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We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

What was to stop Sony using their own Fuji X-T3 sensor in the A6600 and at least make it compete? Or was the sensor a Samsung part after all? Is Sony really telling APS-C users in 2019 that they don't quite have the technology to do 4K/60p or reduced rolling shutter on a crop sensor? No 10bit? Honestly buying a 2016 cam in 2019 just seems a bit of a waste of time.

My hands on first look and footage vid is live. Love the camera!

As an a6300/a73 owner I don't give two shits about the new a6x00's, especially the "flagship" with the old sensor and same video specs. $1400 gets you a Z6, which outside of AF and photo FPS speeds, is superior in every way. The only way Sony gets my cash to upgrade the a6300 is the XT3's sensor and 10-bit/4k60p, but its obvious that's not happening in the next 2-3 years until the next gen bodies are released. Been tempted by the XT3, but I mostly use AF and I don't want to carry two sets of lenses, so I'm still in the Sony camp for now. But I'm also in the camp that doesn't expect the a7s3 to be anything close to the S1H, IMO it gets a new sensor - Andriodlad says the quad bayer is coming - and the new AF system, with 10-bit HDMI only to keep it out of FS5 territory. I've done a lot of work in TV and doc's, its split between C1/300's and FS5/7's in my neck of the woods. Everyone shooting commercials I've worked with is on Canon or Red except one company that uses a FS7. I can't imagine Sony letting the a7s3 run into FS territory the way Panasonic just created a FF mashup of the EVA and GH5 in the S1H. Sony is going more conservative with every new camera. Chris

4 years wait! That is a disgrace.

I’ve never had an account in here. Just lurked. But I finally had to sign up. Some of us grow so tired of reading your repetitive assumptions, theories, and misguided opinions. No one in their right mind thinks canon removed 24p to save a bit of money. Furthermore the license fees fees have an annual cap. Once a company hits that cap it can’t cost them more. I imagine big companies that manufacture video equipment using these codecs hit that cap regularly please stop repeating the same terrible excuse every page

Having some fun with 2 old cameras... When i'm in the offseason (I shoot sports) I like to shoot random things around the house and practice shooting, lighting, and sometimes grading to keep my skills in check. I spent half an hour shooting this and around an hour and a half editing to make this little 50 second edit. Anyone else do this regularly as well? If so post a video. Video Notes: Shot in 4K 24fps: Cine 2 - Cinema Color Space Exposed bright white to 80 IRE. Camera and lens were lit with 2 led panels at separate color temperatures. (Cold key and warm fill) Used a vintage Olympus 50mm F1.8 with a SmallHD 701 for framing, focus, and Waveform monitor for exposure. Corrected and Graded in Davinci Resolve 16.1 Studio (Beta) with a double node Lut workflow. Last but not least, the shots of the A6300 were done with the FS5 in the same color profile. All 8bit 4.2.0 ofc

They should've removed 24p.

The electronics manufacturers have always had a strange relationship with 24p. It's tempting to look at classic cinema as a quaint, anticipated thing of the past. It's an under-fire aesthetic like never before. YouTubers seem happy with 30p or 60p and TVs do their best to smooth over the cinema look by default. Well, not any more - according to the Hollywood Reporter, Filmmaker Mode is debuting on upcoming TVs by virtue of the UHD Alliance and some of cinema's best known directors. Read the full article

