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I had a hands-on with the S1H at a camera store today and I have to say, it is a beast. I was really impressed with the OLED display on top -- has some cool features like displaying audio waveforms, stuff like that, and I also love how easy it is to pick framerates, compression and codec of choice, etc. I thought it would seem substantially bigger than the S1 with the addition of the fan and extra screen hinge, but it felt very good in the hand. The new 24-70 2.8 is smaller and lighter than I thought it would be as well. The Panasonic employees were very friendly and knowledgeable and had a couple interesting tidbits to say -- non officially -- about the S1 possibly getting that pesky high framerate auto-exposure issue fixed in a future firmware update. I hope so! I tried to get some tidbits about raw outpout with Atomos, supposedly they're going to display fully-functioning raw out of the S1H at IBC, so that should be interesting. All in all, it got me even more excited about this monster of a camera, if the long life of the GH5 is any indication, it's going to be a very worthwhile investment for the next 3 to 4 years at least.

I would be more than happy with internal Nlog in 10 bit.

Am definitely going to listen to this

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.

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.

Yeah if anything this is looking good for A7S3 release. Sony had to give FS line a substantial overhaul before introducing a lower-tier alpha bombshell.

Yes, because successful music videos are sooooo original.... on which point, this would be my favorite music video of the month:

Should only be a week to go now before we find out if there might be a contender for that one. My guy said he'll let me know a bit more when he gets home from work.

So I guess you're only shooting with Arri and Red cameras (because they're professional) using Zeiss Primes (because they're professional) and put it all on O'Connor sticks (because they're professional)? Anything else and you should expect 480p TOPS (because it's not professional) ? I hate these kinds of stupid comments. He should absolutely expect a perfectly usable product for 200 euro. Not everyone needs 3km range and perfect crystal clear full spectrum audio that will make sure bride's "yes I do" will be transmitted on hollywood level never seen before on a damn youtube wedding video. I've been using my Rode Filmmaker Kit with zero issues in tightly packed convention centers. My drone has more issues being on 2.4 Ghz than the Rode.

2 sets, 4 jobs, 4 failures, so I have returned for a refund via Amazon. I don't want to diss Rode as I use other audio equipment from them and had really high hopes for this system, but it's let me down several times now over the last few weddings. Whether connected to camcorder, or Fuji XT3 or Sony recorders, I haven't had a single seamless ceremony or set of speeches. The final straw was this weekend, direct line of sight, indoors, under 20 metres/60 feet and the end result was again incomplete. Even at 10 metres/30 feet with the transmitter in grooms pocket and lav mic on lapel, - intermittent result. I have 2 sets marked up A and B and it's happened with both so either I have been incredibly unlucky, or the system is not flawless. Whatever the case may be...and as above, no intent to slag Rode, but I can't rely on this system so next weekend going back to Sony recorders, lav mics + shotgun mics and Pluralize. Just a heads up and for anyone using the system, make sure you have a back up audio system running...

It seems that Sandisk is showing off their new CFExpress memory cards with emphasis on raw video. In their prom they clearly show the back of a Nikon Z6 in which they insert their new CFExpress card. So for those that hate external raw capture, Nikon has you covered.

You don't get something for nothing... I bought a 2nd hand Sony UWP dual wireless kit and have never had an issue.

I am a pro sound man of 20 years and I didn't call anyone stupid. 200€ in sound is the lowest of the low and the expectations are low too. I own 5 Samyang lenses for my lesser projects, but when we shoot better ones we rent. I do not expect my Samyangs to be Cooke quality and I do not complain that they aren't. I just bought a Sachtler Flowtech with an FSB for my small cameras, I also own Manfrotto and Benro tripods, guess which one is better and why I had to spend 4 and 5 and 6 times more money.

I put one on the groom and one on the officiant. Sometimes I'll also just put the H1 on the podium if there is one and only lav up the groom. I've thought about trying to lav up the bride but I think it's too invasive.

