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Yeah having finally shot with an Alexa(owning one) there is definitely something to the image that is just not there on lower end cameras. Definitely more highlight detail than the S1 though its only really about a stop. The noise is a lot more pleasing and uniform. Being able to monitor and see an accurate REC709 image is amazing. Its like seeing for the first time lol. I really wish cheaper cameras had better monitoring or REC709 lut viewing options.

Is this an NX1? In 2021? On a Netflix series? Used by a psycho influencer? Is this random or a secret message from Samsung? 😅

BMMCC @kye I have not found footage from the Sigma yet that i can i say i liked. I coupled my Lumix S1 with a 10mm Tevidon in Hd pixel mode. That could be my Bmpcc. Just need the right adapter without wiggling. Got a Bmmcc coming its way, proving gas is dumb and never ending.:) Back to topic.:) A fully rigged Amira is a heavy beast already despite the fact that they call it a perfectly balanced shoulder camera. Alexa is not bargain on your shoulder for sure.

Yeah, it's pretty crazy that in some ways (not weight or battery life, admittedly) that the Alexa is the easiest thing to use next to an iPhone. Simple intuitive interface, simple workflows in post. Makes me miss the simplicity of t2i neutral, which always looked good.

No, if you'll buy it locally for people also based in the States : ) Because in Europe the prices are outrageously higher, so you're pretty accurate : )) Without mention VAT where the State and politicians live from our own expenses 1/5 to 1/4 of our year, let alone the other taxes to eat from a third to three quarters of our income and labor :- (

The bill is wrong ... if the price in the USA is 3000 dollar , in Europe in euros it will be 4000 euro ...

Why not their latest Rode Go with internal recording? Do consider instead the Zoom F2-BT (or Tentacle Track E), they're still very very affordable, but all round much much better designed as bodypack recorders. Plus they've both got timecode functionality, making it easier (extra safety net) to sync it up with your timecode capable Panasonic S1H.

And an ergonomic awkward disaster deal breaker for other people.

I CAN'T WAIT. Genius. Hope it lives up to my giant expectations.

I have an old P+S Technik Pro 35 PL to B4 P+S Image Converter that projects the lens image on to a vibrating screen to be picked up the a 3-CCD B4 camera sensor. I saw that at one time they sold a version that could work with an iPhone. I was researching if I could convert the Pro 35 adapter for iPhone and found the Pro 35 manual on line. I was not able figure out how to make it work with an iPhone but I did come across what they P+S Technik felt contributed to look of film which I thought might add to the discuss about what make something "cinematic". Film-Look: Which elements are important? Framerate: Film works only with complete pictures, that means progressive with 24 or 25 Hz. Television systems work currently for the most part with half pictures (interlaced), that means with 50 or 60 Hz.The higher the frame rate, the higher is also the motion resolution. A football game with "only" 24 Hz would not be as informative for the viewer as football game with 50 Hz. Exposure time: The common shutter speed result for film cameras result normally from the frame rate. This is mostly 1/48 s., 1/50 s. or 1/60 s., some applications request a shorter exposure time. Electronic cameras work generally in the same manner, but the consolidation between frame rate and exposure time is not as steep. This means at for example 60 frames per second there is also a longer exposure time possible (up to 360 degrees Hell sector = 1/60 s.) Motion blur: One characteristic of the so called film look is the motion blur. Low frame rate / long exposure time lead to a higher motion blur compared to television - benefit from this creative tool. Shutter effect / strobing: Is your pan jerky? Probably your pan velocity is not adjusted to your frame rate (and your motion blur). Check the pan velocity against the focal distance, e. g. in the manual of the ASC (American Society of Cinematographers). Also newer monitors show the pictures often "jerky". Chose your equipment accordingly to your reporting (TV/cinema) and your method of recording (interlaced/progressive). Method of recording: INTERLACED is still a widespread method for increasing the motion resolution (50/60 Hz). Use this method creatively, e. g. for a later slow motion (Example: convert 50/60 Hz interlaced to 50/60 Hz progressive, afterwards rendering with 24/25 frames/s.). De-interlaced is often used for the printout. PROGRESSIVE is used for printing out the material; this is often more close to the film look, because of a lower motion resolution (24/25 Hz). Compression: Unfortunately, the recording quality is highly dependent on the format of recording. A lot of today's used data compression programs are for example highly sensitive to noise or quickly changing picture contents. While recording do not only trust your picture on the monitor (it shows often the uncompressed signal), but test how the recorded signal is behaving in different recording situations (see also: TARGET SPEED above). Depth of field: Like the human eye has a selective perception, also filmmakers and cinematographers use the depth of field for calling the attention of the viewer to specific things or also to detract from something. At the same time the effective size of the picture plays an important part: The larger it is, the lower is the depth of field; small amateur cameras work often with very small sensors and that's why their picture comes across as unnaturally sharp. The P+S Technik Image Converter allow now the identical depth of fi eld like in 35 mm film on an electronic camera with a considerably smaller size of the sensor. Choice of lens: The choice of lens is - especially in combination with high-resolution cameras - clearly visible. Therefore, test the lenses before shooting! See a list with applicable lenses in the annex. Aspect ratio: Because of the fact that the human eye has a considerably larger horizontal fi eld of vision than a vertical one, a lot of films used already very early an analogous larger aspect ratio for achieving an impressively large screen projection (Example: Cinemascope). Like this a different visual effect is produced for the viewer only because of the picture size.

This announcement is not only groundbreaking on a spec level, it's a return to form as a +25 year Apple user. Never been so excited about an Apple release since... OG G4 Titanium? I just bought a maxed-out M1 MBA so definitely awaiting the M1 Pro/Max desktop updates.