OK so here's the thing about add-on EVFs. They are all shit. They all need stupid wobbly cables, they all upset the centre of gravity and balance of a mirrorless camera, they all draw attention to you so people know you're shooting video in public and the Permit Krackens swoop, people get upset, etc. They all cost a lot of money and they all take big chunky 1990's style camcorder batteries or hook into an even bigger v-lock brick on your spidery stupid rig, and therefore they are horrible to use, horrible to pack away, horrible to assemble and slow to boot up. Then the battery dies, poof. And all that just to see the fucking picture under sun. I despise external recorders and external EVFs. None of the manufacturers have innovated. None of them have stepped out of their cinema bubble and come up with anything as elegant as a mirrorless camera's built in EVF. FF vs S35 is not a comparison dependant on the codec. The aesthetic is different, the lenses are different, the lens circle is different. Discuss that, then we can discuss the codec separately because it is literally a separate topic! EF lenses still rule, of course they do, so put one on L-mount with the Sigma adapter. Done. Price chasm is not that big. In the UK for instance Pocket 6K is £2300 and S1H £3599. But the Pocket 6K has no EVF so you need to add one for £1000 The Pocket 6K has no stabilisation so you need to add a cage and shoulder rig for £500. Alas the Pocket 6K has a piddly little battery which the meter decides it has had enough off after 10 minutes with random shut downs, so add the v-lock for £300 minimum. Final price? £4100. Don't get me wrong I love what Blackmagic did with the image and codec. Just wish it was in a different camera not the shit one they put it in.

@Mattias Burling Any word on Kipon about a EF-RF Speedbooster? In other news Canon just announced Eye-AF & Subject Tracking improvement firmware:

Don't waste your time with LPE6 batteries, Canon or otherwise. 20 minute run-time just isn't worth the hassle, nor the embarrassment. Get some Sony NP-F970 clones and one of these https://www.ebay.com/itm/Full-Decoded-LP-E6-Dummy-Battery-NP-F970-770-Mount-Plate-Adapter-for-Canon-TK/202760180667?hash=item2f3572d3bb:g:HV4AAOSwvpVci7MT You can mount it to the 1/4" hole on top of the P4K, or onto a shoulder rig with a rail mount like I do. You'll get 1.5 to 2 hours run-time per battery, and they cost about the same as a Canon clone.

This ist where ze magigk ist happeningk! Meanwhile forrest dropping by two percent, ocean is too. Two people with manic smiles. This ad shows well what this is all about.

Of course you'd find a way to be negative about this. Been putting down these S cameras post after post. Now the S1H will do RAW too courtesy of Atomos! I'm sure you have something negative to say about that too. Oh, and Sony doesn't even offer 10bit internal or external on any of their cameras. Stuck on 8bit no 4K60p! In 2019! LOL

With 6K of resolution to work with, EIS should be easily achievable with a small crop. However, it is 2019 and 30p is still cropped with no EIS at all in a fucking flagship.

This isn't 360 cam though

the new 2.8 zoom doesn't have OSS, which is a big miss imo

The 360 concept is definitely the future of action cams. They just need more resolution.

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

I was being sarcastic and irreverent! I DO believe Cannon has executives that are completely BLIND to what is happening in the industry today. They are leaning heavily on their logo's historic reputation right now. I dont think they truly know that their logo's gas is running out! Cannon is turning into a dinosaur right under their own noses! I think that Cannon is doing exactly what BlackBerry did that caused their great fall. Arrogant....absolutely arrogant in every way. They will look back at themselves 5 years from now and clearly see how their own attitude ruined them.

Guys,...stop making fun of Canon. They may not be on Sony, Panasonic, Olympus, Yoshica, Pentax, Polaroid or Kodak's level.....but they are doing they best they can. The problem is not Canon, its YOU people that have ridiculously high expectations. Canon ahouldnt bend over backwards to try and meet your unrealistic ideas Just buy the damn thing and be happy with the 30p you get!

Since you obviously know exactly what's inside a typical Canon camera of this class, could you please explain what extra hardware is associated specifically with providing 24 fps frame rate video capture and encoding (that wouldn't also be used for 25p and 30p)? P.S. I'm a very experienced electronics design engineer, so I can probably understand the technical detail you might provide...

That is an immense amount of data. How does that achieve Fuji's claims in the slideshow of reduced rolling shutter and less overheating compared to a 6K mirrorless camera sensor output? I'll believe it when I see it!!

