Andrew Reid

Facts: It has a rolling shutter, of course like most cameras without a global shutter. In 1080p the distortion is tolerable. In 4K it's worst on the market up there with A6300. It doesn't have built in ND, it's in the adapter. Adapter NDs you can get for any camera. When you want to go clear you have to change the adapter, so not the same as having a true built in ND like the FS5 or C300 High bitrate? No, it's average at around 136Mbit in 4K and much lower in 1080p. High would be 400Mbit in H.264 or 200Mbit in H.265. Seamless transition between photo and video would be a "one click" of a switch which the EOS R cannot do. Unless you are hitting record from the stills mode, in which case you can't use all the features and have to frame-up in 3:2. Opinion: Clearly the EOS R is a great fit for you. Nobody is claiming to overrule that and I really do like your reviews. Got to get the facts right though when you make statements like the above, as newbies come here to learn. One thing we CAN definitely agree on though is the lenses... Canon EF lenses are so dominant for all the right reasons... rendering, performance, range, price. Nothing comes close.

Fucks sake. Well done Panasonic for NOT mentioning one of the biggest changes and leaving it up to some guy at the show with a sneaky shot of the prototype!!!

You make a lot of fair points, well done. I am not going to argue that much. I do think the S1 + Filmmaker Update is a good deal. Yes it has cons, as a system it is early days, the autofocus is a problem for many, many people... I get that, but let's not lose sight of the stuff we should be excited about, like the full frame sensor, doing oversampled 4K from 6K, really nice 10bit codec, V-LOG (from July), great colour science, market leading EVF better than even the Leica SL, superb ergonomics, articulated screen and huge battery. Also, it's a great stills camera for manual focus glass with that huge EVF. I think full frame 10bit 4:2:2 V-LOG and nice 1080p up to 180fps is something no other camera currently offers. Not Sony, not Canon, not Fuji, and when you consider it is $2500, that's a very good offer. I agree with your deal-breakers though. The AF situation will lose Panasonic a lot of customers. The lens situation is, shall we say, challenging when it comes to native stuff. Expensive, may be another word. Built in ND should be there on the S1H, but would add to the cost as well. I think Panasonic wanted to make an S1H based as closely on the S1 as possible without too much mission creep. I agree that larger screens we are seeing on a select few... BM Pocket 4K and Sharp 8K cams - would be great to have... but those cameras don't even have an EVF. Let's not decry the S1 for lacking a few niceties when it packs in a FAR more complete and well rounded feature-set. As one-man operator who needs AF, IBIS, built in ND, 10bit, 4K.60p, honesty you are not gonna find it ALL in one camera for $2000... Let's be real. Closest you will get is Fuji X-H1 or X-T3.... Maybe the A7 III... But not even these do all of that in one body. And if you go Blackmagic, you lose even more convenience. And good luck with an EOS R... You might need to buy new lenses to get any sort of wide end, if all you have is designed for full frame... And the rolling shutter is shit. No IBIS. No 10bit. No 4K/60p. No built in ND, the adapter is needed and it's not a pro piece of kit, sucks in dirt, not easy to go instantly to clear filter, and to top it all off, there's no kind of 120fps at all... Unless you count the 720p line skipped shite. I don't.

The S1 is that, no? IBIS is very close to the GH5 on the S1. Certainly way better than Sony

It's frustrating, but not weird when you consider the people the S1H and GH5S are aiming at. On set, on a production, on a TV show, you are rigging the camera to stabilisers, gimbals and even vehicles. Any vibration through the sensor's moving block is going to cause issues there, so IBIS remains targeted more at stills cameras than pro video cameras. Also I presume on these productions, a matte box with drop in NDs will be used so Panasonic didn't think to go internal. An Alexa or RED is the same.

