Leaderboard

Yes, it’s not totally terrible or an absolute dealbreaker, but 61 beats 44 just as 100 beats 61! I’m looking at trading my 70-180 (plus 28-75 and maybe 20-40) against that 28-105 f2.8 Sigma, the only current ‘one & done’ lens I will consider. An APSC in camera crop at a flick of a switch, gives me 26mp 157.5mm (61mp sensor with Sigma 28-105) so already trading another 22.5mm at the long end over a heavier and bulkier, but same speed 70-200mm (ie, up to 42.5mm) so the question is…and I can’t do the maths, but can I live with something like a 16mp 180-200mm equivalent file from a 44mp sensor? For my needs, probably yes and the ‘one & done’ camera/lens combo has huge appeal. I could already do it with my A7RV by trading my 3 current lenses for the single Sigma, but feel the body is not quite right for such a lens without the full battery grip…which is an option, but not one I really wish to take. So spec aside, one of the most interesting and possibly deciding factors for me, will be how this new ‘S1-2RXii’ compares with the A7RV from a purely size, weight and ergo perspective…

I'll forgive Panasonic if they get this right in a big way, offer something really nice that rivals the Z8 but with real-time LUTs and a mechanical shutter. But merging S1H with the S1R series doesn't make sense. Let's hope there is an S1H Mark II also on the way with a lower 6K megapixel count and better low light, plus the other video goodies like ergonomics more suited for filming and e-ND of some sort. Then things might actually move forward in a creative way not just in terms of higher numbers on a sheet of paper. 44 megapixel I am fine with, rather have the speed than the difference between 44 (8K at Sony a1 Nikon Z8 standard) and 61 (also 8K but cropped and horrific rolling shutter)... in terms of stills 44 vs 61 we are talking 8K vs 9.5K... So not too much of difference even if you're cropping @MrSMW? 44-50 is a sweet spot I reckon. JUST PLEASE NOT IN AN S5 BODY!!!!

Not bad. Pity the cripple hammer fell so hard on the camera in Europe and the US that it doesn't exist!

Rolling shutter should be in the range of Sony A1 and Nikon Z8: 8K 24/30p - 14.5-15.5 ms, 4K 120k - 4.8-6 ms. Interesting part is 4K 24/30p where Sony A1 achieves 8ms while Nikon Z8 keeps steady at the same 14.5 ms. 4K 24/30p in APS-C crop should be lower than 10ms. The general consensus is that 14-15 ms is good enough. 8-9ms is Arri Alexa Classic territory. Nothing to complain at. Image in the video and article shows camera body top that we've never seen from Panasonic. I am not sure if this image is representative to the real camera. For me slightly smaller and lighter that S1 / S1R body would be perfect. Having the same body as S5 II for a high end flagship camera doesn't make sense, that's why IMHO this won't be the case with S1R II. If they put also 5mln dots viewfinder from previous generation (S1/S1R) or similar plus a switch for video / photo settings similar to Nikon Z8, Z6 III and Canon R5 II, then I think they will have a really good higher end camera. Panasonic always gave more for the same amount of money than the big 3. Merging S1/S1R line with high end video specs does make sense, they need this camera to compete with Nikon Z8 and Canon R5 II. Panasonic doesn't have any high end specialized video camera in contrast to Canon, Nikon and Sony. It would make sense the second camera expected this year to be much more video oriented, probably internal e-ND filters or some high end video cameras features at more accessible package.

It actually looks like a decent camera (in the ZV-1 sector of the market), especially as it has 4k60p, an internal ND and dual-pixel AF.

Assuming the rumors are correct, it looks more like a cheaper R5 ii competitor to me. If it's intended to be a replacement for both the S1r and S1h, it'll be interesting to see what the rolling shutter performance is like. The Sony IMX366AJK sensor 'stephen' mentioned above is rated for 120fps at DCI 4k, 12-bit readout (I guess using 2 x 2 pixel binning with a vertical crop, as it's a native 3:2 aspect ratio), and DCI 8k at 60fps:

it's been officially announced - https://www.dpreview.com/news/3287382042/canon-announces-powershot-v1-vlogging-camera From dpreview:

I would not say 'angry' but was hoping for the 61mp from the SL3 and A7RV because of cropping. 44mp is not necessarily a deal-breaker for me, but does count against it. Waiting to see what it really is first before making any decisions but as things stand, my A7RV is currently 'winning'.