Well said. The cheapest camera with 24p is probably something like $80 And people still believe the Canon rep PR spin that 24p had to go to bring the price of their $1400 camera down a bit and that Canon did everybody a favour and it's good business! LOL! People are so gullible it saddens me to the core. Even the EOS 1300D has 24p! Obviously not in 4K but this is one of their cheapest and worst DSLRs. There is a reason Canon do not want filmmakers and enthusiasts using 4K 24p for under $2000 and it has nothing to do with profit margins, licensing costs, technological capabilities and everything to do with forcing these advanced users to pay more for a different model, end of story.

32bit float? So it's the Sound Devices version of the Zoom F6 that has been delayed into October?

The S1H has the potential to be a cult Indy favorite. The price will slowly creep down. Panasonic will release firmware to keep it fresh and exciting. It has the capability to do ProRes Raw for people that want it (with extra cost and build out). It seems to have a great 6K image with a strong codec to affordable and ubiquitous SD media. It has IBIS, which is valued more in low budget Indy stuff, that can be locked down when you want to reduce the floating sensor affect. I suspect it’s capable of more. Just as the GH5 was and the GH4 before it.

Are you American? If so, you can certainly write off just about everything reasonable as business related. If you get audited you'll have to justify it to the govmint though and they may not agree.

The canon t1i saves even more money. It had an all plastic body PLUS only 720p at 24fps, which must have been substantially more cost effective than to compress 1080p at 24 frames every second. Of coarse canon decided to take a risk and lose some money in order to be innovative once again, so they added 1080p 24 to the t2i. Sadly this cost canon so much money that they nearly went bankrupt, and so they unfortunately had to remove 24p from the M6 II. Then scientists discovered that the earth isn’t round, nor flat, but actually is shaped like an octagon. We just don’t realize this because alien nebula waves in the earth’s atmosphere inject pathogens into our brain to trick us into believing this false view of a round or flat earth.

In what? Look at the numbers of FS5/7 out there making stuff. Not to mention live broadcast. Arguably they are de facto number 1 in some areas? There is no single “number 1”. Just an awful lot of pedestals serving different markets.

Looks like Sigma are gearing up with the marketing materials for the fp. Quick size comparison to the another member of the L MOUNT ALLIANCE!!! Also, notice the small hole on the mount that is strangely absent from the S1 and S1R.

My mistake ... the reviews of the S1H made it sound like the backup recording was not available prior to the two SDII slots .... makes sense that the XQD can keep up with anything the SDII writes in the S1. Thanks Bob

I'd be lying if I said this looks anything less than great.

Things move at such a rapid pace in the camera industry, the A7iii launch seems forever ago. I don't think it's completely fair to call them the new Canon since they're not really crippling the camera by removing features, at least not to the extent Canon has, but it's quite concerning that they're releasing new cameras without much improvement to rolling shutter (which has always been a huge issue), image stabilization, ergonomics, bit rate, etc. all while re-using old sensors. You don't need to revolutionize with every release but there should be far more improvements than just a better battery and a headphone jack.

Reusing this picture. Thanks.

I've been using the RavPowers that I got on Amazon and they've been lasting about 40 minutes.

Good stuff! We film when the thing is really happening and we don't get a second chance, so practicing when it doesn't matter makes sense. I don't, but I do camera tests and experiments which is something. I should do more. I've been thinking about starting a side-project (explained in the "The D-Mount project" thread) and part of that is to learn and fine-tune (ha ha) my skills.

