Leaderboard

It breaks easily and requires you to have a cage for the camera to use it reliably without it falling out or getting pulled out easily. Full and even miniHDMI you can get away with just plugging it in sometimes but I never trust micro and don't want to lug a cage whenever I want to use and external monitor. Honestly hope the S5 releases for $1500 and kills used prices on the S1, that way I can pick one up with the XLR input. It really is a rock solid camera with no negatives for me except the lack of great video AF.... and I really don't use video AF right now, it would just be nice to have.

I'm just saying that the S5 really isn't that much better. Everyone is talking like its this huge upgrade that somehow makes the s1 obsolete. While the S1 with VLOG goes for around $1600 like new. The s5 might be $2000 and if so, technically what are you losing for $400 less? 4k 60 10bit? a couple different aspect ratios? maybe marginally better AF? But what does the S1 have over the S5? Better build, better EVF, Better battery life, full HDMI out. I guess it's a no brainer if you prefer smaller cameras, in that case the S5 is 100% a better choice. But what if you like big cameras? Honestly the S1 and s5 seem like comparable cameras made for different shooting styles. Most retailers include the VLOG upgrade for free now anyway. I'm not in the market to buy another S1 because I already have one, I might potentially replace my a6300 with the S5 as my gimbal cam if the price is good. I'm only saying this because I noticed a lot of people saying the S1 in kind of pointless now, but really I don't think it is. Now if the S5 is like $1600 then yeah I think the S1 will sorta be pointless.

So the official lists have been finalized on the production model that will start being sent to PRO Support in a week and other pre-release places. Mostly for reference if you need it, but I found the movie recording option one to be well laid out with everything I needed in one chart. Getting excited to get mine. Fingers crossed, but I had my paid invoice literally in the first 10 seconds on pre-order and was the first to fill out the "prioritized shipping consideration" from Sony PRO Support. It has been a long wait for this camera release, hope it proves to be worth it. FULL Specifications (which is currently missing from Sony's page for the A7SIII): GREAT Single place for all movie recording options, depth, framerate, codec, bitrate, memory card req.: Breakdown all of the controls, dials, covers, holes, jacks, etc:

Dang, I just noticed the "Max Rec. Bitrate" on XAVC S-I 4K is 1,200 Mbps 😮 Notice how they support V90 or faster for that. What is weird to me, is that sure if you multiply out the 299 MB/s (Mega Bytes/sec) rating of the Sony Tough G cards you get 299 MB/s x 8 bits/1MB or 2,392 Mbps (Mega Bits/sec), so clearly those Tough G cards are capable of such speeds. HOWEVER, the whole point of a V rating is to identify the max sustained write speed of the card and V90 is 90MB/s sustained write or 90MB/s x 8 bits/1MB = 720 Mbps, which is supposedly the max sustained bitrate from a V90 card. So not, sure if Sony has a typo here or if their TOUGH G cards are more like V150 cards which is the rating that would be needed to sustain writes at 1,200Mbps

That is a nice feature. If there is no voltage flowing, then the circuit in question is dead. Most systems don't have that switch option. I had posted an easy to remember "you always start and end with power" in your case you are doing that by disabling the power source. Also, remember this was more a possibility on SDI 6G/12G because the BNC cable could have a proceeding positive that touched before the ground completing the circuit through SGI 😮 This has been reported to happen with HDMI solutions, particularly with the faster HDMI 2.0 and 2.1 (that new 2.1 spec is crazy fast at 48 Gbps). Most likely the gold connections were a tad higher for positive and/or neg had oxidation or lint or something, allowing postive to touch first. In that scenario if you have a powered circuit to both your camera and recorder from the same power source, your hdmi in that scenario can complete the circuit. Many times it can happen quick enough that the higher currents in the battery circuit don't spend enough time in hdmi or sdi to do damage, but in other cases it can fry the hdmi or sdi circuit (they just weren't meant for those levels of currents). All that being said, if you use good quality cables, V Mount plates, C Mount Battery, etc. you are less likely to experience an issue. But if you just follow a good workflow when operating your camera, you can avoid this issue all together. Always start and end with power. Get your power circuits in place and then add input/output. Before shutting down remove all input/output, then disconnect power. The important thing is to keep that power circuit in place to keep the voltage and current in the right places and using the correct grounds.