He made a significant lifestyle change a few years back.

With a mechanical shutter - that's a win for me. i would expect a more Panasonic set of codecs. I was put off by the Z8 due to it being electronic shutter only and the video codecs seemed to have a big hole in them between RAW, RAW Lite, ProResHQ and a dodgy H.265 implimentation.

Count on people saying "it doesn't have internal NDs" or "only 44MP".

Panasonic and Olympus M43 lens zoom rings turn in opposite directions (and it catches me out regularly...), so one of them must be the same as Nikon 🙂

Keep in mind also that the Ronin 4D isn't only L mount. That is one of 4 or 5 mounts available for it (for mine, I have DL, E, and M mounts - with M being the one I've been using exclusively since I got it, though I'll probably get a DL lens (probably the zoom) for use mounted on my car). Maybe that also means that L mount is also available on the Inspire 3? From what I remember, it's the same gimbal/camera as the Ronin 4D.

It's this: https://www.bhphotovideo.com/c/product/1280873-REG/sony_selp18110g_e_mount_lens.html It's a cine lens design spin on their much much much cheaper Sony 18-105mm F4 photography lens (one I've had for years and years, a great run and gun lens): https://www.bhphotovideo.com/c/product/1001011-REG/sony_selp18105g_18_105mm_f_4_g_lens.html Kinda wish I had this lens for my Fujfilm camera, maybe the Tamron 17-70mm f/2.8 is what I should give into temptation and get instead. Slightly more expensive, very slightly wider, somewhat less range, but a full stop faster. I'd imagine Komodo users will be happy to simply get moderately good enough AF for simple sit down interviews. Means they won't have to: 1) rent an FX6/FX9 instead 2) or pay for a 1st AC for the day 3) or pull it themselves and have to divide focus (ha!) between being in focus vs camera operating vs directing vs lighting vs audio vs etc everything else they do when doing a simple OMB sit down interview It's been normal for years that RED would do massive price slashes to their cameras as they near their end of their lifecycle (or even early into it!). People should stop getting upset about it. Even ARRI does this now. https://ymcinema.com/2025/01/28/arri-unveils-new-alexa-35-entry-level-model-with-flexible-licensing-and-affordable-media/ That's the expectation/hope. And I would personally be shocked if we don't eventually see RED cameras broadly roughly speaking "matching" Nikon mirrorless performance for video AF. The question is only if it happens this generation or in the next generation. As doing it this generation is severely limited by both the hardware architecture and the software architecture RED has been using. The hardware their current generation RED cameras are using might flat out prevent them from ever matching Nikon mirrorless video AF performance, or even coming vaguely close. But even if it's not a barrier, and it has enough horsepower to do it (and the right kind of horsepower), then the entire software architecture that RED is running on might require a total overhaul from scratch to allow good enough AF performance. And Nikon might feel that's not worth it for a generation of cameras that only has a limited lifespan left, and would rather put all those efforts into instead the next generation of RED cameras, and have an entire new software stack built for them to run. (perhaps sharing something with Nikon mirrorless, for productivity efficiencies) In the long run I expect RED/Nikon to drop support for Canon RF Mount, it might even come as soon as their next generation of camera releases ("DSMC4" or whatever they call it, or Komodo Gen2, or whatever) which then will be only in PL / Z Mount. If I was to take a wild guess, that's what I'd think as well. Keep RED as the "luxury / prestige brand", but put in RED the good stuff from Nikon (such as lenses / AF), and put in Nikon the good stuff from RED (such as redcode raw, and matching color science. Make it super very easy to use a Nikon mirrorless with the RED cine cameras. Such as a person might use a Sony FX30 with a FX9 camera, or a Canon R5C with a C400)