So I take it @New_E and @Simon Young have no interest in anything that Sony, Red or Sigma will be offering? And Haha, the Z6 doesn't bother me, it's a great camera. I owned the Z6 for awhile. But that said, I don't miss it either. As for the Panasonic, it's going to take a lot to convince me to adopt a whole new system. I'm not seeing that so far from Panasonic. Their new cameras are both large and heavy... especially for mirrorless bodies. There is nothing cutting edge about the glass either. And 10 bit 420 is somewhat of the new standard internally these days. Does anyone outside of Sony know what the A7S3 will bring? You seem sure it will be 8 bit... somehow, I doubt that will be true. Most of these companies source their sensors from Sony. So when the real innovation comes... it will be Sony who brings it first... that is, assuming you are buying sensors from Sony. Of course Canon makes their own sensors, so who knows what the 1DXMk3 or EOS R Pro body will have to offer? Whatever they bring, unless they drop the ball completely, I already know I'll be adding one of their new flagships to my collection. I'm hopeful for quad pixel auto-focus. Improved DR. Sigma, they are the only one of these companies that is actually planning to use their Sony sourced sensor the way it was originally conceived to be used. That is, as a HDR sensor, capturing two ISOs at once, to give true high dynamic range. It seems that most camera companies have instead decided to merely offer dual native ISOs. I find Sigma's approach very inspiring. I love this feature in my Samsung Note 10 Plus, and my iPhones. It annoys me that my phones have superior dynamic range to my dedicated cameras. The Sigma fp is the first hybrid that I'm aware of that will finally offer this option. So I'm excited to see it in action. I'm not sure what the Red Komodo will offer. I, like most know more about what it isn't, than what it is. But we do know it will be the first camera... outside of Canon, that will offer an RF mount. As a Canon system owner, Red scored points by going that route. But almost everything else is up in the air. There's just too much going on right now for me to commit to jumping on a new system. I suppose some may not feel the same, but I want to see all the major offerings before committing to a new system. My current gear works fine, so unless there is something of a breakthrough, I'm not feeling the need to drop $20k-30k on a new setup. I'll wait until the smoke clears and the dust settles.

A6600 + 16-55 2.8 = $2900 A7III + Tamron 28-75 2.8 = $3000 or something like that and you get a better sensor and lens. One way they could redeem themselves a tiny bit is to offer a better codec as a FW update after the A7SIII is released (as was the case for A6000).

As soon as they release an entry level cam with DPAF and no crop, they magically remove 24p. Don't you see any link here? As you said, they used to have 24p in the past on anything, including sub $500 entry level DSLR such as the 100D. First they release 4k after everybody else, then they release 4k with with huge crop, to finally implement 4k on cheap mirrorless by removing DPAF and now this. I'm not sure if you are blind or if you playing the devil's advocate. Crippling and segmentation is nothing new or specific to Canon. All manufacturers do that at some point (Sony with shitty codec on the A7x, S1 with shitty audio) but Canon is just mastering the art. Same as the lack of intermediate codec on the C200 (and no 4k raw out!!), etc. Canon line-up is full of crippling, more than the other brands. That's all. The reason is to protect their higher margin Cxxx camera business, it's both simple and very dumb, which is why you might have issue to grasp at this difficult reality. They are somehow terrified that people would buy entry level stuff for B cam. Sony and Panasonic don't, FS and EVA exist along with A7 and GH/S1 product. People won't give up a pro cam for a DSLR but these type of cameras could be nice as B or C cam if you already own the lenses and want to maintain a certain image consistency. Your explanation doesn't add up, no matter how many times you repeat this non-sense on every thread. It just goes against basic observation of Canon release history over the year. Nothing to be mad about but this is just embarrassing for you at this point. Not sure if you are a troll, a Canon Rep or really believe in this fairy tale. That said, I'm out of this discussion. Have fun.

But can the SD cards handle the 6K Prores RAW data rate at the frame rate of your choice? Also, I wouldn't expect to see Prores RAW on any camera (Nikon) or third party recorder (Atomos) until after the two Apple petitions to the US Patent Office about REDs' RAW patent legitimacy are resolved.

Really shitty updates from Sony. Feels like they didnt want to put any effort and R&D money into it but they wanted to keep their piece of the pie buy introducing small incrimental upgrades.

