Jordan Drake

I only had the camera for a few hours, and did not have other cameras handy to compare it to (aside from the X-T3, which has excellent readout speed). I'll get full numbers eventually, but it seemed quite similar to a Sony a6400. This IBIS system helps control some of those micro-wobbles, but it's not a camera I'd use for fast paced handheld work. I certainly wouldn't find it "unusable" for quite a few types of shoots. Nor, however, would I make this my primary video camera.

No Luma range option (yet, firmware was still very early). I'll dig into this deeper if the problem still rears its head on the production models. F-Log was functional (you can see an uninspired example of it in our Japan field test episode), but I was advised that Eterna was much closer to being final, so I stuck with that. It helps that I love Eterna for quick turnaround.

I was looking at that thread with a lot of interest, as I do cut our show on a Mac with FCPX. However, to test I stuck the card back in the GFX 100, and the footage played back with the crushed blacks in camera, and on an external monitor. I'm not too concerned, it's very common for pre-production cameras to have issues like these. I'll update when I get a production unit shortly.

First proper video I've shot on the GFX 100: Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna. Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.

Gordon Laing has done a really fantastic video-specific look at the S1/S1R. Worth a watch:

The S1/S1R 6K Photo is actually 3:2 instead of 4:3 like the GH5/G9. Choose your anamorphic glass accordingly.

I'll change my ways...

Just looked into this. 60P 4K Photo mode still does a Super 35 crop. 6K and 4K at 30P is full readout. No free lunch, sadly.

You can shoot Super 35 in all framerates (4K/60P and 1080/180P can only be recorded in Super 35). In 1080P, your frame rate does jump from 60P to 150P. I'd love to see 120P added. Pixel-Pixel is only available in 1080P modes, which makes sense as the Super 35 modes are 4K at the pixel-pixel level.

I shot most of the episode, (aside from the part art the canyon) on a video monopod, so I can't really say. It wasn't an issue for the couple hours we were there. I wouldn't want to hand hold it for an entire event shoot or something. The body with the 24-105mm feels similar to the GH5 with a Metabones and Sigma 18-35mm I usually use, so I don't think it would be an issue for most types of filming.

Beat me to it, thanks!

Gerald is a legend.

I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.

Pretty noticeable, but not bad for super-sampled 4K. In-line with the a7 III.

Yeah, I'm really unhappy with how I delivered that conclusion. The point I was trying to make is that if you only want to carry the camera, the GH5 and X-T3 are much more full featured. If you add an external recorder, however the Z6 and to a lesser extent the Z7 become extremely compelling. The audio issues can certainly be worked around as well, but I remember shooting with Canon DSLRs and occasionally being forced to use an underpowered mic. I do think the main purchasers for video will almost exclusively be people with a large selection of Nikkor AF glass.