Andrew Reid

Biggest surprise of the poll so far is this. Had expected much more Sony users.

Good test. Is the Zomei really that soft? Could be a good AA filter for Magic Lantern on 5D2 and 70D if so... Then it would be doubly a bargain

Yes. Wasn't possible before. 5D II as well although not with DPAF. They didn't crack the 80D yet so 70D is one of a kind. Another frame grab, not upscaled.

Indeed, but now we have 10bit, 12bit, 14bit lossless as well as SD card overclock. Therefore you can do almost max res 1920x1080 on the 70D at 50MB/s in 14bit lossless. What's the current max res (full sensor) on the 7D?

How's the ZCam E2 working out? Any good?

Some 14bit lossless frames from my 70D. No sensor crop, full width Super 35mm. Continuous with SD UHS hack (approx. 50MB per sec) It's very filmic. No anti-aliasing filter used, just classic EF 28-70mm F2.8 with ND. Digital Bolex with AF finally here! What are the advantages of the 7D? One more... Seems VAF isn't even really needed! (all frame grabs exported from DNGs as upscaled 4K JPEGs)

I'll do a comparison between the 5D II, 70D and EOS M. In both full sensor and crop modes. The EOS M sure is good for c-mount lenses. Which exact download & branch of Magic Lantern are you guys using?

Yes of course.

You guys are getting this thing to sing. I have tried it out as well. I find the full-sensor recording a bit messed-up, I think I might need to revise my workflow. The crop recording is good, but working with a very small sensor area. I prefer the 70D at the moment... Found one for 200 euros used with a lens, high shutter count. It is now doing 14bit lossless compressed RAW with UHS card speed hack, full resolution no crop Super 35mm RAW at nearly 1920 x 1080. Damn thing looks like a Digital Bolex with Autofocus I will continue to explore my EOS R and 70D, check the blog soon

I agree with the RAW colour science... Easiest thing is to open a raw file from a cherished Leica M9 in Photoshop and within seconds you have it looking wonderful... Whereas do the same with a Sony A7S II and you are deep into presets and HSL before getting it anywhere close. It's very time consuming. The Adobe Camera Raw defaults are very important. Sure, RAW is very malleable but changes take time especially on hundreds of shots. In video it's the same, different scenes and shots call for different processing... which can take hours and hours away from the actual edit and shooting. Sometimes it's quicker to get it right in-camera with video. Yep absolutely agree DR has biggest room for improvement, it's not progressed as fast as resolution, that's for sure. Thanks for the poll. Food for thought. I've done one as well, an expanded version. Check it out.

I will let this poll run and then submit the results to the manufacturers. Let's show them what filmmakers really need in future and a window onto what we already use and own, in terms of cameras and lenses.

Interesting stuff. I think colour science is a big one. Comes for free with RAW, but what I'd like to see is the ability to bake a LUT into a ProRes recording in-camera. Saves grading time in post and speeds up the edit. Dual Card slots causes a big hype and debate... I think that's why people feel it is overrated. I think it's a small feature but a critical one for pro work. If a single card does fail then it's an irreplaceable data gone and imagine if you lose somebody's wedding... disaster. There is no need NOT to do dual card slots on a pro camera, especially a $3000+ one, and it has hurt the Nikon Z series so badly in shops with photographers. I think it could be interesting to split a poll up into sub-categories, as big features lumped with small features will always show the big features coming out on top, but that's not to say smaller features aren't also important.

Seems so far the important stuff is in this order: Dynamic range Raw / Codec IBIS AF and ND a slightly distant 4th For $350 I think the 70D with Magic Lantern would make a lot of people happy, especially with a good vari-ND and IS lens. For $1250 not hard to see why the BM Pocket 4K camera is so popular But what really comes closest to being strong at DR, Codec, IBIS and AF is the Olympus E-M1X which nobody bought It has very good dynamic range in Oly LOG, a very robust high bitrate DCI 4K codec, the world's best IBIS system and phase-detect AF that demolishes the GH5's CDAF. Some things are missing from the list like colour science. I might make a poll myself.

Don't forget, AAC audio is changing to high bitrate PCM with the July V-LOG firmware update.

Nice test. I'm glad the dynamic range benefits come across, and the other main priority was getting the Nikon colour science into LOG format. I don't like the colour in N-LOG over HDMI, looks whacked. In-camera it is SUPERB and comes through in Z-LOG. The Z6 has come in for a lot of stick in reviews and not hard to see why but it's very capable. Nikon made a few critical mistakes which shafted it on the market so nobody is buying it No dual card slots on a pro camera. Cheap looking, but expensive F1.8 primes. Consumer leaning design rather than all-out aimed at pros and high-end Sony users. Speaking of which, Sony users tend to be quite satisfied at the moment and most have Canon lenses, not Nikon. So Z6 is a hard sell to quite a big proportion of the market. Canon users can't bring their lenses. Sony users haven't got a big reason to move sideways. Nikon users probably only just bought D850 and not ready to upgrade. So hard to see a market for Z6. When you get down to it though, the nuts and bolts of the Z6 make for a wonderful camera and shooting experience especially for video. Great ergonomics and feel, no crop factor in any mode, really good for full frame 4K, very good full frame 120fps as well and will be getting ProRes RAW over HDMI when nothing else is. I also find it has very good 5 axis IBIS, more steady than Sony's version, amazing colour science, again better than my A7 III and very good AF for video with Nikon / native glass. Come to think of it, it's a tough choice between the Z6 and S1 for the most capable FF mirrorless prize. Of course S1 has better codec... Well it will do come July... but there's a smaller gap between 8bit and 10bit than people realise when 8bit is done well (see Canon 1D C... and Z6 / D850). To get a big leap you really need RAW not 10bit. It will be fascinating to see how S1 with Filmmakers Update and Z6 with ProRes RAW compare, although I still HATE external recorders. The S1 also has a more "pro" body, dual card slots, springy high quality shutter like X-H1, higher 180fps for slow-mo and an even bigger EVF although the one on the Z6 is very good indeed. What would you guys choose if only one?

Probably a case of sending your receipt to Panasonic by email or sending them your serial number, then they send you the Upgrade Key. It's free 10bit 422 VLOG so probably worth a quick email, just my guess. So $600 more than a Sony A7 III but superior specs in almost every category? Picture quality, colour, video modes, codec, frame rates, 4K 60, slow-mo 180fps, EVF, back screen, ergonomics, weather sealing, build quality, battery life, HDMI output (full size) and top LCD display? Sounds like a terrible deal! Damn if only it came with a freebie like a memory card!

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?