And, I've said this before in another thread (changed for the above argument): Here is the problem with that argument, and many people have made that same argument.... in one version or another. So you are are saying Canon has "done their market research, they will know what their customers are doing" and the end product of all that research is to exclude 24p The problem with that statement is that companies like Sony, Panasonic, Fuji, Blackmagic also have market research teams and pros telling them what the people want.... why is it that they include 24p??? See the thing is.... Sony, Panasonic, Fuji, Blackmagic, etc. are not even number 1 in this segment.... so that doesn't mean that they don't know what they are doing or don't know how to be number 1, its more along the lines that they should be more hungry to be number 1 and they will do anything to get to number 1, hence they will include 24p.

Music is very personal to the writer and the listener for different reasons, and for me, this song can never be beaten. The whole album is fantastic and I urge anyone who hasn't heard it to give it a go at least once. EDIT: they also soundtracked the 1929 film 'Man With a Movie Camera' and that's a great album too, especially if you can find it synced to the film.

That I could tell a visual story a mere tenth as good as the one you linked I'd think I'd suffered some brain dysfunction requiring medical attention! Ha! Knowing how to plan, compose and weave shots together into something vaguely resembling a story I admit freely is not in my wheelhouse. Which speaks to what I've been appreciating most on this forum...that we're all coming at this from our own talents, interests and desires. Reading what you (and others) need and look for in your equipment, and why, has been of immense value to me in broadening my perspectives with motion (versus stills) imaging. For my needs, that I can come home after a day of shooting either with or without some still images or short video clips that help me further educate myself of my randomly encountered wildlife subject matter that I might have encountered, I had a good day...nay, great day! So I suppose (recognize) that it's the photographer in me...as it's all about the image quality and how far I can push and use the medium at hand to take home what I can using only the ambient light of the environment. (Yeah, I'd be one of those folks posting 3-minute snoozefest footage of ladybugs and leaves drying. Haw!) "...internal FF 4K Raw, for $2500 or less...", heck, for what I just laid out for my S1 kit I'm miffed that Panasonic couldn't provide internal FF 4K 10-Bit 4:2:2 and that I am forced to purchase extra external equipment that is totally impractical to my outdoor shooting needs just to be able to use the camera to its full imaging potential...what they hey?! But if Canon (or someone else) were able to provide for all that (along with perhaps a chocolate on my pillow), all might be forgiven and I'd be sniffing around their wares. Ha! Still rainin', still dreamin', :)

He's got 57 now. I mean.... I just happened to notice... and was there for no reason at all....

That video is hilarious!! I guess I was saying that what matters to me is originality. You're bang on that the most successful ones are often derivative dishwater, but so are most of the successful songs, so I guess they match in that regard! I like music videos because they are a way to get paid for short films, working for artists can offer permission to deviate from the normal rules and content of film-making, and there is room for considerably more experimentation than is perhaps offered in any other genre. Of course, there are exceptions where videos were creative and also successful. The video for Thriller by Michael Jackson was certainly both, at least for its time.

The era of Raw is around the corner, now that Nikon is implementing it others should follow I know this has been said before but id rather more DR than pixels

just remember to ship a prototype out here it will need proper testing in real extremes, an english summer just wont do :) i can justify that with 2days into spring and already we are having bushfires

He's at 56 subs now! 'fess up, who in this thread subbed? We can in the future all say how cool we are that we followed him back when he was unknown

Each lens is profiled to calibrate real distance and focus position. The camera's internal AF is bypassed completely and the lens is operated as though it were under manual control which allows instant switch or ramped changes as it is tracking. In terms of manufacturers making it better, then Panasonic et al will implement this in a different way and will definitely improve on it by virtue of having far, far smarter people than me involved in its development and having far more of them. In terms of speculating how they will do it internally whether its incorporated into the sensor itself or as part of the image processing pipeline through AI then they could go either way really. I've mentioned a couple of times in this thread that what I've shown thus far is very much a jumping off point for this and by the time the commercial product version of it becomes available in early 2020 it won't have changed conceptually in terms of it being an outboard system that can be added to different cameras but how that is achieved will and, without giving too much away at this stage, already is changing. I'll drip a couple of things into this thread between now and then.

