Leaderboard

I think we're at the point where the image from most new cameras is good enough. Most pros in the mid-sector (corporate, lifestyle, web videos, social content, docs, some commercials, etc) understand that once you hit a certain level of image quality, other factors are far more important. They'll be more concerned about things like: Can I hand the footage off to another editor/agency and they'll know exactly how to handle it? Can I hire eight of them locally at short notice for a multi-cam shoot? Does it still work if I need to shoot something that's not my regular style (this is where the Sony really shines as the FX6 is so versatile)? Will most AC's or 2nd shooters I hire know the camera well already? Are producers going to specifically be looking for owner/ops with this camera? If my lens gets smashed, can I find a replacement to buy/borrow/rent pretty quickly? These are the questions that form the difference between quality output, or a profitable business. These are the reasons why Sony dominates this particular market segment right now. The point I was making is that, unless you're providing all of these things to a user as well, then it's going to take a lot more than just offering 8K or "better colour" in order to convince them to buy something else instead. Pure image output matters more in the higher and lower ends. On the lower end, a lot of the logistical problems disappear as you're only every concerned about yourself, your own camera and your own workflow. And at the higher end, budgets allow for cameras that answer all the questions above while also providing the very best IQ possible. Panasonic probably realise this and know that trying to make an FX6 competitor would be an uphill battle.

Tell me about it, I was there for the whole DSLR video revolution. But then Sony came in with the mirrorless FF revolution with A7S in 2015 and boy did it take long for Canon to join in and catch up. EOS R (2018) had that weird 1.7x crop. Then R5/R6 (2020) were plagued with overheat issues. I mean it basically took until 2022 (R5C/R6ii/R7) to start having non overheating no compromise hybrids from Canon. Like we're just finally there in Canon land, so yeah of course they lost a lot of ground in the mirrorless video sector. They've been trashed in this forum alone for years, still have somewhat of a bad rep. Panny are in their own world I feel. Very loyal customer base. Mostly solo indie shooters. I know a few jumped over to BM. They have been ultra slow to adapt to PDAF needs so I think lost a few others to competition but with S5ii and on-going releases will probably gain them back. Solo operators really like their cameras and I understand why. Great video features, reliable hardware, always at a competitive price.

35

I own the Classic. It definitely has the best image in the game in terms of color accuracy and dynamic range. It is also just an industry standard image wise, super hard to mess up in post. I think the F35 has a more unique image though, almost film like. The Alexa does too but its a cleaner more neutral image. The F35 is also a bit less power hungry and a bit smaller, though possibly more awkward. Having simple 12 bit internal recording up to 60p and 120p 10 bit with no cropping is nice on the Alexa Classic though. No external recording required.

You are not getting the RS3 mini? My gimbal FeiyuTech AK2000s is like 1,2kg already + Samsung NX1 with its 16-50mm F2-2.8 makes that gimbal extremely unyielding, it brings back memories of my military days holding a 3kg rifle all day really did a number on you. Zhiyun Crane M3 seems almost half the size of my AK2000s and much lighter. Overall in event shoots I found gimbals to be cumbersome and more often than not actually limited shots I could get specially among crowds of people, eventually I just detached the gimbal and shot handheld with the S5, worked way better that way, got better shots, got moments I would have lost otherwise, kept having to power down the gimbal when not in use and then power it on again which took 2 - 3 seconds. Never again, oh and people do not seem to care much when you are holding the dinky little S5 and a Sigma prime, but a gimbal? Oh man LOL Yes I will dream, LX15 actually shoots pretty good video with the V-log hack and its a really easy camera to work with, fits on some smartphone gimbals too because of its low weight.

@tompeter has transcended my friends

The gap is pretty huge after 24mm. Sony doesn't even really look stabilized at that point. If you aren't moving Sony's IBIS is pretty decent. But once you get moving, you're gonna end up having problems.

From what I've seen Panasonic have released a new firmware that deals with wobble effect up to 20mm. Looks like the Sony IBIS is effective when walking with active mode on - am presuming that is with a slight crop. Panasonic much better with just IBIS

Sensor size has got nothing to do with it. There is a 1.5x crop on whatever lens you use in 4K60p. Wether or not that bothers you is up to you but its worth a mention when comparing camera specs imo.

