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With pixel count being 24MP it does not seem to me it might be the same sensor as used in the Sony A7iii, Lumix S5/1/1H in its different alterations, this time with PDAF like the A7iii. What the all have in common is rolling shutter of around 21ms in FF and 4K 60p for S35 crop only. I like the form factor though and swivel screen and full HDMI. Maybe I will trade my S1 in for it and finally give the great sensor some good running for its money finally. I only used the S1 on three small paid gigs over the last two years, for a short and as C cam for another short. I have no personal connection with this camera. With my Gx85 it´s the opposite. It is dear to my heart. Maybe the S5ii will be a good substitute for my S1. Just that 22ms rolling shutter is a bit unpleasant compared to filming with the GH5 with its 15ms. 15ms is good enough for me, 22ms sometimes a bit challenging. So with a better rolling shutter the S5ii would be a no brainer for me, if image quality is the same as S1 in theoriy and practical use and abuse as well.

It basically seems like Sony has been holding out on PDAF for Panasonic cameras for years and they are finally letting them license PDAF on a sensor that is older and that Sony will probably never use again - so why not milk it for some more money since Panasonic's only big gripe against it is the bad AF? To be fair, that sensor is gorgeous on Panasonic cameras (not so much Sony's), and the S1H still has the best 24fps IQ of any mirrorless camera out there. IF Panasonic can dramatically improve the HDMI latency (full-sized, yay!), add internal ProRes, and the AF is as reliable as some of the competition, The S5 II will be very tempting - especially around $2000-2200... It's basically an S1H but much smaller, cheaper, better codec (ProRes), and much better AF (ostensibly). And when you look at it that way, sounds pretty sweet to me. -- I am curious what they are going to do with the S2H (or S1H II) though, as that camera will have to feature 120fps 4k, no crop, probably 8k, internal ProRes, and so many other video goodies. It almost seems like they should just make a BS2H and soup-it up to the max and go all out on video and then the S5 II can be their hybrid.

Thanks, Mercer. I've tested the internal 422 codecs and the color banding is there as well. Shooting ISO 4000 instead of 640 hides the issue in noise to a pretty acceptable degree.

Its a simple question of comptetion. FF 4k60 should be a defacto standadt of a video-oriented camera this days. OK 20% crop is passible but not 50%. Thats it. But I guess Pana is reusing an old Sony IMX410 sensor over and over again and that is sad in itself. If a PDAF is their main feature to differentiate from S5 its not all that great. Its important for the future of the system but just for the S5mk2 itself.. not so much. We need more after 2.5 years.

I mean, it's a full frame camera. It'd be nice to be able to do 4K 60p without a crop. I like to have the choice between full frame and APS-C. It's one of the benefits of full frame that has won me over, as I can extend the reach of my lenses.

Those are great specs. I've seen a few bits of footage online but would love to see it with some native Super 16 lenses. Once BMD knocked cut the price in half it became more interesting to me but it's still big and expensive compared with other options. I'd like to wait and see if they come out with a smaller new camera in 2023 or 2024 that uses their own sensor, not necessarily 12K.

Nothing. Except if you are a hybrid shooter like me with a prime and flipping between stills and video all day long! That 28mm…well the framing was great for those stills, but then I flipped to video and it’s more like 42mm and I can’t back up to match as I was already backed up to the wall! ”So just shoot FF or APSC!” Well I could but I like what I get from my Lumix cameras so I work around it by having cameras and lenses dedicated to certain things at certain times. It is a workaround but one I can live with if I have to and for most of the video side, I actually use a 28-70mm f2.8 to which I have just added a 16-28 giving me options more like 24-42mm and 42-105mm and I tend to use the wider angle as my indoor lens and switch to the longer zoom as my outdoor. I then only use the extreme ends (as if they were twin primes) so indoor I shoot 24 and 42 and outdoor 42 and 105 which as with any focal lengths you become used to, gives you a ‘look’ that you just know how to work with. I have the above set up with the S5 dedicated to indoor (and gimbal outdoor) and the S1H outdoor. This is possibly where I might just trade both cams for one single S5ii and keep my S1R’s…

my camera is cheaper than yours and nothing i own can display hdr as far as i know.

if someone forced me to use a photo camera for video, i would probably choose to shoot with the 4:2:2 codec. is it shaming? Or is it trying to tell you that you couldve saved yourself a bunch of time? i was not talking about professional standards, i was saying that no one i know who works in video cares about hdr. I was curious why you did. if people had such unrealistic expectations as you with niche features their only options are the alexa lfs and the kinefinity cameras lol. Luckily most people are pretty normal.

