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My hope here (expectation, actually) is that Panasonic will go with their own organic sensors for their next wave of releases (post-Japan-Olympics) with a line of 8K/wide-DR/high-ISO/global-shutter cameras (yes, MFT, too). Quite frankly, the market could use some better sensor differentiation, IMHO, and I'd love to see Panasonic and Nikon and Sigma succeed in bringing their own sensor technology to market each for their own unique imaging characteristics. Sony can continue to sell their sensors to the upstarts (like Z-Cam) and stay in the green. Time to move this market forward...again, IMHO.

I love my E2-S6 and am considering adding an E2-M4 as a b-cam for gimbal & long lens work.

Sony Semicon's Exmor RS line has now fully matured and will come in various sensor sizes - all 8K capable. One of the first to make the debut is a 45MP Micro 4/3 (MFT) sensor with 2.24um pixel size. More to follow.

The Nicest 709 lut seems pretty accurate in most cases, though I prefer the GHAlex luts.

I believe diversity sells. "Kumbaya" is a conflation. I didn't say that.

I have been submitting footage to a client using the standard V-Log LUT from my S1H, and they complained about too much magenta hue. I thought it was because I was boosting saturation too much (and maybe that did boost the red hues too much), but switching over to using the Nicest-709 LUT took care of all their complaints.

From what I've seen, ProRes Raw is slightly different. I'm planning to get a newer Raw recorder to see if a Pre is warranted, but I think it is usable.

Again, a great point I forgot about. I did have two of these, and now I record on Ninja V exclusively, so had forgotten, but yes it's a travesty. To allow this in their top DSLM body and just not address it other than tell people to buy new cards, then start blaming card manufacturers etc... it was all terrible. I just switched to Ninja and carried on. There's no visual gain from ProRes at all, even if you push the footage into a pixelly mess of colour it's the same, you just have bigger files and slightly easier compatibility. I'd prefer to use internal but I don't trust it, so yeah I see what you're saying. The Ninja is a good tool regardless, but I wouldn't want to carry it around for a wedding, you'll wanna stay light I guess? I've never shot a wedding.

Yea, I would buy an S1H if it wasn't for all the people complaining about corrupt .mtd files, camera freezes, etc. I also had those with my 3 S1 bodies. Many times and I was furious when it happened during weddings. But since I changed to CFexpress recording, I have no more problems. The S1H does not have that option, only SD-card recording. Which frankly, I don't dare to use anymore on paid gigs. Especially weddings... Now there are many people without problems, but some never had problems and then all of a sudden, boom, a corrupt file. Did you ever have anything happen? The Facebook groups of 'S1 and S1 users' are full of those posts.

I don't think I'll need another camera for the next couple of years. I own 2x S1 and 1x S5 at the moment, and they are exactly what I need at the moment. The only 'downside' is that the camera's can't record 4:2:2 10-bit and full frame at 50 fps. But, I have now invested in anamorphic lenses and these camera's offer great anamorphic support. In camera desqueeze and even the IBIS takes the squeeze factor into account. Also nice is that the 4:3 crop of the sensor is a bit higher than the normal S35 / APS-C crop (and slightly narrower) and that means that the crop factor when shooting a 1.33x anamorphic lens is reduced with about 20% as opposed to shooting in s35 mode. That's close to APS-H territory which is IMO, all you need for video. Add to that the great photo quality and decent AF (for photography), the relatively small filesizes, the great DR when shooting in V-LOG 10-bit and the price... I really can't complain. Well if I have to complain, it's the lack of an OLPF.

The S1H is quite fantastic. The only need it doesn't fill for me is VFR. Once Panasonic puts something out with a good 120p I'll be set.

I used to have one. You only get prores and raw with an external SSD. And the Rolling shutter is pretty bad, even with fairly slow pans. And it's bad in both 4k and 1080p. Otherwise you can get a nice image out of it, with a lot of detail retained in the highlights.

https://www.ebay.com/itm/174676154415 $212.50 but with 2 days left. It is quite insane that they were giving those away for like $150 at one point.

What about the Z-cam E2c. It's the cheapest 4k raw option around, also internal ProRes, and about the size of the Blackmagic Micro. I think All setting and monitoring can be done with a phone with no added hardware. It'd be the closest thing to low cost, high quality crashcam... But is it low cost enough to purposefully smash it?