I thank God Panny kept the sensor, amazing organic look from it you cannot take for granted these days. I hope S1II will have the stacked version of that sensor which is found in the Sony A9m2, giving us 4k120p FF. I own the MC-21 adapter for a long time now but cannot wait to test my Canon glass with the adapter on the S5II and CAF. If it can even get 80% close to native performance, that is a true keeper for sure. Its also perfect for gimbal setup, no need to use complex wireless focus pullers anymore and lots of extra battery to power it all. I dream that Panny also updates the LX15 with their newer 1 inch sensor which was their test bed for the phase detect system. And their entire MFT line up.

Yes it's a crop for 4k50p but that doesn't bother me as I don't really use it, am sure it's a big deal for some though... With the Canon R6 I thought full frame 4k50p would be a great thing but I have only used it once when I thought I might want some slow mo but didn't and ended up conforming it to 25p anyway. I have a possibly irrational dislike to unmotivated slow mo - I am obviously in the minority here but it is very rare when I see it used in a way that actually adds to the story. I do mainly documentary stuff and realise it can have its uses but generally it's not for me

Yes S5ii has a S35 crop in 4K60p and 21ms RS. It's a pretty slow sensor readout like A7IV. R6II is the only camera in its price range that does a no crop FF 4K60p. 16ms RS. That's a pretty big advantage for the Canon and with 6K ProRes RAW external, it is still a very worthy alternative to S5ii.

Same setting later in the gloomy day, but the VR180 video is based on 8KDCI RAW clips. DeBayered in the Canon VR Utility program to REC709. H264 8bit rendered clips merged losslessly.

Here is a test video from the Canon R5, shooting in 8K DCI All-I Clog3 and using Canon's VR Utility with its built-in Clog3 LUT. I outputted 8K H264 8bit from the utility. Clips were losslessly merged, injected with VR180 metadata, and uploaded to YouTube. It is a true 3D VR180 video, but you can only see the 3D with a suitable VR headset. Without that it is 2D but you can still look around with your mouse (PC) or by moving your phone. The video should be 4K, but it is not yet.

Well that's it, deal done; S5 and S1H being 'traded' for a pair of S5ii's. MPB collecting tomorrow, new boys on pre-order... I would have preferred a pair of S5iix's, purely for their look (don't need their spec, - anything over 200mbs not required) but as they are not available until end of May/early June and my next season starts end of March... I'm going to miss my S1H for sure, but this is going to be a better pairing for my video needs being: A. Identical bodies. B. Both having a built in fan rather than just the S1H (though the S5 never overheated a single time). C. The AF of course for which I have a need, especially with regard to shooting log because shooting that only made the AF worse with previous Lumix cameras. D. No 30 minute time limit as with the S5 which was a pain. Body A will be paired with the Sigma 16-28mm f2.8 and Body B with the Sigma 28-70mm f2.8 and that's happy days for the forseeable future. My only wish would have been the tilt screen of the S1H (or even the S1/S1R) but that is the ONLY compromise with this camera for me. For my video needs anyway... For stills, sticking with my trusty S1R's for the time being. I had already sold off my f2 Sigma primes. Loved them, but going forward, really wanted something a bit faster for the low light stuff so bought 3x f1.4's, the; 20, 35 and 85. I'm in no rush to replace them and had considered a complete S5ii lineup, but I reckon either Panasonic or Leica will come out with something maybe for next year that will update the S1R significantly enough for me to replace them. The ideal now would be an S5iiR model, but an S2R or something Leica flavoured would do it. On the other hand, I might just trade the pair of them for a third S5ii body as a 3 body set up rather than a 4 works better...except during wedding ceremonies and speeches unless I switch to a 3x zoom set up for those times. We'll see but glad I stuck with Lumix after considering; OM-1, XH2/S and even a wholesale switch to Sony. Faith restored in Lumix/L Mount. Hadn't really lost it as such but I had a concern that they might just blow it and not go phase detect but realistically, that would have been suicide for them.

Yes, he's back! 😃 been aaaagggeeesssss since the last upload oh wait, he had one from just two months ago that I missed (which was removed, then added):

Red licensed their RF mount.

Yes, if you keep it at the constant f5.6 at both ends you can zoom in at the long end and it will be in focus at the short end. Not sure if it is genuinely parfocal (though with native Lumix cameras it will likely be corrected to be so) but more an accidental by-product of the narrow aperture giving it enough depth of field to get away with it.