😂 Jesus fucking Christ! Correct me if I'm wrong, but you have never even shot with this camera! What the fuck is with this gear-shaming, chroma-shaming, gamut shaming? You come across as a giant asshole. I'm doing an experiment. I want to shoot open gate V-Log 6k on the S1 and I want to grade in ACES for PQ output. It has nothing to do with professional standards. You have no experience with the specifics of this premise, so your supposed advice offers nothing! If I want to shoot full frame 16:9, I can and will shoot the fp. Why not just jump into every thread and tell people to shoot an Alexa? Then they will be serious! Unfuckingreal.

Have you maybe considered that maybe people aren’t trolling you and are trying to give you helpful advice? I can maybe understand that you dont like my nor AF’s tone, but consider the points raised in this thread: - i asked you why you needed to grade in hdr, and this was a genuine question. I dont know anyone in my professional environment who does this, and i am curious. What would a broader gamut help you achieve that you cant with 709? - you’ve explained that you want to shoot open gate out of preference, but you dont actually have a justifiable reason, other than using some cheap theoretical anamorphic lens that would give another theoretical result. you can still shoot 4:3 by cropping the sensor and you will get the extra color information you need. 4:2:2 will give you the bare minimum for working with video imo. - can you actually explain why you think using a smaller format is inherently worse? Because in your case it would genuinely only give you better results. Have you realised your sensor cropped to 16:9 is already too big for most anamorphic lenses made throughout history already? i attached some screenshots to more clearly illustrate my point. - by responding this way to criticism, falling for cheap marketing gimmicks (hdr, full frame, cheap anamorphics, open gate, netflix approval, etc.), not understanding that any 4:2:0 codec is worth nobody’s effort, and then not having a particularly good looking test image to show your point, it kind of makes it easy to assume that you’re not very sure of what you’re doing. i agree with Alexis Fontana here, I think you should start refocusing on the things that actually matter in the field of making moving images. genuinely man, good luck.

Primarily because I owned the S5 and did a ton of research before deciding not to go all in on Panasonic's lenses and ecosystem; the #1 reason of course was the dismal AF but the second was the lenses. You are focusing on the numbers but not the user experience. What I found in my research was that sure tons of lenses and multiple vendors; but each one was tweaking their lenses to work optimally with their own native cameras. So the "Alliance" is primarily in name only and yes the physical mount is the same across cameras, but in reality unless you owned a Sigma body and got Sigma lenses or a Panasonic body and got Panasonic lenses then there was no guarantee that you would have the best user experience. This would manifest itself in everything from FW support to AF issues to working properly with adapters. So, if you go right back to square one and focus on only the lenses from each maker working optimally with their own bodies then yes; your lens selection is in fact limited again unless you go all in on MF lenses or just don't care about AF or adapters. Dead is probably a strong word, but to me, converting my entire camera ecosystem to something like that while trusting that the lenses and adapters that I need will all work properly was definitely an idea that was DOA for me.

Hello, help me in understand what is better solution Santa just brought me hollyland lark 150..which i am going to return as they have a huge static noise (unless i reduce the camera input of 25/30 dB). Don't like that much So i might get whte rode go II, which is a nice solution, or, to have even better spund quality, 2 rode lav mic to use with tascam dr40. In this case to monitor i will need to put a cable form dr40 (that should be close to persons) top my camera. It happens that i need to record only one persone often, other i record 2 person sitting aside. In both case my concern is..how to hide cables when i shot the full ambient, or the 2 full person, whith floor also?