sanveer

The camera seems pretty interesting, especially with its various HDR and Log profiles, 10-bit h.264 and various flavours of ProRes. Also, interestingly the specifications read: "Sensitivity: F11 at 2000lx 89.9% reflectance" Which I am guessing means that the sensors isn't too bad for low light, either. It's clearly an ENG cameras with its broadcast feature emphasis. Only if it had a larger sensor (like a M43 one on the DVX200), and some frame rate options. Maybe JVC is trying to figure why they aren't selling well, despite some interesting features on their various cameras. And thus the comprehensive survey.

Mother of God. Sony is really killing it. Any idea whether there are any exciting M43 sensors in the piepeline?

Oh ok. Is there more than one Medium Format 43.8×32.9mm sized 100MP sensor available right now? Or in suspected to release in the very near future?

It would be surprising if it has the same sensor as Fuji, at a huge premium, without IBIS (and much faster and improved autofocus). Edit: it is apparently the X1D Mark ii. With probably the same (or similar) 100MP sensor, with probably the same body (?) http://thenewcamera.com/hasselblad-x1d-mark-ii-confirmed/ @DBounce I noticed your comment on Fujirumors.com where you've said it's probably the new IMX555 102MP sensor. What's the sensor on the Fuji? Also I am wondering whether the sensor on the Fuji can be hot swapped, considering they may be the same size (?)

I agree. I also feel compact Cinema Camera needs a rethink of design. Cameras operated by single users especially need better ergonomics, and many ILC/Mirrorless features need to spill into this segment too (IBIS and better autofocus, for instance, even if dual pixel or PDAF may not make it). $4000 seems like a good price point, especially considering the MAVO, ZCam and Blackmagic presence in the compact cinema market. Maybe something that merges design elements from the XC10 with those from the C200, and ensuring that there isn't a shortage if connections, recording media isn't too expensive and that a good viewfinder and screen are already attached to the body, may help things.

Interesting film, beautiful looking, and the noise reduction made it look like DV tape (with great colours though). I noticed they used the Fujinon MKX (and another) lenses, and that's why the footage seemed so noisy (f2.9). I am guessing they didn't really have a tiny budget, since they had a joint production, green screen and CGI. I wish they also mentioned what ISO the majority of the film was shot at. I am guessing it must be pretty high. Overall the film looks pretty good.

I agree. The downvoting option is not a good option to have.

The Quad Bayer concept is actually pretty amazing. With large pixels, it could have better low light capabilities. Though 10MP and 40MP may make more sense. Unless it was 12MP and 48MP for photos, and a mildly cropped 10MP for video (for high frame rate video, with added EIS, and the crop for wider metabones support). I also hope they introduce 14-bit RAW. They need to target taking away some of the XT3 and A7 Series customers (the 24-26MP camera users). I was also thinking, that, if the GH6 does what the iPhone XS Max does, it could merge 2 (or more, differently exposed) frames for video and increase the dynamic range of video substantially. It could actually have more dynamic range in video than it does in photo. It could beat the 13-stop dynamic range that the GH5 has (maybe 14+ stops?). It could use this for HEIF (/HLG format?) HDR photo too where it could produce 15-18 stop HDR images. Some of the proposed/ next generation of SD Express cards are insanely fast. Unless you're shooting in uncompressed RAW, you probably won't need faster read and write speeds. https://www.newsshooter.com/2018/06/29/sd-express-cards-are-coming-985mb-s-transfer-speeds-and-128tb-capacity/ I hope Panasonic becomes the first smartphone to explore the possibility of having a 5G chip on board, to directly upload content on cloud. This could also speeded up updates and turn around for work. I hope they use the chassis of the old body (including all external parts), even the old LCD and viewfinder. And use these to keep the Price Constant. $2000 seems like a good price. I agree with the move to HEIV video. They could keep it at 200mbps at the highest quality, keeping file size and efficiency in mind.

