j_one

I hear you for sure. You’re definitely right. I think the point behind the nitpicking is to figure out where the current gen Lumix bodies stand in comparison to the competition and last gen, including IQ. It’s been a while since they released a pro body like this so it’s good to see where their focus is now in their positioning within the pro market. Things like downscaling and cropping do factor in to purchase choices just like features, ergonomics, and reliability do. Some want paint brushes. Some want tested utilitarian tools. Some want some balanced mix of both for their money. It may or may not make a difference; some of us just want to know what’s happening under the hood. Because if we’re gonna say that clients don’t really care what we see, how come most of us don’t just pick up a few secondhand 5D3/D810/A7Sii/GH5/C100/P6k/FS7 and call it a day? Some answers to this may reveal legit analysis paralysis. Others, not so much. It’s something every artist or business has to answer for themselves. Like I really don’t care for the FX6 since what I have is good enough, but if owning one fits well into existing clients’ workflows AND gets me more jobs then hey it’s time to consider upgrading. (Remembering that we’re pages deep into a topic discussing video performance for a supposedly photo-focused camera model haha)

You sure about this? Or just speculation based on the online comparisons? The internal processing of the S5ii is almost offensive when compared to the previous gen, but I hardly notice it in practice since it’s less aggressive in Vlog. And I really only shoot in vlog or burnt LUT. The bigger issue on that camera is the green tint to the noise floor in the internal codecs that is visible as soon as 1-2 stops under, and that seems to be pretty much gone in the S1rii. I’ll agree though I was looking forward to their first internal raw recording in full frame, but it is what it is. Reminds me of how I always cropped in on the a7rii for anything video for the best rendering.

It was about both. The recording option that 1) doesn’t require an external recorder 2) provides the best IQ, color information and (most importantly) bypasses the processing witnessed in the S5ii (though it seems its not as bad in the S1rii) 3) doesn’t require transcoding to Resolve.

ProRes Raw/BRAW is what probably bypasses most of the rubbish processing, artifacts etc as with S5ii

The Z body + E lens setup was what I was pondering too. I’ve been thinking about systems that can allow me to remain nimble for various types of film and videography work while still providing images I can be excited to produce and features that inspire me to create/work efficiently. The industry is Sony for rentals. Investing in e mount is “safe”. I prefer Nikon files for stills. So a Z body for hybrid work has been on my mind. I just am wondering all the quirks and gotchas that come with working with Nlog/Nraw, because Vlog really is amazing on the S bodies even in h265. I’d rather not downgrade there. So far I consider two possible paths forward this summer: 1) Stills Hybrid: Z8 A-Cam: Red Komodo X in Z mount (or FX6 for jobs) Concerns: hidden Nikon quirks and less DR, H.265 implementation, more expensive setup overall 2) Stills Hybrid: S1rii/S5ii A-Cam: Pyxis L-mount Concerns: No Pyxis autofocus (not necessary but a bummer in comparison), S1rii currently only internal ProRes raw so no Davinci support, LUMIX lenses bore me. The Z9/Z8 NRaw render an image that reminds me of RED funny enough so it’s interesting how things played out for them. I can also say similar about the S5ii BRAW and the Pyxis. If I had plentiful cash and weren’t so stubborn / such a contrarian: 3) R5ii Clog2 + C80 or whatever and call it a day. 4) FX3/6 + A7r4/5 and be done with it Both have the best third party and community support. But canon is pretty & safe but BORING and expensive and I really just don’t like Sony alpha bodies. I’m sorry. Yes, the announcement did give me pause. As a hybrid it does what I need it to do, and so does the S5ii. I just prefer Nikon stills, colors, and lenses, so I’m having grass is greener syndrome while also considering smarter investments.

Exactly, I can't fault you for being a bit more than annoyed at their strategy. A few months ago I mentioned I was eyeing moving over to Z mount but wanted to see what Panny did in 2025. We have our answer it seems.

Saw the interview earlier this morning. If no S1H successor is arriving this year, that may explain why they threw in everything but the kitchen sink for video specs. It's intended to hold you over for the next drought/development time.

