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There is a Vimeo app for Apple TV. Youtube is finally 4K on Apple TV.

@keessie65 there I was contemplating selling my beloved Bolex 16/32/1.5x last night, chanced upon this thread, started having another play with my GX8 and 20/1.7 and now resolute I’m going to use it more and about to pull the trigger on the single focus add on 😃 I love how compact this thing is on the GX8 with pancake. Also figured out how to get this to work in stills mode by using the Penny EXTC mode in Medium at 8MP, which gives an extra 1.3x crop on the already 2x crop. Took a quick snap before. Works on my Voigtlander 25/0.95 too 😍 Love this anamorphic. Think they may need to bury me with it. Cheers for the inspiration pal 🙂

Shout out to Kotaro and Hanna for making the interview 😬

thinking way... outside the box but can you control two motors ? Like if i had a taking lens and anamorphic lens would it be possible to calibrate both lenses then not have to worry about a single focus solution ?

For manual lenses, does this work when the close up lens is added? For example my lens goes from 1.1 - infinity, but when I add a close up lens it is from 0.5m - 1m. Should I simply calibrate at different spots between 0.5m and 1m? How many calibration spots are there? Also, what is the range in which the sensor works?

I think this is the best sequence so far for showing the camera in a variety of situations:

No chance of renting here in rural SW France. Paris or other big city maybe but not here. My set up going forward really is 3 identical cameras, 5 lens options including 2 zooms and all working on a single day as hybrids: 35mm f1.8, 85mm f1.8, 45mm f2.8, 20-60mm and 70-300mm. Three of which don’t quite exist yet... Also have the drone (Mavic Air) a tiny bag of audio gear, 1 carbon tripod, 1 freestanding monopod, 1 lightweight light stand and 1 dimmable & directional LED and that is it. OK, a couple of spare batteries and a power bank plus some ND’s but that really is it. All fits in a single 30 litre backpack except the monopod which fits in my hand. It’s the minimum I need for providing photo & video at a wedding, event or for my documentary commercial work with the essence being I get out of the car and pick up 1x backpack, 1x monopod and still have 1x free hand to lock the car but not shake hands with people as we don’t do that any longer. But then I might want to go into the mountains and shoot a 96mp raw landscape and can also do that with the S5 and the lenses I have (or will have) for proper work. I have found that for stills it’s as accurate as anything out there...but not tested that at a wedding of course and no amount of testing or other work can really test gear like a wedding!

I own the S1H and the S5. and there are a a whole lot more issues than you think! The 8-bit stuff is only 4:2:0, and it's still H.264, not H.265. The same issue exist for the S1H, but we don't care because we don't have time limits. The 1080p VFR stuff is completely wrecked. The 100Mbps 1080p MOV files have been replaced with 28 Mbps MP4 trash. The timecode feature is a complete waste. If you can jam sync it, or get a jam from it, what the hell is the point? The only thing between the S5 and the S1H that is the same is 4K 4:2:2 150Mbps IPB in 24p and 30p everything else is 8-bit 4:2:0. If you buy this cam, do it knowing you are going to add a Ninja V for ProRes RAW. Other than that get the S1H. Battery life is good though. But with the limitations, don't think that this is gonna be a killer B cam, because what it can do is too limiting. Maybe if you think of it as a FF GH5 with full V-Log for gimbal work, that will meet your expectations.

No it's the 12 Pro Max that has the most improved camera and 5 axis IBIS The 12 Pro and standard 12 are just very incremental improvements with small sensors.

If you don't care about: timecode, unlimited record times, a more substantial build, slightly more usable screen configuration, top LCD, better EVF (I never use it for video anyway), then I would get the S5. I don't notice a huge difference between 400 and 150 10-bit recording, so you should be fine there. Can always get 6k or ProRes Raw (soon) or All-I ProRes recording with an external recorder.

I haven't used the S5 yet, but I do own and have used the S1H for the last year. I love the camera. For me, the biggest advantages are timecode (a must for my doc work when I have external audio), the All-I 400Mbps (sometimes required), and the unlimited record times. The ProRes Raw is great, but the S5 will be getting that soon. Otherwise, I think the S5's more compact size, better AF (though the S1H is confirmed to get it), and the already amazing 10-bit 422 150Mbps codec that I most often use on the S1H anyway, make it a pretty compelling option.

An example of continuous AF on a handheld Pocket4K with Panasonic/Leica 12-60mm.