Specwise it's a bit disappointing. I'm sure the image out of it is spectacular (like most of the cameras nowadays), the tilting screen is a great evolution, the evf and IBIS are topnotch : sure it's a great camera. But when I read Andrew's article, I can't help remembering his rant about those biased youtubers under Canon's influence, because they were flown under the sun of Hawai, etc. Now I read about Andrew at Panasonic's headquarters, and all I can read is praise about the camera, not even a single remark/critic about anything, eventhough there should be a few, in my humble opinion. I fully understand that when you are invited somewhere, treated well, etc. You don't want to be rude and say bad things about the product you had the chance to shoot with before everybody, even more so when it's a good camera like the S1H seems to be. But come on, no word on NO Full Frame 4K 60p (what would you have said if it had been Sony), codec and bitrate very good but not revolutionary (especially for the added resolution of 6K), no ND, no PDAF (why not, but suddenly AF is not important, it varies from camera to camera...?). I can't even tell the difference with the S1 (I'll have to check it) but the fact you can have manual controls in HFR. I understand your rants, it's good sometimes, it might even be productive if heard by the brands. What I don't like is that it's so variable and relative. You should make an article about Panasonic crippling the S1 not allowing manual controls in HFR. It's as puzzling as canon not giving 24p... And finally, the price. It's very very expansive. A very few people will be able to afford it. 4 000$ is in the realm of a real cinema camera with proper ergonomics, ND filters... That's why I think, you could ask for a bit more from this camera. The Fuji X-T3 has almost the same offering, (in aps-c) with crops between framerates a lot more manageable. The codec's bitrates are even better. There's no IBIS, EVF and build quality not as good, but the price difference is huge. Well that's only my take on it

For anyone wondering how the LUT matches up Panasonic's LUT or even compared to RED footage, here's some Z6 10-bit NLog footage with Nikon's new NLog to rec709 LUT... Here's the same footage with the Panasonic VLog to rec709 LUT applied... And for good measure, here's what my RED Epic-W captured... I'm going to keep using Panasonic's LUT for now.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Scientists produce a handy identification guide.

you're mistaking hate with making fun of which is justified The lack of 24p is funny because it's literally one frame less than 25p which you can shoot. So what about 24p makes it impossible to write? Nothing. It's entirely doable. They've done it in the past. They can do it now. Why isn't it there then? Because they're stupid. And this is why we're making fun of Canon.

Yes, its an estimated continuation of the 'fringe' data. All of the gamut (and theoretical gamut) continue from the known edge of the sample cloud. In this way, even cameras with a wider range and gamut than the original intended can be used sans clipping

There is no gamut compression; the key is that log formats are the 'data' format to HDR's 'display' format. Before displays could show a wide gamut and intense brightness, cameras were able to capture this data, which is stored in a log format.

Well sure, I think to stand a chance, the PK4 has to be shot in 1080p. I really believe that is why Arri never really wanted to go all the way to 4K on the Alexa is because it would have been too sharp. And I think the new Arri's have lost their signature look to be honest. I really have never like the Red output as of late. Too good. Even the original Red One looks better than the Red One Mysterium X. Same camera, so called better sensor, and it was DR and noise wise, but not looks wise. More resolution is not Always a good thing for a film look. But for Music videos, Doc, Interviews the PK4 is a Lot better than the OG BMPCC. And lets be honest that is where your money is if you are trying to make a buck. The PK4 is a great camera, it is, maybe amazing, but not for a grungy looking old school look. Nothing wrong with that. You can't have everything in one camera. The old no perfect camera thing. But 98% of the people will never know it. So the camera is a winner IF you can get one of them LoL. But sure I hope we all learn something here in this thread. Knowledge is a good thing. And maybe I will be proven wrong. Has happened a couple of times LoL. ? I am sure this can be done pretty close. Look how good @icarrere did with his GH5. There are parts in it where you could believe it was shot on the old BMPCC. He did a good job giving it an old time look. But it IS in 1080p. Probably one reason it looks so good, ehh to some bad LoL.