Perhaps it would be an S3 by hierarchy then. But yes, I get your point and definitely agree. There were more hybrid/video improvements than photo, I may be wrong though. Perhaps the general reception is mixed since the expectation was already set for what the R is focusing in on. Maybe R is for resolution now (44mp + 8k recording) not just stills…? The camera is fine though. I’m still surprised we’re debating this heavy about a (supposedly) photo first-camera with photo-first compromises on a video-focused forum but let’s be honest and call it like it is: it was DOA for most people not for what the camera could ultimately be but for how behind and underdeveloped LUMIX let their PRO flagship lineup and lens roadmap get in the eyes of the current and potential customers. And uncertain brand confidence in future product releases, making investing in the mount a hesitant choice. The outrage is less puzzling to me when I view it from that angle. But remember, pre- Z9, Nikon also faced the same challenges in brand confidence and future uncertainty. Now folks are switching to Z8, what a time.

If I recall it’s been improved only when recording with audio is disabled, otherwise it’s still about the same as s5ii speeds

I appreciate the gear focus that dominate most discussions, but the nuggets of information and techniques like these are golden. Thank you. In order to create layers of depth/separation? Or another reason? I’ve found having a lot of small cob units with spotlights or dishes to highlight subjects, coupled with big soft sources (panels, lite mats, 8x+ frames etc) to fill ambient are a solid go to when creating depth for interiors. Nice one. Should I get in the habit of building a look/monitoring lut for each project?

As with the s5ii release, I'm wondering what behind-closed-doors compromises they chose (or were forced) to make with this design. Some choices do seem puzzling. If its a photography-focused camera, even some of the "upgrades" in that department were sideways at best. Again, it feels like they just molded the s5ii shell and improvements into this with a few photography upgrades (Capture One tethering etc) along with the features that IMO were truly designed for the video model most likely set for April's announcement. Between that model and the s5ii, the s1rii just got the leftovers, Panny kinda just shrugged its shoulders and moved on. Photographers are mildly happy but not exactly over the moon for the time they had to wait. Video shooters are a mixed bag, but none are exactly over the moon either. Makes me wonder: Why didn't they just call this the s1ii? Or even S5r? Not sure what this release accomplished bearing the "R" naming scheme. But as I said before, all the signs in improvements honestly just make me that much more excited for the video-focused model coming. Which, to be fair, if I were to guess, is what most Lumix-camp folks are here for anyways. (I can't stress enough how happy I am to see the positive tweaks to IQ under this "L2" technology, RS aside)

Colors and skintones look better than the s5ii and seem closer to the first gen S models. Less magenta bias too. This is a big one for me. I like the new A2 profile, too. Despite the higher MP drawbacks we all predicted, I'm looking beyond: the supposed video-oriented camera on the way just may be the one. Last thing I'm looking to see is if the compressed recording options are plagued with the same processing issues as the s5ii.

Silly me…I completely forgot that existed and assumed it was a new profile they developed. That makes the cdng omission more puzzling, but I guess they’re hitting a certain target audience that won’t care about that (I don’t buy that though).

Wanted to pop in and say: these are some of the best images I’ve seen of work from this forums users. Well done. And you’re right. It’s hard to tell. Can a trained eye tell? Possibly, but that’s not the point. (I’d love to get some insight to your approach to cinematography if you can spare it)

Sigma being weird again. Gotta love em. I wonder how L-log will perform and be supported by third party..would be nice if they brought it to the FP

Looks like they’re sticking to the Sony Alpha 7 strategy moving forward. Reusing the chassis with slight tweaks. Hope not. The S5ii/g9ii body is fine. Mid. Not necessarily cheap feeling. But it doesn’t feel like it will last for years either; I’ve already had to send it in for servicing on the shutter mechanism, and some buttons are already loose.