I got an S1H before lockdown, it's not been used a lot but will pay for itself in some time. I've been on the Red Komodo pre-order list for 4 months or so with no word. TBH I may cancel it as work is light. I'll see how I feel when i finally get the "do you want to complete your order sir?" call... The S1H for me is like a baby Alexa, such a good image. But I prefer Komodo post pipeline due to the raw codec. That's it though, TBH the S1H is better for everything else. Maybe I will cancel it TBH, seems like there's little benefit at the moment.

Then Fuji GFX100S would be my pick without question.

Well that much is evident!

Resolve 17.1 now supports hw decoding of h265 4:2:2 10bit. For intel you need an ice lake and tiger lake cpu. For Mac an M1.

Yes films can be political. And sometimes they should be. But then there is a whole world of films which aren't, and that is perfectly fine as well. We need both kind of films. There is nothing political about Shutter Island, but it is still a a great film with a great story. I'm sure audiences, all over the world, enjoyed the film. It wouldn't matter much if the main character were black or purple, but Leo did a great job. That is what I call an 'inclusive' film. Everyone enjoyed it, no feelings hurt. But when new scriptwriters are kind of required to include certain themes and main characters of color, that is where I draw the line. And if that is how it's going to be from now on, I opt out.

One of us is or both of us are lost in translation : ) Filmmaking is often labeled or seen as business without necessarily mean a way to make money. Because of the price involved on such complex "business"...? Well, maybe with the exception of the mainstream aka hollywood at least, earlier the current streaming age, the most part (if not everyone I've met in this "business") is alive and kicking because of a strong feeling of enthusiasm for this "business", nothing about money as matter of fact. Or filmmaking is not the best location for. Reason why certain people choose forums like this one ours here? So, seems pretty clear to me such newish controversy is much ado about nothing :- )

A former instructor of mine from Lisbon film school was used to say: a film is only 25% shooting. Let alone the good ones, I'd say... LOL : D BTW, his master is still listed and world acclaimed as one of the most influential filmmakers of the history of motion pictures.

Contribution added. Interesting poll but, the majority of replies to the question number 2 IMHO shows little merit to none on a fair understanding how complex this business is (E :- )

Same result today, the 5.2k frame grab is slightly better than anything 4k as might be expected, but not quite up the Jpeg from RAW standards. If Jpeg from RAW is a 10/10, I'd say the 5.2k grab is maybe a 7/10 and the 4k maybe a 6/10. In conclusion, 8k is probably an 8/10 or even a 9/10 and I will be sticking to shooting stills in tandem with video 90%+ of the day, but for that other 10% when I need both exactly at the same time, just shoot '6k' video @ 3:2 and pull the stills off that. We're close...possibly even there, with 8k and 5-6k is not that far off, but not quite what I need it to be.

If it's like the '6K photo' mode on my G9, the files are H.265, 10-bit, 4:2:0 at 200 Mbps (info below - from the VideoRedo editor - for 3:2, 30 fps capture), with AAC audio. It uses 'long-GOP' encoding, but the GOP is quite short, only 16 frames, with only has IDR and P frames (no B frames) according to VideoRedo. If you want to upload a short clip from the S5 (a few seconds is enough) I'll check the parameters for you.

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff." For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure). Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709. P4Ka PDF Emotive Color

It's true: source

XT3 is in the plans, indeed. At this moment, its down to documenting the process of adding a camera to the server, and then streamlining the Pdf writing process as best I can (later today). This will make a camera cycle as efficient as possible. From the LogC alone, V4 isn't that different from V3 for the average image. When saturation becomes more extreme, V4 is quite a bit better (much, much more accurate to Alexa). And when using V4 on unintended formats (i.e. Rec709 footage), V4 holds up, while V3 doesn't. Here is a comparison with one of the more saturated images I've got (most notable shift), using Soft (most equivalent variation between 3 & 4): V3 V4

Attila does great work, he has an excellent grasp of the technical; highly recommended That 4K 60 sounds quite good (super-sampled 10 bit) Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun ) That being said, I think today I've fully tested it, and everything is working really, really well. This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison): V4: V3:

When? Probably too late as everyone has left the m4/3 building. (I'm half way out!)