Caleb Genheimer

Yes, Canon is doing something similar. They’ve definitely broken the 12-stop barrier, but most tests show the C70/C300III still underperform versus the ALEV sensors. Regardless, I’d rank those two cameras over even RED/Sony/Panny cinema cameras for this exact reason. I debated heavily on S1H vs C70 last year, but landed on the S1H for the 24X36 Open Gate mode, because I primarily shoot anamorphic, and wanted to get into large format scope capture. I’m happy enough with my S1H to never sell it. The only other digital camera I’ve kept is my GH2. A Samsung NX1, GH5S, and Pocket 4K have all come and gone. I also agree that the GH6 really needs to have properly implemented V-Log to differentiate from previous models. Going from V-Log L on the GH5S to full V-Log on the S1H was a paradigm shift, and I wouldn’t go backwards after having it. I don’t mind M4/3 sensors from a size perspective, but they DO struggle to implement the same imaging pipelines that often accompany larger sensors. I’d be considering a GH6 for b-cam if it had full V-Log, but without that, I’ll pass.

I agree that the Alexa sensor is definitely “gold standard,” but also that expecting that kind of performance out of something like a GH6 is a bit unrealistic. That being said, I wish the prosumer camera manufacturers would throw in the towel at around 6K resolution, and begin focusing on dynamic range in video. That directly corresponds to the technology previously discussed: dual gain output photosites. The current limiting factor for basically all prosumer camera DR is the ADC (analog to digital converter) bit depth of 12 bits, which limits performance to 12 stops of DR. Fancy processing can squeeze out a bit extra (like the ~12.7 stops of the S1H,) but that’s the limit. The Alexa sensor’s photosites have TWO ADC each, at different gain settings, in parallel, for simultaneous capture (at the same moment.) The signals from these offset sensitivity ADCs are then combined by the image processor to cover a resulting higher DR. This is entirely possible in a prosumer camera at reasonable bitrates via LOG scale encoding. The real bottleneck is the ADC tech, which is linear in nature. For the vast majority of applications/users, 12-and-change stops is plenty enough to get a satisfactory image with room for flexibility, but those wanting to accurately simulate DR-dependent effects like Bloom, Halation, and flare, it is important to have as much differentiation in the highlights as is possible. I’ve found the S1H to have… enough DR for pretty reasonable halation approximation, providing I expose for the highlights. I’d take two more stops though if another prosumer camera offered it. It sounds like the GH6 is using an entirely different approach to increase DR: sequential offset exposure. That’s not bad, necessarily, but it’s far more computational/AI in nature, and could definitely have motion artifacts. I feel we’re finally at the juncture where the internal codecs and bitrates on prosumer cameras have caught up to the capabilities of the sensors, and it’s time for attention to swing back to the underlying sensor tech for significant improvement. I’m also a bit sad to see the continuing use of DFD AF. Prediction: “3X faster processing” will just mean “3X faster micro jitter.” I’m ready for Tilta or DJI to make a stand-alone TOF/LiDar wireless follow focus AF/focus aid device. The tech is there in the Ronin 4D, and I’d willingly pay several thousand dollars to remove AF from all my future camera body purchase decisions.

The best thing that could happen for LUMIX would be DJI taking the 4D’s AF tech, (LiDar tracking, wireless controller with focus waveform,) and pairing it with a universal focus motor. If I could bolt that tech onto any lens, map a quick profile, and have flawless AF/powerful MF tools in a wireless package… on any camera… I’d pay top dollar. And I’d stick with Panny forever.

Looks like it. Bummer if true. Usually B&H has the most no-nonsense tech info, but maybe they missed.

According to the listed specs on B&H, PSA it DOES have a Full Frame Open Gate 24X36 8K mode in CRL. For anamorphic users, that puts it in a category that only a handful of other cameras hit.

Nikon will make out like bandits then. There are pro photographers who will never switch away from a reflex finder. My father is a landscape and wildlife photographer, he switched a couple years ago from Canon to Nikon, and has never looked back. For some, these two brands are basically the only two they’d even consider, specifically because of full pro full frame reflex models, and one of the two just end-of-life’d all their reflex bodies. I’d love to see Oly step into that second slot, or even better, Fuji GFX. Sony and Panasonic will never, it’s just not their style.

This is good in the long run IMO honestly. It feels like there’s a lot of unnecessary waste in the electronics sector. Entry, mid, and high level segmentation in photo/video cameras really only justifies 3-4 models tops per manufacturer, maybe 6 if you include full-on cinema cameras. Many camera companies seem to have bloated, convoluted and self-cannibalising lineups, despite their somewhat arbitrary attempts to differentiate between models (which is often via software).

Raw is cute, but I’m still completely hung up on any flavor I can’t use in Resolve… like, what’s the point of Raw outside of a good piece of color software? I can’t remember why, but I popped into FCPX for some reason the other day, and as far as I could tell, it doesn’t even let you set a custom project resolution 🤦🏻‍♂️ BMD baffles me. They either need to accept that they don’t want their codec to be the industry standard, and by extension, add support for ProRes Raw into Davinci… or they need to push/allow other manufacturers to put BMRaw in their cameras. Doing neither seems straight idiotic, but here we are.

Any mention of open gate video?

