newfoundmass

Doh, I'm sorry then!

My friend uses V90 ProGrade 256gb cards on his S1H. They're the most affordable trustworthy option and we've never had any problems with them. He doesn't have any V60 cards to test but when I see him in a few weeks I can bring some of my SanDisk Extreme Pro cards to try it out, but I imagine you'll get a better answer by then! He did say though that the reason he went with the V90 cards is to make sure he didn't run into any problems.

Has the S1H sensor been used in any other cameras? I'm surprised that Z-Cam hasn't used it... There might be something to what you're saying if no one else has used it, though I'm unsure if it's even legal to restrict a sensor's use other than who can and can't buy it? It could be that Panasonic has exclusivity and just aren't interested in a full frame cine camera? Or it's in development?

He said nothing about the GH6 that we didn't already know and wasn't going to break any news in an interview. He did however emphasize that the GH6 is for professional use and talked about "serious amateurs" after Andrew brought up enthusiasts. These interviews are less about giving us information on future releases and more on getting an idea on where they're going technology wise, their attitude and viewpoints on potential features, and just an acknowledgment that they're aware about what their users are looking for. I have no doubt that the GH6 will be a powerful camera with most, or maybe even more, of the professional features in their S line.

We don't know enough about the GH6 to say that, unless you have the inside scoop?

The GH5s has external RAW. Olympus enabled it on at least one camera, if I recall correctly. I suspect the GH6 will have it.

Internal ND would be nice, obviously, but I don't mind putting an ND on my lenses when needed. Phase detect auto focus, 32-bit float audio (good idea!), recording to SSD, and a form of internal RAW are all things that I care more about. To me screwing on ND is a relatively painless task, but other things aren't as easy to work around, like needing an external monitor for RAW or an external recorder for 32-bit float audio. That adds bulk and weight to my set up which is typically very compact.

I'd wait unless you're really in need of doing it sooner. I suspect we'll see prices drop in the next couple months and things will get back to normal as production picks up again. I also suspect we'll see Intel and AMD releasing their answers to the M1 in the next year or so, which should make things very interesting.

I really don't know many people that care about global shutter anymore. It used to be something we all dreamed about but read out speeds have increased dramatically that it's not even a concern for most people. What are you filming that needs a global shutter?

I think I agree with IronFilm. I think you'd get much better results if you had two of the same cameras or two cameras from the same brand. Even if you don't mind trying to match them, it just kinda seems unnecessary if you can manage to skip that step all together. I think you'll also find that the Fujis give you a superior image. It's just hard for me personally to see the benefit in having two different camera systems, especially since I unified mine to make the cameras easier to match! 😂 If Fuji ever gets rid of the 30 minute recording limits and doesn't overheat there's a good chance I'll switch from Panasonic. I love those Fuji colors.

Ah yes, MiniDV! The bane of my existence for 12 years! A lot will come down to how you capture it (are you doing a standard firewire capture to DV or are you capturing it via capture card to a different codec?), how well it was filmed (is the exposure and white balance OK?) and what camera was used (a lot of low end camcorders just had horrible, muddy colors unless used in bright, bright lighting). You'll want to avoid using one of the cheaper capture cards that will record it to h.264. I've never had good results capturing SD video to that codec and editing it, so I think it's better to capture to DV if you have the ability to. ProRes will also work if you have a way to capture it that way! If the footage is decent-ish you should be able to do a bit of color correction and get relatively close to what you'd get using a similar modern consumer camera, but you're not gonna be able to get away with heavy grades or anything. The process overall though wasn't radically different to how I worked with HD camcorder footage once I upgraded, so assuming it's decent footage you should be OK doing what you normally would just with tempered expectations. If it's not very good footage though you'll have more issues than you would if it were HD. Denoising never really worked that well since it removed way too much detail for a lower resolution image. Maybe that has gotten better thanks to better denoising tools? But muddy and noisy footage is where you'll have your problems; there isn't a ton you can do with that. Even basic color correction is a pain in the ass.

Or rent it!

I'm not sure that it deserves to be mentioned along side these cameras but the GX85 is really, really underrated, especially for its price on the used market. There are a lot of reasons not to get one but boy do I love mine. It doesn't have great auto focus in video and it lacks a mic input, but I find myself grabbing it instead of my G85 and GH5. The stabilization is really good... Not G85 or GH5 good but close. It's great to take into areas where larger cameras aren't allowed and lately I've just enjoyed bringing it with me on trips with the 14mm f2.5 or the 20mm f1.7. For whatever reason I find myself shooting more photos / video for fun, like I did when I first got a video or stills camera. As nice as it is to have a phone that can do decent photos and videos it just isn't the same... I don't get the same joy as I get using the GX85. I really didn't expect to love this camera as much as I have.

Interesting...

The reason Panasonic needs reliable auto focus is more for marketing purposes than anything. The market has spoken, and it expects Canon or Sony level auto focus and if you don't deliver it most people won't even give it a chance. For me personally I don't need it, but I recognize it's important if the system is going to stick around.

I think it's just a regular lav that is clipped to a necklace. It doesn't make much noise because there's not any clothes or anything touching the capsule. You'll probably want a waterproof / water resistant lav to deal with sweat. But otherwise it just looked like a regular lav. A small headset mic might do the trick too.

It's unlikely to have the same lowlight abilities given how large the sensor needs to be. It means phase detect, which is what everyone else has now. Dual pixel is what Canon calls their auto focus, but I'm not sure if it's the same thing as phase detect.

Most of those people don't really "vlog." They mostly just sit in their "studios" and talk to the camera, making all of those things pretty pointless to have.

I legit just watched that this morning! I cringed so much watching it. Thousands and thousands of dollars of equipment just sitting in people's spare bedroom "studios" for boring talking head videos. I guess if you have the money and the desire to be carbon copies of your peers that's what you do? 🤷🏻‍♂️

I'm generally pretty hard on YouTubers but Gerald is harmless and doesn't claim to be anything more than someone that enjoys gear, enjoys talking about gear, and enjoys making videos about gear. He's pretty transparent in my view. It's definitely not for everyone but I also don't think people go to him to learn about the actually art of filmmaking.

Yeah, from what I've seen / heard there's no real difference optically between the FF and S35 lenses. You're better off saving money and getting it in M43 or EF mount (if you're looking to adapt.)

It's just very strange though that they are using a Sony sensor. One has to wonder why?

I get why they made it the second native ISO, since it is meant for ultra low light situations, but I agree 12,800 is too high for most people. I think most folks that bought the A7siii would've been just as better off waiting for an A7IV. It never made a ton of sense to me for these people, many who never shoot outside their "studio" or in anything other than sunlight, to get a camera meant for low light conditions but that's YouTube these days.

I am judging this on my Samsung Galaxy Note 10+ fwiw.

They're very, very similar but if I had to choose I'd go with B. The shadows aren't as crushed and the blues pop a little more.