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Personally, I’d say that a lot of ‘TV’ productions are simply just feature films on steroids ie far too long for anyone to watch in a single viewing (well for normal people anyway) so are broken down into 45 minute episodes. In fact I’d go as far and say some are more cinematic than many of their big screen siblings. And then there is this nostalgia for older movies. My teenage years were the 80’s so those are the most memorable and iconic movies for me, but other than a few exceptions (mostly Spielberg), they look like shit next to even your average Netflix series today. I guess it’s like anything and there is good and bad… There is old stuff that looks great that will never be and probably cannot be, ever replicated due to the use of the tools of the time and then there is stuff today that was not possible even just a few years back. Something I have never prescribed to is the rose-tinted spectacle that everything was just better in the good old days. However, give me back the 80’s 😜

Isn't it time we saw the writing on the wall and got rid of our trad. optics and full frame sensors? https://www.eoshd.com/news/the-future-of-cameras-is-not-full-frame/ I really do believe it is outdated. It isn't needed to have such a large sensor or physically heavy big lenses any more. The physical side of the camera and the advanced controls need to stay. So how about we merge mirrorless with the smartphone camera world, at a very high level? And we are the perfect people for the camera industry to consult on this... Come on Japan let's work together and make it happen.

I'm not watching the "myths" video posted here, but I really want to know how those differences in DR that are illustrated in the thumbnail would matter at all when it comes to storytelling? Not much, imo. DR important? Does it have roughly 12 steps? Good 'nuff for me. As for movies, I grew up watching $1 films at the end of their distribution run at the local "grindhouse." Movies always looked like shit in my world. Didn't care. Looked good enough to tell a story. Heck, one place I would go to that was built in an abandoned cotton gin had a single screen, and ran Pulp Fiction for 11 months straight. Guess what that projected film looked like on week 48. Also, the glory years of American cinema as an art form is the 70's. Y'all watch any 70's movies? They mostly looked like crap compared to the IQ of today. Watch Deliverance, for example. That's a more compelling movie than most anything that's been released from Hollywood in this current era. Excuse me. Got some clouds to go yell at.

I am not sure how to determine if something is "that important". Just depends on your wants/needs. The difference between a RED Komodo and an Alexa can be seen when shooting in naturally lit situations that have a larger amount of difference between the midtones and highlights. The Alexa will just be able to keep richer skintones while also keeping more color in the highlights. Does that matter? I am not sure. Also the reality is these cameras dynamic range is never that great. The Alexa looks noisy a stop under the native ISO. You get close to 6 stops in over exposure. That is a very harsh rating of the camera but it is true. That is about 5-6 stops to play with for a noise free image. Most cameras have much less than that in the highlights and usually have less pretty looking noise patterns and color when you underexpose. That said I have certainly shot nice looking stuff with a GH2 and also an FX6 and also an Alexa.

I still have my S1H and am always pleasantly surprised by how well the image holds up vs the latest and greatest stuff (Z9, A1, etc.) i.e. it has a better image entirely... especially in low light... Just not the same super fast sensor readout. I think the OLPF helps give it a more natural look too. Definitely an internal ND is needed and phase-detect AF in the S1H Mark II, but I hope to see eND not a mechanical one. FS5 is how long ago now?! Call me insane but I'd like to see a "True RAW" 2.8K Cinema DNG full frame mode with option for light 3:1 compression, without that smooth processed look of ProRes RAW. Today's RAW codecs look too similar to H.265.... Or maybe HEVC has improved a lot?! It would be nice to get the size and weight down to Sony a1 level. Stacked sensor for that nice 4K/120fps... maybe 2.8K at 240fps? Not too bothered about 8K... I am sure Pana are in a dilemma about that too.

Of note, in no particular order, here’s what I put forth as worthy attributes for a S1H successor: cinema box camera body internal ND faster sensor readout fixed HDMI (and SDI) latency DGO, 16-bit ADCs, or some other dynamic range improvement. NO resolution increase top-shelf OLPF I intentionally mentioned the Alexa Mini and 35 as “make your small/budget version of that ethos.”

I talked to them at NAB. A successor to the S1H is coming. They were still somewhat in “intake mode,” aka “what would you want to see?” Type questions. I think they’re very aware that ANOTHER stills mirrorless camera in their lineup is just cannibalism. Cameras like the Komodo, ZCam, Kinefinity, FX6, and now Pyxis (same sensor btw,) have really shifted the target for flagship video models, and I suspect they may have realized the need to pivot. And I don’t think they’re exiting the market. They seemed very excited about the folding-in of the Varicam team into the LUMIX team. They said it’ll be 2-3yrs before any “fruits” of that change will show up.

Panasonic have their own Super 35mm 6K sensor but it's not the organic one. https://na.industrial.panasonic.com/products/sensors/optical-photoelectric-sensors/lineup/image-sensors/series/71626/model/76817 They also manufactured the GH1/GH2 chip I believe before moving to Sony with the GH3. Now Sony's manufacturing capabilities are so far ahead that it doesn't really make sense not to use their manufacturing process, and you can still design your own chip and spec it to a high degree. With the sensor in the Alexa 35 being made by Onsemi, exceeding the spec of the proposed Panasonic organic sensor, it would make more sense to work with Omsemi if they were not to go Sony like everyone else, rather than continue to develop their own totally different tech. I could be wrong - let's see.

Agreed...!!! No more sluggish HDMI delay. I would love to actually be able to pull focus from a cheap monitor/recorder. At least the new EVF from Kinefinity is now out and is an option for cameras with SDI. https://evf.kinefinity.com/product/eagle-sdi-e-viewfinder-black/ After thinking more about this I went back to look at the EVA 1 used. Can be found for under $2,000 US now. Actually still a solid camera and I feel like a lot of people didn't really pay much attention to it when released. Ed Prosser - does a great review of it and used it for a long time along his Komodo and Lumix S5. Same poor timing as the Varicam cameras we already discussed above. And even though larger than M43 sensor, Super 35 wasn't getting a lot of love in the mainstream when S1 full frame cameras were already coming out with better specs. It's too bad Panasonic didn't think more like RED and have the ability to allow for sensor upgrades and a developed eco system. Imagine if you were able to bring your EVA 1 back to them in 2022 and have them put in the S1H sensor and give you the option of L mount. Apparently you could upgrade from EF to PL back then.

Are they taking their time with their own new 8k sensor? The specs sounded amazing back when you covered it @Andrew Reid

Yes over 4 and 5 years, that points to something quite wrong doesn't it? Is Pana soft quitting on us? I sincerely hope not. Also you will notice the SL3 has also quite an old off the shelf Sony sensor, same as A7R IV and Sigma Fp-L. Certainly nothing as cutting edge as a Z6 or A1. Where's the L2 partnership going exactly? Into the old parts bins for cheap?

Honestly cameras haven't been the differentiators for quite some time on productions. Good productions generally just require a lot of money and talent (unless you are into micro budget stuff) and cameras have always been one of the cheapest things on the budget list.

My laser scanned 3D printed FX6 body shell that you can hide an a7iv in has a chance then. Inspired by this genius that hid a GoPro in a broadcast camera.