S5 is rumoured to have uncropped 60p at 10 bit. Big tick. Flip screen. Another big tick. Smaller too, which is another big tick. Its not my main camera, and I don't want it big. I have my cinema cameras for that. Hopefully improved AF as well. It will carry another year of technical development in it. So may have some small improvements here and there. So definitely above the S1 in many key areas.

I stopped photography activity completely since July 2019, that will hurt my next years also. I am rearranging my prioroties and business model I think (I am not sure I have full control right now anyway), that is why I am not 100% sold to any camera or system. I have to do some extra homework on adapters, as this S5 could be a good small/light solution, but my priority will probably be, to use more my EF lenses.

There are now L mount adapters for pretty much all lenses, including PL amd medium format speedboosters. For EF, Sigma do the MC21 adapter but the new one on the block that is of particular interest is the Fotodiox one which also has an integral variable ND in the mount. For anyone with a lot of EF glass, thats an attractive option as it turns the L mount cameras into the mythical true hybrid with ND. How good the AF is with the adapter is unknown to me though. I'm going to get one for my fp to find out.

Canon for me has more problems than the obvious (fake overheating). I really like the GH5's XLR adapter, dual slot video recording, and no video recording time limits. The R6 will still cutoff at 29min even if it did not overheat, it will not record video to both cards at the same time (only images), and I'd have to give up XLR audio without some clunky additional workaround like an external XLR recorder. On the other hand it has Canon's colors, will hopefully get CLOG3 which will perfectly match with the C200, and will take fantastic images. The S5 will have nearly all the same problems as the GH5 (no AF, no CLOG3, no Canon colors, not something I would want to use for photography) but at a much higher price point with the marginal benefit of maybe a little more DR and maybe better highlight rolloff. It is like everyone keeps saying, there is no perfect hybrid; at this point it is starting to almost seem deliberate; but I just don't see what any of these companies have to gain by coming so close then failing so miserably in the areas that matter the most. I'm with you, I am definitely sitting this year out and hoping next year will be a better one. If next year is like this year, then I guess I'll sit that one out as well....everything I have works just good enough that I don' t have to make compromises to get into my next camera body; I'm already making compromises and at least those have already been paid for (and paid for themselves), the rest of this year I am going to focus on improving my Davinci Resolve editing skills.

Pretty honest take:

15:00 London time

What time is the announcement tomorrow? Can we expect an in depth preview from Mr Reid?

When is the S5 hitting the stores? Cannot wait to see reviews, sell my S1 and get one. Swivel screen and all the codecs already in there are too much to hold back. Well done, Panasonic, a disappointed customer becomes a satisfied customer. All by the same product. What a paradox! Darn!:)

Never used an S1 camera before, but i guess I will never hook it up to a external monitor (because of weight and power). Have other camera's that will do that just fine. This camera for me is all about compact travel videography and photography, and for shoots where I need B-roll where the low weight, small form factor and ibis will benefit me greatly.

I'm just on the phone with Shill-U-Like arranging the flights and accommodation for Hawaii for their top 20 influencers so I'll let you know as soon as the date is fixed.

It's normal that they introduce this body before any new GH body, it's a new mount, they need it to sell better than it already did. The fact that there aren't a lot of choice in lenses is not a reality, there is plenty of choice between Panasonic, Leica and Sigma (and others too) and you can adapt every possible vintage lens from the past. The real problem is that the sigma lenses are the only to be affordable, but they don't focus in a-fc wich is a bummer for a native lens... Until Panasonic release more affordable lenses like the three primes that will probably be announced soon, and until Sigma doesn't deliver lenses made specifically for L-mount that focus as well as panasonic ones, the problem will remain. And don't worry, a gh6 will come. No doubt. They just need to help L-mount sales to increase a bit before announcing it! 👍🏽