It’s just a camera... no war necessary. I went down the 4K path with Samsung, Panasonic, Sony, and Canon and didn’t like my images until I started shooting 1080p Raw on the Micro. And then I preferred the ML Raw from the 50D I bought for the hell of it. I was all set to preorder a GH5 until I stumbled upon some 5D3 ML Raw videos and I never looked back. I thought the P4K would be my upgrade but I haven’t seen enough, knowing my skill set, to convince me. I recently ended up buying another Micro for pretty cheap but I find myself reaching for my 5D3 every time I do a test, or plan to shoot something, so I may sell it to fund a short film. As I said earlier in the thread... when one of the major manufacturers offer internal FF 4K Raw, for $2500 or less, I’ll upgrade. Until then, I’ll stick with my 5D3. If I can’t make a decent film on 14bit FF 1080p Raw... no amount of resolution or sharpness, will help me.

I sometimes miss the simplicity of shooting with a P&S. AEL and AFL allowed such artistic freedom where the frame was all that mattered. The XC10 built upon that a little with gorgeous Canon Log 1080p. The Panasonic FZ2500 was almost better. But once I got bit by the ML Raw bug, it was hard turning back to any compressed codec. I love that short piece you did. The color was gorgeous and the DR was more than enough. I particularly liked the detail on the shed door. If Canon would release a sub-$1000 camera that has IBIS and Canon Log (and obviously 24p) they would end up selling more of their higher end cameras, IMO. I understand the point of holding back some features... all of the companies do it, but no 24p... it’s just nonsensical. The 5D3 has an OLPF and a faster buffer so aliasing and overheating aren’t an issue, but I love ML Raw from the 5D2. Some of my favorite ML videos were shot with that camera. I don’t know if you’ve seen any of this guy’s work, but he makes 5D2 Raw shine... Everything except the drone shots is 5D2 ML Raw... He has a bunch of videos that I highly recommend.

I would say FF FTW, but who knows. What I am happy to commit to is FF FTH - Full Frame For-The-Hype!

I don't mind waiting another 6 months for the GH6, and I hope they add the following: 1. ToF to make up for the crappy DFD in video. 2. Internal electronic ND. 3. Usable ISO upto 12800. 4. That new 8k photo mode in 10-bit in place of the 6k photo mode on the GH5. 5. A compressed RAW codec for when you need it for well paying jobs ?

No Ibis? No 8k? That's a no for me. ?

and the EOSHD Nihilist quote of the day goes to.......... *drum roll* ???

As a person that has a degree in computer science and experience in the industry (now left) good software is developed to share as much code base as possible. So your argument is that Canon tested 29.97 FPS to make sure it works flawlessly in their latest cameras but couldn’t put forth the pitiful amount of effort it would take to test and record 23.97 FPS? Especially when they’ve included 23.97 FPS in the past with the same models? How did canon pull off 24fps in the 6d mark ii and the original M6? It has a lessor processor, the DIGIC 7, in the same form factors. You are saying somehow canon can’t develop and test 24fps with their DIGIC 8 processor, which by the way is built on the same foundational knowledge as it’s successor the DIGIC 7, in the M6 ii ? The same DIGIC 8 processor in the M50 that SOMEHOW included 4k24p recording. You’re just trolling at this point. Please show me or find someone that can confirm your license theory. It doesn’t add up. There has been no evidence for it. Somehow every other camera manufacturer can manage to “afford” 24fps codec licensing terms. Canon can’t? They must really be fucked as a company then if they can’t afford the single frame rate every single person wants in their camera as a base. Its Canon playing shenanigans with brain dead feature segmentation.

Very, very, very unlikely. Such logic operations are done inside digic. And EVEN if that was true, their $0.03 on savings will cost them millions on bad press and sales.