I think I prefer the look of Sigma fp footage over the S1 but they seem like they couldn’t be much more different given they’re both L mount and have similar sensors. S1 V Log dynamic range is outstanding imo and might as well be Alexa-level. The HEVC 6K codec is robust. At base ISO (640) there’s +6 stops of highlight dynamic range (dynamic range over 18% gray) to Arri’s +7.3. Whereas at base 100 ISO I think the fp has about +2.5 stops of highlight dynamic range and 8 bit raw doesn't let you dig too deep into the shadows either. It also has more aliasing. And no IBIS or EVF. But where the S1 falls short imo is in color and texture, where the fp seems to excel. I’m not saying the S1 is terrible here, but the color isn’t as nice to me subjectively and the HEVC codec smooths out the noise. So to me the fp is the ideal A cam for someone (not me) and the S1 is the ideal B cam or low budget production cam for almost anyone. It’s technically on par with Venice or Alexa except for the skew imo and is wildly versatile. (At least with Resolve's highlight algorithm enabled, I think the P4K and P6K are almost on par with an Alexa technically, too, and have nice color and texture to the image. But ergonomically I worry they aren’t so hot. FX3 seems nice and maybe the best deal out there but somewhat expensive.) I have found this to be true in post, too. The bigger the job, the better the resources, the easier it usually is. But one-man-band stuff can pay better I guess, and affords more flexibility I suppose.

No issues with my S5 and I don’t use XLR so can’t help sorry! My limited 5 wedding season is now at an end and it took all 5 weddings for me to knock this L Mount system into shape. I ended up and have been most happy with the following combo: Static Video = S1H + 24-105mm f4 on tripod. Chosen because the output is superb and I don’t need or want a faster aperture than f4 for ceremonies or speeches anyway. Plus no record limit and no overheating and as the heaviest of my units, great that it’s on the tripod! Unit 2 is my dedicated stills combo of S1R (1500 euros barely used off a mate) with the 20-60mm as a wide landscape and architecture lens when again, the lack of a fast aperture is not a need. The main lenses for it though are the Sigma 35mm f2 indoors and the 65mm f2 outdoors and the combo of S1R plus the 65mm f2 is just mental. I’m pretty blown away with this sensor and these lenses. Set up 3 is my ‘filming’ clips combo of S5 + Sigma 28-70mm f2.8 mostly handheld but sometimes out of necessity, monopod. I still can’t get a better output using log than I can with the Natural profile tweaked…but I may look at that over the Winter. Potential changes for 2022…? It’s a heavy old lump but I may just swap the Sigma 35/65 f2 combo for just the native 50mm f1.4 and move those lenses over to filming. Other than that, this is my system for 2022 as things stand. In my ideal world, an S5H and an S5R would both exist and either with further improved DFD AF for video, or phase/hybrid AF. But in the absence of all that, pretty happy with this set up now. Pity the very short season ended just as I was getting to grips with it so hopefully 2022 delivers the 30+ jobs I have booked in…

I am surprised that you like the S1H so much, I've looked at the specs on paper many times and on paper the S1H just doesn't seem like that big of a leap. Same sensor, same LOG curve, mostly the same recording options with many more thrown in that I don't really need (i.e. All-I), and it does not do 4K120FPS. I am sure it has better ergonomics than the S5, but after adding the cage and a side and top handle the S5 fits like a glove for me. Without it, the S5 felt too small and light. I know VLOG is one additional step but it really is incredible in difficult lighting situations and it literally takes me seconds to grade in post. In DR I just create 3 nodes (primaries, curves, false color), add 100% saturation, 1.17 contrast, then I pull down the lows to just touch off the bottom of the WFM, pull up the highs to just touch off of the top of the WFM then enable false color to tweak for skin exposure if any people are in the clip...done. I then copy the results to all of the clips in the project and the only thing I tweak is the lows and highs as I go to each clip. I would estimate my grading process is about 5s per clip. On some rare occasions something looks off to me so I use the curves node to fine tune my grade or adjust the WB but that's it. I know any time spent color grading is wasting precious time without adding to the incoming revenue but I couldn't imagine using anything else after seeing the results from VLOG. I've shot directly into setting sun and managed to retain the highlights while still retaining acceptable exposure on the model's skin. Of course you are right, I think I have maximized the interoperability and usability of my current kit. As much as I'd like to further simplify, I will probably stick with this setup for quite sometime. Technically it is meeting all of my needs except for those times when I would like to have a second camera angle, but I really don't want to buy another S5 with so much uncertainty around Panasonic's future and the lack of CAF with EF lenses.

I'm glad you've started getting weddings again! What a relief! I've missed a couple of opportunities to buy a cheap second hand S1 as they were for sale a few hours drive away and I haven't been able to organise that. But I think you are right that having 2 cameras that are the same has it's advantages, especially cards and batteries. So I'll probably go for another S5 unless I come across a bargain closer to home. I'd love a S1H but the only one I've seen for sale a reasonable price is in the Canary Islands so once you factor in a flight it's not worth it. I agree that a S5H would be excellent. Pretty much an S5 with a fan, filter thingy (no moire) and no filming limits. The S1H2 would be a S1H with eND and 6k 50p, Prores and some internal raw contraption. I have found the 24-105 to be a very handy video lens. It covers a lot of ground. The 50 1.8 is very nice but it's a shame that they have brought out the 2 longer lenses first rather than say the 85 and 35 or 50 and 24. I like the look of the Sigma 28-70 2.8 but as I'm mainly shooting video I wonder how well the AFS and linear MF holds up compared to the Lumix lenses.