The 6K in weird 3:2 is bonkers. I'd agree with you there. They should have at least an option for standard aspect ratios, whilst keeping 6000 pixel full width readout. And if the 5.9K 16:9 is really only at 30p, then that is inexcusable. I really hope it is just a mistake in the press material. It's as if they basically put the S1's burst mode on a cinema camera and forgot to change the frame rate. With the AF - I have a place, and will always have a place for a manual focus camera with great EVF. A lot of amazing stuff that people would kill to own, does not have AF of any kind. Alexa, Digital Bolex, F35, RED, Leica M, all sorts. AF makes us a bit lazy, video is always best with manual focus... But it is very necessary for stills. And this is where Panasonic's BIG mistake comes in... The S1 and S1R WILL NOT SELL as pro stills cameras without better AF. To even GET AF, it is practically an extra $6000 for a 50mm prime and a couple of zooms. Not very good value for money compared to putting your EF lenses on a Sony A9 is it? I hope the situation improves when Sigma bring out their ART L mount lenses. By the way I have now tried the MC-21 adapter with both Canon and Sigma lenses... Same slow 1-2 second AF on both... Sigma lenses don't have an advantage on their own adapter. Of course, it's all contrast detect AF's fault. For video it doesn't bother me though, as I have other bodies to fall back on when I need AF for video and the rest of the time I enjoy my manual focus lenses... I have some very nice ones. But for sure it is going to hurt the S1 and especially S1R in stills market vs Sony and Canon.

So terrible we have to scroll past it twice.

You really are King of Trolls. Very easy to list all the good features without listing the bad isn't it? 1. Who cares. 2. Who cares. 3. Who cares. 4. Who cares. 5. Who cares. 6. Who cares. 7. Who cares. 8. As an EOS R owner and an S1 owner, I can say the colour science on the S1 is superb 9. Who cares 10. Who cares

What part of $2500 for a full frame 10bit V-LOG shooting camera isn't a bargain? The $2000 or the $500? Oh and it is also a kick ass stills camera with best EVF on the market and Super 35mm 4K 60p like an X-T3, but still isn't a bargain? An Alexa or RED doesn't have PDAF either! Manual focus for cinema is fine by me... My best lenses are MF. And when you need video AF, keep a cheap second body like an A6400 handy. It is only the first year. Will get better in terms of native lenses. Until then, you can adapt only... everything. Well, you will have to criticise everyone in that case because nobody is doing a $2500 full frame camera with global shutter, 4K 120p raw and built in ND... And if they did, it would be by RED and cost $50,000. WTF? Cinema people shoot selfies now?

Maybe you can help them out by saying WHY you don't like L-mount and what is wrong with it. I get that the lens road map from Panasonic is pretty sparse and Leica expensive... but there is a LOT to come from Sigma.

Seems you are massively jumping the gun based with these assumptions. It doesn't sound like press text to me. It sounds like some French guy prematurely summarising a few key features before the embargo. It's not an official press release or even close. Also: 6K / 24p (in format 3: 2) or 5,9K / 30p (in format 16: 9) Why would the 6K be 3:2 only?

Scotland looks freezing!!

And the people left out would still moan anyway! RED has no PDAF or flippy-tilty screen, are they out of touch with cinema market? Arri?

Fake news. Thread closed.

Another Crapon apologist. Oh dear. EOS R is not "low end of the market" The manufacturing cost issue and tech capabilities excuse has been disproven many times. Magic Lantern shows what even the very old and cheap bodies are capable of... see EOS M (first model) and even the 50D from 2008 which had no video mode. Tech has always been there for much better features implementation. Fuji X-T3 packs in plenty of nice tech for half the price of an EOS R... please do compare the video performance between those two. The manufacturing cost of an X-T3 seems to work for Fuji's bottom line. Canon manufacturing costs I have no idea and couldn't care less about. Maybe their factories have fallen behind and need upgrading and they cannot buy the latest processors from big rival Sony? Who knows. But if Fuji can make a profit on the X-T3, so can Canon on a similar spec body, I would have thought. Yes, when you have very old management, what worked in the 1980's may no longer be relevant today. That's Canon. In many ways they are the essence of what made Japan successful in past times, in other ways they are what happens when marketing people get too powerful, then get too old, and yet still end up running the company. All I can say is the engineers must be very bored and thinking of leaving. Nice, hope you enjoyed the race. However, not too hard to figure out that Canon have biggest established presence in the pro sports market for stills. Nothing changed there. Not sure what that has to do with the consumer or video market though. I do recognise the appeal for a classic style DSLR with very good live-view, good AF for stills, an easy to use video mode, nice feel, etc. Measure it on a technical level against competition though and the video mode doesn't hold a candle.

