MicahMahaffey

I was just talking to my buddy about how sad it was that Samsung never released an nx2. Could you image a 10 bit nx1? Amazingness

Literally the only feature I NEED panasonic to add to the s1 is frame guides for different aspect ratios. Filming in 2.35.0 shouldn't be this tricky on a $2500 that offers 10bit 422 vlog as a recording option. Because that tells me it's at least somewhat video focused. So yeah, frame guides would be amazing and probably pretty easy to add. Obviously I'll take anything if they want to add it. I just hope auto focus isn't all we'll be getting updated.

The panasonis S1 has the exact same video image, the same full Vlog in the exact same 4k 10 bit 422 codec. The s1 has better Ibis, better battery life, better weather sealing, full size hdmi, better evf and unlimited recording in 4k 10bit 422. You can buy it used (like new condition) for $1600 US pretty often. These usually include vlog. It's a little bit bigger than the s5, but for a solid filmmaking machine, a used s1 is probably the better option for an affordable cinema camera. There are firmware updates confirmed for the future too. So the s1's value as a filmmaking tool will increase. The s5 is an incredible camera though, it's insane we're at a point where cameras this good are releasing at these prices

Who said the S1 is getting an update? That would be awesome!

I bought my s1 for $1600 with VLOG in "used like new condition" less than 100 shutter clicks on amazon. And the s5 has micro hdmi.

I'm just saying that the S5 really isn't that much better. Everyone is talking like its this huge upgrade that somehow makes the s1 obsolete. While the S1 with VLOG goes for around $1600 like new. The s5 might be $2000 and if so, technically what are you losing for $400 less? 4k 60 10bit? a couple different aspect ratios? maybe marginally better AF? But what does the S1 have over the S5? Better build, better EVF, Better battery life, full HDMI out. I guess it's a no brainer if you prefer smaller cameras, in that case the S5 is 100% a better choice. But what if you like big cameras? Honestly the S1 and s5 seem like comparable cameras made for different shooting styles. Most retailers include the VLOG upgrade for free now anyway. I'm not in the market to buy another S1 because I already have one, I might potentially replace my a6300 with the S5 as my gimbal cam if the price is good. I'm only saying this because I noticed a lot of people saying the S1 in kind of pointless now, but really I don't think it is. Now if the S5 is like $1600 then yeah I think the S1 will sorta be pointless.

I honestly think the s1 is still great. I didnt want a smaller camera. If the s5 is $2000 a used s1 with vlog is still cheaper so the value works out if you buy used. Assuming the s5 will be $2000. I dont personally feel like I'm missing much without 4k 60 10bit or animorphic modes. I'm still hopeful Panasonic announces an update to the s1 though that at least gives it the animorphic options. Maybe 4k 60 10bit? But I wont hold my breath on that one.

Love your footage! 😄 This is my dream sensor size, I just got an s1 earlier this month and through many tests have concluded that its absolutely stunning! I was debating grabbing the medium format focal reducer for the s1 and just shooting in 16:9 to achieve that look. But honestly, I think the s1's full frame image has enough of the characteristics I like in larger sensors to tickle my fancy for now. Maybe in a few years when medium format cameras are more accessible I'll take the plunge. But as a rental for a project, this camera is looking very tempting. I say the bigger the sensor the better, so seeing cameras like this come out is kind of a dream come true. 😄 its also really cool to know some full frame lenses work!

Also to clarify, when I say shallower DOF, I'm not talking about shooting wide open. In fact, I'm saying you can stop your lens down on full frame and still maintain lots of dof due to the distance between your subject and camera. On smaller sensors this is much more difficult to achieve. Also the a6300 is a nice lil camera. I just wouldn't wanna shoot an entire feature on it. A Panasonic s1 or s1h? I definitely would.

Saying theres no full frame look is like saying humans cant see the difference between 1080 and 4k. Or that 24p is as much motion as we can see. Just because you dont notice the subtle nuances doesn't mean they dont exist. Look up the medium format look, theres plenty of experts who can explain this better than I. The bigger the sensor the larger the spread of light and the distance between the light drawn across the frame. Shallower DOF, gaining the compression of a portrait lens while maintaining the FOV of a wide. These are all parts of the "look" of medium format, but the same logic is applied to every sensor depending on their size. Just like an animorphic 50mm has a wide horizontal FOV comparable to a 24mm - 35mm. This plays with the motion in the frame and everything about the feeling you get. Larger sensors do have a look. Maybe it's not as obvious on a full frame, but it's there. Anyway, that's the last I have to say on this subject. You either see it or you dont, its subjective. I'm not telling you that you're wrong, I'm not telling anyone their wrong. MFT cameras are amazing. If I wasnt in tight spaces for so many of my jobs I'd maybe grab some mft cameras for their value. Cinematography is subjective enough without every other person telling you you're wrong for liking something.. I'm only going to discuss full frame pansonic cameras in this thread from this point on. The s5 is an interesting looking camera. Let's get back to that.