Neither is the grip equipment required to support a Classic 😂

I’m more than a little suspicious that either: A. Sony agrees to make sensors for Panny under the condition they stick to their current AF tech on chip, or- B. Panny has unspoken knowledge that if they were to ask Sony to build them such a sensor, Sony would decline. Sony makes great sensors, but Panasonic has a proven track record of being significantly better at utilizing those chips, and Sony I’m sure leverages their position to keep the playing field even. I suppose it is possible that there are patents on alternative AF tech which have been blocking Panny from switching, but it seems like Sony and Canon at minimum have AF well sorted, so it is surprising that Panny can’t seem to do the same. All that being said, the various interviews in the last month strongly reinforce that Panny has zero intentions of switching up their AF tech, which is very disappointing.

I’m fairly suspicious that using Sony sensors involves use-case restrictions, not slapping the S1H sensor into a cine body could be one of those.

If (a big if) the next S[ ]H camera has proper AF AND internal ND, I’ll consider buying it. Otherwise, as soon as the next-best-thing hits market, I’ll enjoy that sweet and savory S1H price drop that we all know will arrive along with the new model release.

Panny REALLY has their stuff “on fleek.” Bulletproof indeed. I’ve wandered off to Samsung and Blackmagic, but I always end up back with Panasonic, they really nail everything down. AF may be a bit behind the competition, but everything that works REALLY works and is 100% dependable. There are some deals floating around on the S1H that I might just bite on soon, it seems like a decade kinda camera.

My body is ready for a BS1H like, YESTERDAY. I 110% would not complain if the “S2H” ditched hybrid form-factor entirely and went full cube-cam. For crying out loud, the S1H is already a significantly different chassis versus the S1/S1R/S5. ONE of the four could totally be a cube-cam, and it could still remain a hybrid in function (if not in form). Heck, plenty of stills cameras have historically been cubes anyway.

I use the same kit. It’s recently all over lower price brackets though. Zoom has a tiny body pack LAV recorder with 32bit float for sub-$200 USD. I’d say that indicates the chipsets are just as economical as whatever they’re currently putting in cameras, now it is more about people pressing them to add that feature. Edit: if they wanna make their money, an XLR Module with 32bit float would definitely end up in my bag. But if the camera is capable of writing that to the card, may as well put the same tech in the camera body itself too… heck even for onboard scratch mics it’d be pretty handy.

@Andrew Reid If you keep a list of things to poke camera manufacturers about, add 32bit float audio to the lineup. IMO it would be a paradigm shift in “scratch” and on-camera audio to include even a decent float system. Heck, a simplicity-first company like Blackmagic Design could do away with audio controls in float mode entirely, opting only for a headphone volume control (or even auto level monitoring). I use a 32bit float recorder at work all the time, and I literally don’t have to think about its operation beyond power-up, verification of the mic signal, and hitting the record button.

Honestly I think what hurts Panny’s L-Mount beasts is their very own S1H perched high atop the pile. It deserves to be there, but a LOT of folks tend to shop between flagships, ignoring tertiary models. In reality… The S1/S5/S1R compare to everyone else’s lineups, and the S1H just… sits in its own tier. If they had sorted the AF, I’d probably have procured two and hung up my camera shopping hat for the next two decades.

I think whoever integrates BRaw in body outside of Blackmagic will see big time adoption. BMD I think might be prohibiting it to protect the Pocket line, but honestly they will see Resolve Studio/Pocket sales on the tail end as folks buy B-cams and full versions of Resolve. Heck, they could limit “third party” BRaw files to Studio version only. I can’t stress how much better Resolve is versus FCPX, ergo how much better BRaw also is versus ProResRaw. I really want BRaw as the “new ProRes” industry standard, and I think BMD could do it easily if they let other parties put it in-camera. They claim to hate Atmos with a passion, yet they compete in the same space with monitor recorders... they need to one-up everyone else by putting BRaw into third party bodies. Panasonic seems perfectly positioned for such a move, and it’s exactly the kind of thing that would sell truckloads of MFT cameras.

Yea, I read more than a few articles at the time which seemed to think it wasn’t challenged from the ideal angle, but I’m no lawyer

I still don’t understand RED’s stranglehold on the RAW patent bs. Like, it’s a painfully obvious method for compressing RAW, based on already-existing open tech (even when they originally “invented” it.) What, did the lawyers tasked with contesting it a while back just do a crap job? Or does RED just have a bunch of Big Dick Energy lawyers?? It’s absurd, and I’m still baffled that the big dogs haven’t banded together to take that patent out back and toss it in the dumpster where it belongs. Everyone wants internal RAW, and the codecs exist to do it easily. That’s what I want in a GH6. If not, then at minimum, ditch the stupid HDMI and implement a pro-grade SDI connection. I’ve also been dying for someone to put a dual-gain ADC audio system into a camera, with 32bit float audio file support. The preamps can be only half-decent, and it’s still a MEGA benefit to just plain NOT HAVE TO WORRY ABOUT CLIPPING. It’s like RAW recording for audio. If it can be put in tiny body packs, it sure as heck can be implemented in a camera body.

yep. They’re gonna lose me too if they keep it up with the external recorder crap. The AF is lame enough that I may as well get a better camera without it, it’s the same difference. Those are the two things they NEED to remedy this iteration: real AF and internal Raw. ND would be nice but not critical.

The body shape is just... disgusting (and that’s coming from someone who owns and uses a P4K). They should just make the screen AND EVF each a $500 extra, and reshape the body into something more like RED/Kinefinity/ZCam/BGH1.

What, they’re gonna repackage Sony sensors? Good luck competing with Sony or Panny then 😂

Define “very soft,” because I’ve seen my stuff on theater screens which have only ever been 2K, and it looked fantastic. 3883X2912 is very comfortably over sampled if delivering a 4096X1716 DCP, even if it’s “soft.”