I suspect that RAW video is actually possible on smartphones (albeit with great heat management and processing power, and managing that level of data), but smartphones with RAW will replace larger cameras and Sony (and others), won't be able to sell their larger and more expensive sensors for professional work. I personally hope someone gets a 12:1 kind of BRAW or something on those lines, on a smartphone, but it seems unlikely, if not impossible.

Sorry. My bad.

The 2nd last image at the bottom of the page is a Canon 8k Camera of the Cinema line (obviously). It video seems to be fed into the new Mac too. http://www.fcp.co/final-cut-pro/news/2184-apple-announce-the-new-mac-pro-pro-display-xdr-at-wwdc-2019

I also think Panasonic are hiding festured, which they will activate with firmware, as other cameras (mostly the A7siii) are released. Right now what they've released us not worth the extra money, especially since it still has a crop in 4k60p, it could still apparently have heating issues (they seem to have made this up), and 6k and anamorphic don't seem to command the extra $1500 over the S1. Their dynamic range should be the same. I am guessing they could unlock faster frame rates, maybe 12-bit 422 or something, and maybe even windowed 4k at 120fps? Right now the feature set seems slightly underwhelming, especially compared to the S1.

Why a 6k Monitor if one wants to edit 8k, especially if it has 8k real time editing capabilities? The afterburner (FPGA card) thing seems pretty amazing, as do the enormous (and super fast) RAM capacities. The pricing though, seems to be pushing things to the old NLE years (that Grant Petty mentions in his various interviews), where the market wasn't democratic, because they costed in the Hundreds of Thousands of Dollars. Curiously AMD is pushing processing power higher and prices lower (when it releases Xeon beating processors later this year, things should really heat up), and RAM prices crashed with way more production and way lesser demand (until the consortium, by unfair trade practices, slowed production and improvements in RAM speeds and capacities). The only thing missing with the shelf components is the afterburner FPGA card. I hope someone makes that too. Right now, this seems solely made for the 8k RAW shooters.

I am guessing a hardware hack, turning this into a locking pin connector shouldn't be too hard. I am sure someone who is addicted to locking pin connectors or generally curious may try it. It may just requite sticking the female end of the locking connector to the mic in, with a hot glue.

I also wish screens would get larger. Maybe somewhere in between 3 inches and 5 inches could be an interesting middle group. I wonder if we could have have 12-bit 4-2-2, since we also have 10-bit 4-2-0.

I actually agreed with one comment on newsshooter.com, where someone said that Panasonic may be holding their cards, close to their chest, with the S1H, because they would disclose other features, subject to the release of the A7siii or any other video-centric Mirrorless Cameras, expected to disrupt the video centric ILC market. Their silence, and non specific denial, probably means yes.

Considering the majority of Canon's cameras don't do 14 stops (does ANY Canon do 14 stops???), it's amazing that people chose 14 stops of dynamic range, whereas the majority of cameras don't d 14 stops or over, especially if they are smaller than Full Frame (and aren't Nikon). Even the S1R makes it to the 14 Stops Club, by a whisker. Only the last 1-2 generation of Sony sensors seem to be hitting 14 stops and over. What about: 1. Usable ISO of atleast 12800 for video and a stop less for stills. 2. No or Negligible crop in 4k video. 3. Excellent colours out of the camera, so that one can save turn around time, where one absolutely needs to. 4. 14 Stops of Dynamic Range for Stills and Atleast 12 stops for Video. 5. High frame rate video and multiple frame rate and bitrate options. Atleast 120fps 1080p video and a good Log profile. 6. Usable photo burst with continuous autofocus. Also, except for Olympus and Panasonic, none of the other cameras can vouch for IBIS being usable for video. It only applies for photos, and walking in video with the IBIS is going to be pretty much useless.

