thread about a rumor on sony’s Fs7 successor, the FX9. Andrew thought this was not true so he locked the thread. He also locked the thread about the Red Komodo rumors. Why lock down the threads Andrew? Why can’t we talk about a camera that may be released just because you don’t think it will come out?

According to B&H, it's $3999 for body only.

Bullshit.