Regardless, this does not exactly play in their favor. Sony chipsets and other chipsets in the market are able to do in 1 chip what Canon's do in 3. Either way, they're behind. It costs them $0 to include it. The feature was always there for 10 years now, and it was always part of their OS. This was a clear move to push people to buy more expensive models. They aggressively segmentize and they've done so in the past (I will explain below). And that would work if they were a monopoly. But they have competitors that include more than just 24p in their cheaper cameras, they also have zebras, log etc. So why go with Canon then? Only Canon thinks that Canon users will stay with Canon no matter what. Little did they know, their EF lenses are getting adapted well to other systems as well. So, for a little history lesson. As a few people mentioned above, I indeed used to run a video-related blog back in the day. My little niche was "filmmaking on the very cheap". Basically, back then there wasn't much processing power to do 1080/30p on P&S digicams, manufacturers were often forced to use 24p (just because it was easier to encode). So Canon had a line of P&S cameras with 1080/24p at 36 Mbps. There were no manual controls, but there was exposure compensation & exposure lock. Which was enough to create artsy videos or short films on the super-cheap that looked rather professional -- if you were careful of how you were shooting with them. Add on top the ability to get a rather flat look to widen the DR (there were sharpness/contrast/sat controls), and it was a pretty sweet deal for cameras costing $150-$300. So for a couple of years, we had a number of P&S cams from Canon specifically that could be seen as alternatives to their 5D MkII, T2i, and 7D of that time (at least for people who couldn't afford these cameras and their lenses). I even shot a couple of music videos with such cams (we were not allowed to use my 5D MkII in the Santa Cruz Boardwalk to shoot a music video, but when I showed to the guards the tiny Canon SX30 HS P&S cam, they had no problem -- so they were really good guerrilla cams). The magic feature here was the exposure lock, that made those videos look pro. Fast forward to 2012. New Canon P&S line up announced across the board. And each one of these had exposure lock in video mode REMOVED (AEL for photos was still there). And in some other models, they removed exposure compensation as well (again, these features had been there for years at that point in video mode). They had to remove these because they couldn't remove 24p outright (simply because their processors were not fast enough yet to do 30p at 1080p, they were stuck with it). They probably saw that some people who could not afford dSLRs used these small cams as a cheap replacement for filmmaking, and they wanted to push these same people to upgrade. The thing is though, if these people had the money to buy a dSLR, they would have done so anyway. So, since then, I have a love-hate relationship with Canon. But their recent removal of 24p from a rather high end super-35 camera (the M6 MkII is not as low end as say, the M100) is unforgivable, sorry. Just because that's the EF-M line, should not make it a useless line for filmmaking. Some of us, want such cameras simply because they are small. The EOS R is much larger in comparison (and expensive when you account for native lenses). So yeah, what Canon is doing now, they've done before. It's part of their MO. And if it's true that they are upscaling 2.8k to 4k and lying about it, then they are really unforgivable. I have lost all the respect I had for that company all these years ago.

Well I was hoping for the infamous Organic sensor from Panasonic. I dont really care for 8k at all. I need more DR, built-in ND and perfect AF which oragnic sensor promised to provide. So I still have some hopes for it..

Nice job.

Another quick and dirty demo just so you know that I'm not sat on my arse not getting on with it. This is brought to you via the medium of a family pack of Golden Wonder crisps and a microwave to illustrate fast snap between points and also continuous refocus as the king of low cost potato snacks approaches and retreats. It is using an Olympus 17mm f1.8 lens wide open. There is no ramping set but as with the 3C app this will be an adjustable parameter. NB. I was not preparing to put the Leica and those pickles in the microwave. TOF_31_7.m4v

Maybe such close proximity helped but with a wedding, that kind of distance isn"t possible.

I've filmed 5 shoots up to around 3 hours each with up to 4 wireless go's on each, maximum distance around 5-6 metres, no dropouts.

You should steer away from those 2.4GHz solutions. The band is just too crowded and range too limited. Thanks for the warning, would have expected better from Rode.

I have had incredibly good results with these cheap Boya brand wireless Tx/Rx https://www.amazon.co.uk/gp/product/B00RGF6AJ2/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 They use some clever frequency hopping technology so there is no interference.. The sound is maybe a little less full than I used to get with my Sennheiser G3 EW-112P gear but I've put that down to the superior Sennheiser lav mic. Before you shell out hundreds of £/$/€ on traditional wireless brands like Sennheiser or Sony it's worth a punt on a set of these at £60.

Thanks for the positive feedback. Much appreciated. Please buy it I've run out of gaffer tape making this one so that integration will have to wait for a while.

I'm stoked on S1H...gonna have to review the S1 though...I know this...and I know I am probably gonna love it. It seems to create extremely rich files and love the color science. Such a shame no reliable video AF....but you can't have everything. S1 or S1H will pair perfectly with my CONTAX Zeiss lenses..