Laser Blue

Could that little hole in the lens mount (by the red lower left video record button) be to enable an adapter with an ND inside? That hole is not present on the S1...

Well, the F35 recorded to HDCam SR tape (we had an SR VTR, but used it only for finished master content ingest for its 12-channel surround never as source media ingest,) Panavision Genesis was 1920x1080 (sub DCI 2k) resolution too low for high-CGI films, Panasonic DVX-100 and Sony CineAlta cams were also basically HD res... In my view today, dCinema technologically = digital recording non-tape media, not film, 4K resolution and visually lossless. P2 was digital media but HD res, CineAlta was tape and HD res. Panavision was HD res... As for Von Trier vs. Jackson pioneering, I defer to you. And while I sympathize with ATOMOS, I want internal RAW recording.

My understanding is that patents deemed improperly filed or invalid result in the patent concept becoming public domain and permanently unpatentable in perpetuity.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments. The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs. In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters. There was nothing like RED in terms of a capture device in 2008. NOTHING. Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.) Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED. While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit. Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever. Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.) My 2¢.

I’m pretty pleased with my S1s. Paid like $1800 for one body and it just smokes so many other cameras for the price. If Panasonic adds CFExpress and internal ProRes RAW to card, keeps updating video capabilities via firmware like Samsung NX did, I’m pretty happy. Never much cared for Sony anyway. Panny and Samsung I like. I get the sense that Andrew has been spending time with tech disrupters (focus device prototype guy and others.) I don’t want to see the photography industry die either, but I feel like manufacturers HAVE been upping the ante in terms of pace of offering new features accelerating, larger feature sets for a given price, AND aggressive discounts on new models.

The current promotions are: free 3 year warranty with registration, $199 film makers firmware upgrade for free, $400 trade in discount plus value of trade. That puts my second S1 body at $1647 with my trade. Yessssss.

Richard Wong tested the two adapters stacked. Best results with telephoto Canon EF glass and EF mount Sigma prime. V 1.0 Techart firmware.

In all my years at Panasonic, I shot with: Sony Betacam SP/SX/Digibeta, various DVCPROHD, Samsung NX1, Sony A99, Canon 5Dxxx, 7D, 60D, Panasonic GH3/4, Nikon Z6 and now the S1. Ya see there, junior, I’m what you hipster douchebags call “brand agnostic.” And after many years restoring, wrenching on and roadracing formula cars and motorcycles (some of which I destroyed and sometimes walked away from,) few who know me think of me as the wife in your snotty, presumptuous and frankly obtuse little narrative about a stranger to you. Go pay too much for an instantly obsolete EOS RP. The adults are trying to share vital information for their budget conscious peers who might be in the market JUST as an amazing camera (fuck the brand fanboy shit) happens to have heavy discount incentives. Enjoy your crow. Bony going down, no?

Adorama offers the S1 body with firmware upgrade, $400 trade in credit and offers the most credit IF you trade in a camcorder with XLR inputs. So, trade in a camcorder with $450 camera value + $400 trade in value = $1647 for body or $2547 for body + 24-105 f/4. Including 3 year warranty and filmmaker firmware update.

I have the S1 and plan to buy a second. Here’s my reasoning: I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND... Total discount (not including value of 2 3-year warranties) when compared to buying all items separately: 2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip. Retail total $7123. My total $5044! And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity. And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD. And Sigma native primes are coming. And Kipon makes a Mamiya MF focal reducer. Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings... I could go on. Seriously. How can everyone not be buying S1s?

Wind1414, I call FF sensor with RAW out professional too.

Spock is a charming philosopher. Guessing his photography might be less engaging than McCoy’s. Sorry Spock. LLAP.

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass. Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware... Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.” Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm. Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm. I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties. Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me. Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams. My money is on Nikon Z. Literally.

Facts: A. The RAW hack is real or not. B. The RAW hack will be revealed April 1 or not. C. Based on previous hacks, the work completed by others that benefits all NX1 owners will likely cost nothing. Just like NX-KS2 or MagicLantern. Both of which I am personally VERY grateful for. Honestly -- please, please stop demanding proof, fabricating conspiracy theories, frankly being a cyber bully to a stranger, shut up and wait. Until April 1, I know for certain that reading this forum (especially after PAGES of all this pointless drama) is no priority for me. Leave the stranger offering a promising hack (real or not) alone. Observe outcome. Rejoice/lament said outcome. Move forward. I personally try not to be a dick about free things to those offering free things before they finish free things that might otherwise no longer be free had I chosen instead to be a dick.

Andrew, Thank you for the test! It's my understanding that aliasing or softened detail can be made worse by smaller bitrates. Would the 120 fps image improve on the NX1 with a bitrate increase to say 160mbps from the standard 80? 96 fps on the GH4 lost detail relative to 60 fps at the same bitrate. Thoughts?