I shot S5ii h265 yesterday as b-cam to the ursa mini pro, and for some shots I'm really preferring the S5ii image. Consider the fact that the BRAW out of the S5ii bypasses most of the complaints people have with the L2 processing…if you can deal with a monitor and latency…that image is literally the best you can get for its accompanied features under $2.5k, no question. I’d agree though, the S series first gen colors are special. It’s what makes me want to pick up an s5 or s1h sometime.

Dfd? I hope they don’t consider pdaf a premium feature. I’m going to wait till March before rethinking lens investment.

This. I find RAW helps most when an actual budget is put into production design on a well-lit set where one can quite visibly benefit from the differentiation and depth of colors. That's when I see the benefits at least.

Within the context of this comparison, I just imagined the S1r sensor in S9 body (a la a7cr or FP-L), I'd buy a walk-around camera like that for sure

I believe I'm in the same boat. I've been thinking about this. The S5ii seemed like a revival in momentum, not just for PDAF but for how much they packed into that release and its subsequent firmware updates. But where are the prosumer releases? Gh7...mkay... I don't know if these rumors of S1 successors are well grounded or just fan whispers, but I'm getting to the point where putting brand favoritism aside for the sake of choosing the right tool for the job/business takes precedence. And that's looking like Nikon Z + Sony E combo. Runner up being Canon RF offerings. C80 and R5ii look great. I've been wanting a refresh of the S1r without having to go Leica, or a PDAF video hybrid in a moire-free body, or reduced HDMI latency so it's actually usable in professional environments. I never thought I'd go back to Sony or Canon after all these years, but it's getting harder to deny what the market calls for. The A1 and Z8/9 bodies are foolproof. There's a lot of FX owner ops that stay getting work just off their kit. I'm tempted. For all the features Panny is known for, other manufacturers are starting to include them in their hybrids (Sony adding Braw and shutter angle, Canon adding waveform, Nikon internal raw etc). So they stand out less and less, save for stellar IBIS, open gate. And for that, I can just keep an s9 on my hip no matter what system I'm invested in. To be real, what had me hold on a bit longer was Blackmagic going L-mount with the Pyxis. That was interesting. I'll wait a bit longer and see. But the A1/Z8 hitting $3k~ is looking more attractive now!

Okay. I heard some early reports of compatibility/profile issues for the Sidus One with non-aputure fixtures, and I have CRMX lights from Godox and Astera too. I've been eyeing Sidus one since Aputure support is strong. Most affordable option is Godox TRX Timolink but I dunno how it will play with non-Godox lights AND outside the Knowled app, let alone reliability/range as a transmitter. I may just play it safe with the Moonlite...if you have any more thoughts do let me know!! Anyway my favorite aspect of these sales is how vendors push down the prices of used units accordingly. Happy shopping everyone!

Are you working in CRMX workflows on set? I'm curious about using Blackout+Ipad with my compatible lamps. What setup would you go with if you get the Sidus One?

Cool. Personally if they end up adding El Zone to this monitor, I will consider picking it up.

When first trying to get my foot in the door in filmmaking, lumix mft and canon rebels were the popular choices 10 years ago. Panny cameras (and blackmagic) in particular were the lesser known cameras you'd pick up if you wanted to get your feet wet with great specs at a great price, but they were also the cameras seen as "low tier", the cameras you'd trade in for a more mature and reputable system like Canon (and now Sony) when you moved up in your career. I thought that with the introduction of the S series lumix bodies (especially the S1H), as well as PDAF, that budget stigma for Panny would change. But it really hasn't unfortunately. I suspect it comes down to the ecosystem. The S1 cameras were a great introduction, but they weren't taken seriously at the time by the market (no system track record or PDAF, expensive/limited lenses, etc). They were already behind and mostly dismissed at launch. Most of the S series launch "issues" have been remedied now, and the S1 bodies are proven workhorses, but now where are the new cameras? How can anyone plan an ideal upgrade path from the S5ii? What it's really about for me: I'm still shook by how Samsung disappeared with no warning after the NX1/NX500 and believe any under-performing company could follow suit in pulling the plug like that. When you're investing thousands into a system, you'd get nervous too if you notice signs of trouble for it's future.