In Magic Lantern RAW (MLV) I had equal sharpness, detail and almost zero moire from both the 5D II with Mosaic AA and 5D III. Without the filter the 5D2 isn't so bad and definitely a lot less moire & aliasing than in the stock Canon video mode.

Getting back on the topic would be good.

A GH4 was used heavily on a Netflix series recently. Also The Grand Tour / BBC Top Gear. GH5S is a serious pro tool for a lot of people. It won't be a 20MP full frame sensor if it does 6K. No need to make a new sensor. It'll have the 24 megapixel S1 sensor which is 6000 pixels wide, so capable of 6K with full pixel readout. The Cinema S1 will just take that same chip and back it up with a beefy 6K codec. Let's hope price is no more than $3500 and that the specs are competitive with the upcoming A7S III... Oh, and that it has IBIS!

Not since the Sony FS5 have my pants been so on fire for an ND filter. The Panavision LCND uses a similar concept, in a stand-alone drop-in filter designed for cinema use. Read the full article

X-T30 with 18-55mm F2.8-4 would get my vote. Stabilisation works well. Image is perfect. Size is small. Feature packed. Not mega expensive. Nothing else gets close for the size and price. Olympus E-M10 III is newer and does it all even better! That would get my vote as well as the X-T30 although the Fuji is more advanced and feature packed, with larger sensor and much better AF and slow-mo 120fps

Canon are shit because they keep asking focus groups, and all of the people say "what is 4K" or "I edit on an iPhone" and "we don't need it". But marketing decide 4K is a box to be ticked, so it goes on when the cheap (and old) hardware isn't quite good enough for it, especially Canon's sensors which aren't using latest manufacturing methods. And Canon are a money making machine with no incentive to risk undermining a more expensive camera by making a good value for money one, at least when it comes to video because Canon knows video pros spend a fucking fortune. Canon are also a bit of a dinosaur, with senior Japanese management in their 70's and 80's who don't understand the modern tech world very well. ---- As for the HDMI output my guess is the HDR TV output is 10bit to support HDR displays... Whether the video output actually IS 10bit or in what HDMI mode you get HDR, I don't know. That page mentions "HDMI HDR output" and BT 2020 but for all we know it might be playback only. --- Ah next page: HDMI HDR Output Off / On An HDR display icon is shown when the camera is connected via HDMI to an HDR TV or monitor. HDR TV or monitor. Still photo: Supports RAW, C-RAW, and JPEG in single-image display. • Display is delayed by approx. 1 sec. for RAW and C-RAW images, which are processed. • Not supported during movie playback So the HDR 10bit HDMI is just for stills in playback mode... the HDMI output shows them in HDR mode on compatible TVs. Good move. I do at least rate Canon's lenses. I've been comfortable using Canon lenses on Fuji, Sony, Panasonic, Olympus and even Nikon bodies for a while now and only look back to Canon bodies when I want to shoot only stills, or see what Magic Lantern have done. My 1D C and 1DS Mark III are the best stills cameras I own when I need perfect AF via my EF lenses and long battery life.

Wow. Liked your footage a lot Zeek... What res was it before the upscale to 4K? Even my 4K screenshot of the YouTube frame has plenty of pop

Are these full sensor width, or a heavy crop?

Trusted source on the rumours site says: "It’s L-mount New Full Frame sensors Cinematography dream gear It’s built like a tank. Slightly bigger than the S1-S1R for better heat dissipation" So an Cine Lumix S1S to compete with a Sony A7S III. If it's a new sensor, I wonder if they went low with a 12-ish megapixel resolution for low light, or high for 8K or oversampling?

No, but you are. The Chinese industrial and tech revolution isn't ok with you is it?