It was a TYPO (my predictive text has a curious habit of attempting to finish every sentence I begin). Here is about $2700-2800. Mostly I am disappointed that people via B&H had freebies like batteries and battery grips and extended warranties thrown in, at no extra cost. I hope they throw in the VLOG atleast. If it's close to 14 Stops, that would be superb.

Here the S1 is overpriced (about $2500), with no freebies, terrible after sales, no extended warranty and no free accessories. No wonder they aren't going particularly well here.

The S1 with internal 10-bit 4k 60p, without a crop. 6k and almost 6k in Anamorphic. And an Articulating screen, which looks like an S1 with an attachment. There is an improvement over the S1, even if it's not as major as one was hoping. Plus a $1300 price difference. Just out of curiosity, how well is Panasonic's S lineup selling, in comparison with other full frame mirrorless cameras.

h.265 should hopefully make it even better. In image quality it comes very close to GoPro. It could, maybe, get just a hair better than GoPro in the Cinelike mode (since the HDR won't work with RockSteady).

I saw this last night. I agree with Bloom. DJI needs to try and increase dynamic range via firmware and try and adopt h.265 if possible.

I am suddenly left wondering about a few things: 1. Is it the Same sensor as the S1 (with a Larger body and a better processor) or do they really have a new sensor? 2. If this Already Has VLog with 14 stops of dynamic range, why is the VLog on the S1 coming in July??? Plus will that VLog (on the S1) also have 14 Stops of Dynamic Range? 3. The S1H seems more geared for Full Frame Anamorphic(?) and 6k video. So, are there enough improvements on the S1H to actually have a completely new camera for it, and could some of this not have been possible on the S1? Plus while rumprs claim that the larger body will help with better dissipation, I remember reading, somewhere, that overheating may shut down the camera temporarily(?) I am guessing, the larger size may have more spaces for more ports and better storage among other things. Panasonic manages space rather well on its cameras, and they aren't larger without genuine purpose.

The S1 already has 14.5 Stops of Dynamic range for stills. So the majority of this, with the right codec can be used for video (close to 14 stops). Not sure what the S1H has to offer, in addition, except for the 6k resolution for video (And stills)?

Samsung is a little guarded about their sensors and that includes the GM1. Therefore one can never get complete specs and features details about their sensor. IMHO the Sony and Samsung sensors have exactly the same specifications and if someone says otherwise, it may not be true. Most likely Samsung has designed the 48MP sensor, (correctly) expecting an overwhelming response for it, plus using the way more effective advertising network of Sony, and also having Sony manufacture its sensor at their facilities along with Samsung, since it's own manufacturing bandwidth may not suffice. From a bare reading, both have 30fps at Full Res and also have Quad Bayer/ Tetracell technology for having 4 adjacent pixels into a single one with different exposure timing(?) helping the equivalent of HDR, but using different pixels, instead of the same one at different exposures. I could obviously be wrong, but I am guessing no SoC and Computational Photography algorithm has been able to push the sensor capacity to it's full extent. The sensor could actually have more dynamic range then the 1.4 micron dual pixel ones that the majority of flagships presently have. Plus with 30fps Full Res it could also combine both dual (or quad?) exposure pixel HDR (in the GM2 and , as well as exposing the same pixels at different exposure values at extremely short intervals. If any SoC could do this (which would require ENORMOUS processing power), it could have some seriously high dynamic range. https://www.samsung.com/semiconductor/image-sensor/mobile-image-sensor/S5KGM1/ https://www.sony.net/SonyInfo/News/Press/201807/18-060E/index.html Considering that Samsung is the largest consumer/buyer of smartphone sensors, and that they do innovate on sensor designs (collaborating with Fuji among others?), there is a likelihood that this Quad bayer/Tetra Pixel sensor is an joint venture between Samsung and Sony. Dual Pixel also seems like a Samsung invention, as the much faster PDAF in the latest 64MP and the new 48MP sensor (2nd generation). I just wish Samsung would share complete specs of their sensors.