My sony a6300 is my gimbal cam, The S1 is my main cam. (My personal cameras) I've used and worked with many different cine cameras as well. Pretty much any camera with a half decent codec/bit depth can be made to match anything in post. Things like color science are less important than they used to be. Although most modern cameras have astounding color regardless. Hybrid cams are not replacements for CINEMA cameras, because cinema cameras have lots of features and a specific form factor needed for large productions that the mirrorless cameras just lack. But when it comes to the final image you obtain from these cameras the gap is pretty much as close as it can get. Also external recorders are great on cameras like the s1, enabling prores and cine camera equivalent codecs to go along with its cine quality color and dynamic range. I honestly know "real" cinema cameras are better, I've used them and wished i could own them myself, but if we're being honest, the images in these mirrorless cameras are just as good, or at least as good as it needs to be. So for the prices cameras go for now, we are very spoiled IMO Also the hacked GH2 is such a cool camera! Ive been tempted to buy a few just because its image has this pleasing classic 16mm film like character when pushing for it.

I guess we'll have to just agree to disagree. Meanwhile films will be shot on mirrorless cameras and cine cameras all over. A cell phone from 2010 can look cinematic if lit and composed well. But modern 10 bit mirrorless cameras have closed the gap imo. For big productions with a need for all the fancy stuff the big cameras are perfect. But for low budget indie films or films shot in tight places a mirrorless cam is capable. There was a horror feature film shot on the a7sii a few years back. I saw it in theaters and couldn't even tell. I remember when the hollywood movie act of valor was almost shot entirely on canon 5ds? That was because of their form factor. I could tell they were a bit less capable, but honestly nobody else with me could tell. But again, that's a canon 5d. Modern mirrorless cameras are MUCH better.

The s1's internal codec is 100% good enough for a theatrical feature. But if you plan to RIP into the footage with extreme grades then yes, the All I codec is better. Just like raw isnt nessesary but it's nice to have. For a low budget indie film with a small crew, the Panasonic mirrorless cameras are a great tool for achieving a cinematic image with their dynamic range, color and ergonomics. Especially now with the S line and the varicam look these cameras produce. Plus they're 10bit 422 which opens the doors for post. I dont think the s1h is lacking that magic. Looking up films shot on it, I feel its image is right up there with the cine cameras of today. Once you get a great sensor on your hands an equally as good lens is a must to truly experience the potential

IMO hybrid cameras like the s1 and s1h have reached cinema level image quality, even with the internal codec. Motion cadence is probably the biggest struggle for non cine cameras but panasonic has motion really well handled.

I guess I'm in the camp that believes mirrorless hybrid cameras can hold their own against their cinema counterparts when it comes to the image they produce.

Now you're getting aesthetic confused with aspect ratio. On 70mm light is drawn across the frame differently. There's a larger than life feel to it. Something about having the compression of a 50mm focal length while maintaining a wider image closer to 35mm gives a feeling, a look. Same goes for animorphic, it has it's own "look". It produces a bigger image, even when viewed on a small screen. I could tell Joker was shot on the Alexa 65 after seeing the trailer. It just had that feeling. It had that big image look. It's hard to describe, but I remember having conversations in another forum a few years back and someone was telling me about how human eyes can't see more than 24fps and 4k isnt something humans can resolve. Which we all know is 1000% false. I guess the point is, just because you cant see the "look" doesnt mean it's not there. Cinematography is subjective enough without telling people they're wrong for liking something. You could go grab two different films, one shot on 35mm and another on 16mm and theres a good chance I'd be able to immediately tell which is which. Yes, its hard to tell when different sensor sizes are cut together. MFT is good enough for any professional/narrative work. In a lot of cases full frame might even be overkill. I just like the look of full frame. It's as simple as that. You dont have to notice the look I'm speaking of, but I do.

Umm.. I feel like you've misunderstood what I said.

Glad someone gets it. Full frame is something that's nice to have. I'd rather have full frame and not need it than need it and not have it. The future of Hollywood and the industry is clearly headed in the full frame direction. With more 35mm and larger sensors being used on more and more features. The Alexa 65 is pretty much the new standard for digital image quality and that specific camera has been used a lot since its release. Full frame cameras are getting more affordable, medium format cameras are getting more affordable. Theres just not a lot of a need for mft. But obviously itll always exist in more affordable cameras probably forever. In my mind, having a larger sensor helps your overall image more than 8k would.

I was being goofy. I also never said I need 70mm. Just that I like it 🙂 Also there's no reason anyone shouldn't admire a specific format. I like the look of 70mm, regardless of if I'll ever actually get to shoot in that format. Big image meaning how its captured, not displayed. 70mm footage looks different "bigger" than 35mm. Even on a smart phone screen.