I would also like to see anamorphic IBIS on the S1. 😞

i bought the viltrox nikon plain adapter (no glass )to m4/3 to adapt the almost cult like tokina 28-70mm atx pro, a promist 1/8 lives on the front of it most of the time and i use the tokina pretty much half the time. it seems to work alright. The rest of the time it has some kind of m42 ish to ef lens mounted up to the p4k. I have an irrational fear of the crop factor, Its mostly in my mind....i think. I tend to try to claw back every mm that i can. To that extent i bought the vitrox speedbooster ef to m4/3 it works ok as well. Although there is abit more play around the locking pin than i would like. So far everything seems to mount up and work ok except 2 russian lenses that i bought. I'd like to get the 0.64 metabones at some point. but other stuff keeps getting in the way and i haven't found one at a price point i'd pony up for yet 🙄 Theres also a cheap fd adapter i have thrown into the mix so that i can use some of my fd lenses from the film era. I dont really think you can go wrong with any of the current speedboosters. Mattias burling did a review on the popular speed boosters 12 months or more ago, so did tom antos although he only compared the 3 meatabones on the p4k

It would be interesting to see how they measure. I've said all this before, but I think people gloss over things a lot of the time, so I'll share some links again. People are very critical of the Voigtlanders and consider them to be inferior because of how soft they are at apertures that other lenses don't offer. People then seem to extrapolate this to them being inferior to the alternate slower offerings, and in fact, this is false and it's just a lack of education on their behalf, because the Voigts are similar or better than the other MFT contenders at a similar aperture. https://www.lensrentals.com/blog/2018/03/finally-some-more-m43-mtf-testing-are-the-40s-fabulous/ https://www.lensrentals.com/blog/2018/01/finally-some-m43-mtf-testing-25mm-prime-lens-comparison/ https://www.lensrentals.com/blog/2012/05/wide-angle-micro-43-imatest-results/ Of course, people can always look at these and then react with "oh, ok, so they're sharper or almost as sharp in the centre as the competitors that 5 minutes ago I was saying kill them completely, but look at how the sharpness falls off at the edges". This is true. If you value edge-to-edge sharpness then that's great, don't buy these. Being fully manual and with easily de-clickable apertures, they're not really photo lenses either, they're really video lenses. So if we're going to start talking about video lenses then we need to change our entire frame-of-reference because sharpness is the holy grail in photography but not in cinematography. If you haven't already, go read up about the lenses that are lusted after and are the go-to Hollywood lenses. Then go find tests for them and see how they really perform. Once again, lensrentals is a spectacular resource here. The tests of the Zeiss CP.2s and Super Speeds, of Canon and others, reveals they're not that sharp, and they fall-off drastically in the corners. Have a scroll through and see how the graphs look: https://www.lensrentals.com/blog/2019/06/just-the-cinema-mtf-charts-zeiss-cine-lenses/ https://www.lensrentals.com/blog/2019/05/just-the-cinema-lens-mtf-charts-xeen-and-schneider/ https://www.lensrentals.com/blog/2019/06/just-the-cinema-lens-mtf-charts-canon-and-sigma/ I think it's really just a sign of how things are on the internet, people judge at face value and don't actually look to see if their beliefs are true, even when there is data available. And perhaps the bigger challenge we have on camera forums, we idolise how Hollywood has done things for the last decade (shoots 1080p with soft lenses) and then immediately disregard that and start banging on about how everyone needs 6K at a minimum and that lenses should be judged by how sharp they are. When I joined the forums I was no different. I wanted 4K and sharp lenses because I'd just come from shooting stills and I'd recorded 1080p with my Canon DSLR and found it way too soft and didn't realise that the fuzzy mess was Canon-related not 1080p-related. My journey of learning video has benefitted the most from un-learning the falsehoods that were already there, rather than to learn new things in addition to what I knew.

