Fritz Pierre

Probably a rendering at this stage, so I would'nt presume anything, except even if the mount was m4/3 on a s35 sensor, Panasonic would still choose a physically large lens to display on there, to perpetuate the Cine Camera concept...m4/3 lenses would be the wrong "look"....too diminutive...the mount also appears to be "locking" which would definitely be a plus...I also doubt strongly that the actual camera is sitting under glass and under the veil...could be a clay prototype shape that's painted...but what I can tell you what it definitely IS....it's a great bit of marketing, as was the early 4 spec release on the GH5....and why not....I preordered on the GH 5 before the first round of cameras went out in the US and mine has'nt even shipped yet...and now...we are all buzzing about what this Cine Camera is going to be....LOL...maybe Panny will incorporate the best ideas on all the various forums posted by members that are reasonable in terms of cost and current technology, and everybody will say in June that Panny really listens to their customers??

That's why it will make more sense in the future if you pick up a crate of vmounts for a shoot from a rental house instead of a genny with a truck and operator....as LED lighting improves, so power consumption needs go down...but owning a bunch of vmounts become expensive and they have to be maintained and charged regularly, even when not in use...that kind of thing is ideal on the gaffers truck, with lights from a rental house

I think not all memory cards are created equally just like there's a difference between say a Mercedes & a Fiat...I tend to only buy the Sandisk Extreme Pro series and have never had a failure of any kind on either their SD or SSD's..nor have I ever read of them failing someone else....but I have to say I prefer the sheer robustness of the 2.5 " SSD's, and of course their speed...I use to love the P2 cards by Panasonic too, but they were expensive!...of course if I bought a Varicam LT for a project, I would probably land up dumping some serious money on 4 P2 express cards, but then of course, the budget would be there...but Panasonic mentioning "affordable" media in their mystery cam, precluded the use of their P2express cards as a terrabytes worth would run you around $4800 which would hardly be affordable...that's why I think in a body big enough, the next default media may be SSD...I think RED just overcharged for their media...because...they're RED!

You should see the Academy Award winning film Hurt Locker lol....shot on "robotic s16 mm" won Best Director for Kathryn Bigelow...in 2008!!!...some of the posts on this forum can be hilarious!...I would recommend you see the film though...It will make you want to own a 16mm sized sensor on a Digital Bolex...by comparison m4/3 is enormous!

Well you touch on another good point there in this mystery camera, which is a huge cost ignored until you own one and that is media...Panasonic claims it's affordable...my money would be on SSD in a body this size...Sandisk extreme pro is affordable, super fast and robust....and in a camera body this size, it would make sense..,especially in high bit rate or prores acquisition...RAW would be a nonstarter for them except to an external recorder...

Wonder if a trend will develope with rental houses where they will be renting milk crates of fully charged vlocks and one will have the bliss of true silence while shooting away from AC sources...Aperture just released a light (300D??) that they claim to be equal to a Joker 800 or 2K tungsten...whether there yet or not, this seems to be where the future of development in lighting is going. Owning and maintaining that many batteries seems impractical and expensive though...and a lot of work if they're sitting idle

Looking at the B&H promotion Panasonics had to rebates on the LT...the 1st at 4500 were on camera packages and ended March 17th....this second rebate came in around Feb 15 and ends tomorrow...the body on the camera is $16,500 and they are just releasing a FW update that will give the LT 240 fps RAW IN 2K...I'm not sure what camera you would use as an A cam to the LT as B cam...would be funny if the producer stepped up and asked why the best image was coming from the B cam lol I don't see any Alexa or Mini for under 25000 used in ready to shoot condition and the other cameras I consider are Panasonics (no reality basis in my discussion here...just fun speculation)...so to me the Canons, Reds or Sonys are not Panny target...image wise...the target is their market share though....but let's put a RED weapon in there....what is the cost of a used RED Weapon kitted out to shoot.... $9000 or in that range???...anyway...nobody knows and we can just dream about our subjective needs and what Panny will want for them...in 5 weeks we can play "who got the closest" and I'll probably be the farthest off ? Aaron....that will be fantastic...I have to say I'm really looking forward to seeing what you get out of the GH5 AND the Ursa 4.6K...both ridiculously priced cameras for the quality they produce....good luck with your shoot! @webrunner5....the funniest thing for me personally, is that in all this excitement and waiting for the GH5 till June and now this new camera....my favorite image out of any camera available today is still a 1080p image out of the Sony F35...now if you want something that looks like film...that image is glorious IMO

The Varicam LT is 17,000 with no EVF batteries or media...it comes with the controller, but completed it runs somewhere aroung 23 to.29000 ...and it's a bargain for what you get for that price...as will be this new camera

The camera will be more expensive but the image qualty and features will leave their competitors completely behind...and the secret is simple...it will lie in the image quality...does'nt really matter what people WANT to pay...it matters what they need to charge to be able to produce the camera...the price will be justified by the image...Panny is pulling away from the pack...and although most features are still being shot on the Alexa, Netflix is moving away from RED and to Varicam 35 &L?..this will just too expensive forward those who love buying and talking about using them...for people who get paid for their work, it will be a must have and they'll sell a lot of the...I suspect around the $9000 mark

Still think you should do a small comparison between the GH5 and the Ursa 4.6k..if you find yourself with a bit of spare time??...even if just comparing footage you've shot with both...I remember your early footage you posted shooting with the 12-35 and the GH4 and it was lovely...