It's really is amazing that we live in a time where cameras are as good as they are. There's something for everyone 🙂 Even though I love big images and big cameras, I'm always carrying around my a6300 in my coat pocket because it's literally pocket sized and I love that.

Those are beautiful images and I know full frame isn't honestly needed. especially not for drones. But I will say my mavic 2 pro sensor is as small as id go on a drone. I think the reason I'm obsessed with full frame stems from my love for 70mm and IMAX. I love full frame because it gets me that much closer to an IMAX "feel". As well as generally being more convenient. I will say this though, for any live events like concerts or weddings. I almost always go super 35 or MFT. For most (not all) narrative projects full frame is just aesthetically pleasing to me, you can get a wide angle view without getting that wide lens look. This is even more true for 70mm. God.. I want a 70mm camera... Im a video arts teacher and my philosophy is any camera can tell nearly any story. So truthfully it doesn't matter. I just love big images 🙂

The pocket 4k produces an AMAZING image. Honestly stuff from that camera rivals actual cinema cameras IMO. I almost did buy one but decided to go for the S1 with vlog as my personal camera simply because of the full frame and overall ease of use. Plus I actually like the varicam look quite a bit, but my second choice was easily the pocket 4k. Which says a lot about how good I think it looks that I still considered it despite my dislike of MFT sensors. I was about to pull the trigger on a pocket 4k and a rig to help it be production ready which included a speedbooster. But after calculating the cost it just ended up making more sense to just get an s1. Which cost me $1600, came with V log and doesn't need a battery solution or speed booster. Not to mention Its Ibis and smaller file sizes. Overall it ended up being much more affordable. But yeah, Its definitely a compromise as I'm losing RAW and the amazing BM image. But the S1 varicam colors in Vlog with 10bit 422 is sort of amazing too.

A 10mm has a very drastically different look than 20mm. Infact, a 10mm 2.8 lens on a m/43 body ends up being a 20mm 5.6 "look". Which is much different in visual style. Which affects EVERYTHING about how the story is perceived by the audience and their emotional response. So in order to capture the shot the way I imagined it, Its a struggle. If not impossible. More often than not, id just scrap my original vision and work with what I have. When using full frame, I find im MUCH less likely to end up in this type of situation. If all I had was a M/43 camera then id use it and I doubt most people would see a big difference. But If I had the choice, I wouldn't go smaller than 35mm full frame. I used to exclusively shoot super 35mm with M/43 as B cams and never even considered larger formats. I was happy with super 35 and mft cameras together. So obviously I get what everyone is saying. Full frame is not "needed" but neither is 4k. Neither is good low light, neither is a fast PC. You can technically make a film with a phone and still have a great image. If all you have is a mft camera then don't hesitate to use it. I want to clarify that just because you use a m/43 camera doesn't mean you'll get low res or bad low light. Because let's be honest, that's kind of irrelevant now with how good camera have become. I'm just saying that if I had to choose between 1080 or 4k id choose 4k 99% of the time. just like id pick full frame. But part of picking tools is picking the ones that help get your vision or your clients vision captured the quickest with the least amount of compromises made. For me, full frame does that. So do things like really good IBIS, really good low light, high resolutions for reframing and so on. Funny enough I don't use auto focus for anything except gimbal work, even though it can speed things up, Its just not my style. One day I plan to buy a medium format video capable camera and then who knows, I might think full frame is too small 😉

You're not wrong, you can slap a wide angle lens on a m/43 sensor. I've shot with plenty of m/43 cameras and we were always able to make it work. But.. for narrative work I dont want to just "make it work".. I want an optimal image without spending a long time trying to frame while maintaining some kind of dof. We have tight schedules on set and every second really does count. No matter what we'll always be working within our limitations as indie filmmakers and even industry pros. It's just how it is. So imo it's really important to reduce the number of things on set that are unneededly taking up more time than they should. The reality for me is that m/43 just isnt worth the hassle for most situations. Cant tell you how many times we've filmed in small 3 foot spaces and were forced to smash our m/43s camera up against the wall with a 10mm lens to get the shot. But even then the shot we wanted is so distorted from that 10mm that the emotional response we wanted from that scene is completely off. Its passable and obviously usable. But with a full frame camera it just opens up more flexibility in lens choice and framing option on set, which does make a huge difference, even more so than resolution and codecs. My view point is that the tools you use shouldn't compromise the final result or cost you more time on set. You should have creative freedom to shoot scenes how you want rather than just getting by with a work around. With that said, sometimes I still shoot on 4/3s because the aesthetic is great for some projects.

For me m/43 is just too small, More often than not when doing narrative work we usually end up in really tight spaces due to budget limitations and having a full frame FOV is necessary for capturing the whole frame. At least for the work I do. I switched from my A cam being a sony to now being a panasonic. Ive already been using manual focus on canon glass for years so the switch to pany was pretty easy. especially with their IBIS.