Interesting topic. Most product marketing sells off the “transformation”. Basically, how much better will your life be when you buy that product? Will you be as handsome as Brad Pitt if you buy that cologne? Will you have the ultimate family life by going on that holiday? Will you have a glossy filmmaking career if you watch Peter McKinnon videos? Also what life do you DEFINITELY NOT want? Simply, we don’t want to fail. Our instinct is to survive and form tribes with those we feel will help us survive. We give more time to people or things we believe will help our survival. If Peter McKinnon or other Youfluencers show they can survive and thrive in this crazy world, we should listen and believe every. word. they. say. Clickbait works because it tricks our brain into thinking that we need to know this exclusive information, because knowledge is survival. We cannot bear not to know it, even if it’s irrelevant. We must know it for our survival. The funny thing is, the brain will throwaway this new information almost instantly if it isn’t relevant towards our survival. So many things contribute to our survival, and being as part of a tribe is one of the most significant. It’s why you buy someone a coffee, as opposed to someone else. This is why we get fanboys and a cult like user base around RED owners. It’s why glossy YouTube channels of pretend filmmakers get followed. It’s why we read newspaper headlines and get our heads in a spin. Everything is biased, because of survival. Always. Youfluencers survive because brands give them free stuff. They do a stupid face thumbnail, get clicks and boom. Win! If that brand helps them survive, they will have bias towards them no matter what you do. It’s not really their fault. The problem is with the brand, as they have the power to help you survive. Canon helps Peter McKinnon survive. His fans help him survive. Why would he suddenly change? It ain’t going to happen. His brain wouldn’t let him. For what’s it’s worth, check out this guys YouTube channel. It’s not sexy, but it’s genuine and just totally spot on content - if gaffer stuff floats your boat... https://www.youtube.com/channel/UCOgN351K45vTrozaadFPXlA

I really hope this and the Ursa 12K drive the prices of the Ursa g2's down to be honest.

Designed for super8 cameras....the smallest 2x scope out there. And believe it or not? This thing is superior to the much-drooled-over baby hypergonar. Significantly so. I own two baby kowa 2x's, and one baby hypergonar....all of them are in near-new condition. The hypergonar was practically "New Old Stock" shape. Anyway, here's a couple pics of it mounted tucked inside a Rapido FVD8a, along with a screengrab of fellas on the porch talking. Also some pics from around the net of what the baby kowa looks like by itself (since mine are mounted in rapido FMJ, dont feel like removing right now) Shot not lit or anything...just stuck a camera there and recorded a bit; GH5 was on Natural profile, in 4:3 "4k anamorphic" mode (3328x2496), ISO 800. Taking lens is a Canon nFD 50mm f1.8, mounted on a 0.71x Zhongyi speedbooster. Aperture was set at 2.8 (on the lens). Yup...the baby Kowa is able to cover 50mm at around APS-C/S35, with no real vignetting/portholing on corners/sides. The sides have been cropped to achieve 2.35, but the cropped portions were fully visible. Of course...such coverage requires careful choice of taking lens, with a small front element that is very far forward so kowa rear lens can be very close. The flares are soft, understated, and beautiful...pinkish purple. I'll upload a test clip showing that off as soon as I get a moment today.

Easy way to remember that cabling sequence, is that you always start and end with power

Remember the EOS R5 is fixed now. Go out and use it for paid work in 4K HQ!

the rare anamorphot 22/1.5x Zeiss ikon beats both of them, sorry! 😉

Simplest thing to do here is have a safe workflow when setting and taking down your camera rig. In the example where you have a camera and a recorder/monitor both receiving power from the same power source, yet have a high frequency connection between the camera and recorder/monitor like SDI 6G/12G or HDMI 2.0/2.1 and unshielded cabling is used. Simply following: - When connecting: FIRST connect power cables, THEN HDMI / BNC. - When disconnecting: FIRST disconnect the HDMI / BNC, THEN the power. Also helpful is using shielded power cables and avoiding D-tap connectors (since they can possibly be plugged in backwards). To safeguard your D-tap connector you could add the Lentequip Safetap which protects against reverse polarity, over/under voltage, and short circuits, as well as preventing battery deep discharge. But just following the connect/disconnect process above should protect you most of the time.

IMO hybrid cameras like the s1 and s1h have reached cinema level image quality, even with the internal codec. Motion cadence is probably the biggest struggle for non cine cameras but panasonic has motion really well handled.

I guess I'm in the camp that believes mirrorless hybrid cameras can hold their own against their cinema counterparts when it comes to the image they produce.

DEVELOPMENT UPDATE AFX has five user selectable focus transition modes. When the transition mode is set to Off, no transition is applied and the AFX snaps immediately to the new focus point. When the mode is set to 1,2 or 3 then an increasing preset length of transition is applied from the current focus point to the new focus point. The final mode is called Natural and applies a transition that is based upon the distance between the current and new focus points meaning that the greater the distance the longer the transition. Focus transition mode is available in both AF-S and AF-C modes.

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