No...an m4/3 mount will cover the sensor...difficult to see them supporting the EF mount...especially if they're going after the 100-300 series canons and the Sony fs series...I thought your article on what the camera should/might be spot on...and I agree on price....people are dreaming if they think a 4000 camera.... but what Panasonic will do, as they did with the Varicam, is they'll blast completely past the price point on the camera image wise...as they did with the Varicam LT...Panny seems to take a longer view with their cameras...

+ 1 on all except the idea that Panasonic would put Sony's emount instead of their own M4/3 mount on the camera...Sony and Panasonic seems to be in competition with each other....so why use your competitors mount...whereas the EF or PL mount on the Varicam made sense from a business standpoint, if I was Panasonic I would also want to sell some of their native lenses like the new Leica primes or zooms with it...and you are probably right in price range...and it's probably on the higher end of your range

Can't see this camera under $5000...so no issue with GH5 buyers...the difference between spending say $2000 and 5000, is the difference between buying a camera or not...and that goes for most GH5 buyers...there are however a lot of GH5 buyers who recognized the completely ridiculous value they got in the GH5 for $2000...those who have never shot on a GH4, would not!...it suits their work needs so why not...you could shoot a low budget feature with it providing you have producer control, but this next camera will be better suited for that....not in terms of image, but in terms of usability....though the GH series cameras are easy to operate, nothing beats the simplicity of an Arri/Varicam style camera for shooting day in and day out....12 to 16 hours a day and repeat for 6 weeks or more....oh....and m4/3 mount on variable s35 sensor is of course the answer to everybody's lens needs....and it will probably have no EVF....so you can pair it with any number of 3rd party EVF's too...the Varicam is equally modular...

Do you own the Bowen accessories adapter and use it with your 120?

This is really the essence...you're the one that's put the work into this for all this time, and to change it now would be crazy...you have the recognition in EOSHD and in marketing nothing is that literal...I would never change it if it was my site

Yes...The 300d looks like an amazing light....some feedback when you get it??....will be much appreciated!!...this company seems to be taking off in every way and to run a light that powerful off Vlocks...end of production generators in the field?...I thought I saw him say you can run 6 of these of one household (20amp?) outlet!

A while ago I purchased a sensor loupe....they are handy tools to have when you shoot with digital cameras...it both illuminates and magnifies the sensor, so that no other light source can be mistaken for a mark/dust on the sensor....they run about $25 and as with lenses, there is material on google as to how to properly clean a sensor...shoot a panning clip of a white wall and if you don't see a speck moving across the wall on your computer screen and you can't return the camera, you're probably fine with it...if you can see it in your footage I would of course return it if I was you.

Agreed...especially the notion that a Cine cam has a s35 sensor...tell that to all the wonderful filmmakers shooting on the incredible Aaton s16 film camera (Hurt Locker shot in 16 mm for example) on a negative smaller than the dreaded no DR m4/3rd sensor...(insert major sarcasm here)...many ways to shoot on digital cameras though....RAW is one....10,12 or 14 bit....LOG....a Cine Camera is the tool a director chooses to shoot a project....JJ Abrahams chose a tiny little handycam for Cloverfield...because that's how he chose to tell the story

Excellent point about motion....and I can guarantee you with a professional colorist and the same 3 guys that are filming on an Alexa, films on a GH5...properly lit scenes as you have to have with the Arri....you could cut together so that in a blind test you could not tell them apart...the GH2 did it in the Zacuto test over the Alexa and the Sony F65...it turned out as the image Directors chose in the last test in that competition including Francis Ford Coppola...I still own a GH2 and I would say in the right hands, the GH5 blows completely past it

As I don't have the GH5 myself yet I thought I'd just post this link to Luke's anamorphic shoot on the GH 5 re the videos comment.

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

So maybe I did not state clearly in my post, but I suggested a S35 mm sensor on a m4/3 mount for shallow flange distance that can adapt all lenses essentially and then the camera could CROP just like it does in ex tele convert in GH cameras...I don't think the af100 did this but even my GH2 did...so the camera has it's s35 sensor as does an Arri or Sony f35 etc....But it can also crop in camera...be it for use with m4/3 lenses or to s35 with 16mm lenses...Panasonic has been using this technology for years...so you'd get the DR when you're shooting in s35 but also the usability of m4/3 lenses in that crop...the mount merely makes other glass adaptable...to my thinking a no brainer...others advocated the same thing on this forum...what Panny does remains to be seen...but if they did this, Sony and Canon would have some real competition and I would guess the camera is more than 4 to 5K... and lastly I doubt that this is a patent issue held by JVC as certain Sony FF dslr's also do a 35mm crop in video as an option in addition to FF...really old technology by today's standards...the m4/3 mount is no Impedement to a s35 sensor though

It would make Panasonic unstoppable in 2 markets....existing m4/3 owners and newcomers with lots of legacy glass who can't necessarily afford $20,000 Cine Lenses and are prepared to work around the limitations of stills glass.

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

I think it would be smart for Panasonic to make this smaller Cine Camera usable with their native glass...you can still adapt any FF stuff but the M3/4 flange distance is attractive as would be s35 sensor size....and one could argue that JVC copied the m3/4 mount from Panny Oly...also the s35 to m4/3 crop would be something like etc. on their earlier GH cameras...technology they already use...and people talked about on this very forum, when speculation and features wanted for the upcoming GH5 were being posted a few months back...looking at the Leica fast primes that Panasonic's releasing now, why not...the glass is amazing...sell more of their glass for this camera and for those already invested in the M4/3 system, the attractive idea of buying a s35 camera with which they can use their already owned stock Panny glass....but hey, I could be wrong!...would not be the first time lol...??