newfoundmass

Yeah and most people watched them in 24 fps 🤣

A new generation of viewers will still be able to distinguish between cinema and video seen on social media, just as the generations before did with film and television. It's fine if your preference is high frame rate content, but it's naive to think it will ever become the standard for cinema based on that argument. Peter Jackson tried it a decade ago and it was almost universally hated by movie goers. The issue wasn't the display technology, it was that it went against an entire lifetime of what people associate with cinema and that bothered people.

And how many films followed the lead? You were in the minority. Most people hated it and most theaters showed it in 24 fps because of complaints.

I don't expect this to be another S5ii variation. I think they view the S5 line as their affordable entry level full frame camera and a high resolution version would be anathema to that, even if it was competitively priced in the $3000-3500 range.

Even if the content wasn't always great, it's a shame when stuff just disappears and isn't preserved somewhere.

It's a damn shame that it was all deleted, and completely unnecessary. Shams on whoever made that call.

Plz don't remind me!

I'm so sorry for your loss! And I understand completely!

A f2 will give you an extra stop of light over a f2.8. That can be quite handy when you're a wedding or event shooter. I suspect that's the primary reason why he'd want it.

@MrSMWhave you considered adapting Canon lenses for both the Lumix and Nikon bodies? The Sigma adapter seems to give native (or near native) level performance in video. It might be a solution to help cut down on how many lenses you have to carry. I'm debating selling my two other S5 bodies to get a S5ii to go with my S5iiX and getting the adapter and some EF lenses. It never made sense to before because it didn't really work well for video with the S5 but with the adapters and some used EF lenses it will be cheaper to get a matching set up for multicam shoots than it would to go with native lenses. I'd like to get 2 Sigma 28-70s but it'd be considerably more expensive, I think. If nothing else I'm fascinated in seeing how the adapter opens up possibilities for me.

I hear that a lot too, and I see it with my own eyes. Panasonic just has a much nicer image, in my opinion.

I do wish Panasonic would ditch the traditional DSLR body and do something different when releasing these video focused cameras. I think it is easy to think the grass is greener on the otherside, but having had the opportunity to use the FX3 there were just so many little things, in addition to just not liking the image as much, that I just didn't enjoy the overall experience. Something as simple as not having shutter speed was enough to drive me nuts! Granted, these are things that I am sure that you would get over eventually, but I just want to make the entire process as easy as possible. And no one really does that as easily as Panny Boy.

I am definitely in the camp of people who thinks ProRes' time has passed. There are not a ton of reasons to use it outside of it being the current industry standard for larger productions. That isn't to say that I think support for it should be completely dropped, merely that releasing a camera with it, even ones touting themselves as cinema cameras, is fine if it cuts costs or makes development easier. The more I thought about it the less I cared about whether or not it this camera had regular ProRes recording. Outside of its ubiquity in the industry there aren't a ton of reasons why it is better than h.265 or why it'd be difficult to switch to h.265 in 2024 and beyond. The biggest issue, outside of people hating change, I think would be the impact on those running older hardware that can handle ProRes but would struggle or not be able to handle h.265. But I'm not sure that's enough of an argument to keep things the way they are. I began the process of transcoding most of my archived ProRes footage to h.265 in 2021.

Yeah, I think BRAW is significantly trailing when it comes to ProRes RAW, or at least that has been my experience when dealing/talking with professionals that have a reason to shoot it. Even ones using lower end mirrorless cameras, I see Atomos Ninjas for RAW recording more than BMD Video Assists. I think it's to their own detriment that they don't support ProRes RAW if they are able to, especially as it pertains to Final Cut users who are increasingly getting fed up with how outdated the app feels and would switch to Resolve. I very much understand, and even respect that BMD has created an entire pipeline from acquisition to editing, I think it's a smart strategy overall, but I don't think it does them any favors to shun other technologies that they view as competition. They don't have that kind of strength/market dominance.

So... I was diagnosed with kidney cancer on September 5. I had my right kidney removed on October 13 and am now cancer free (and if my scans show nothing in April I'll be considered cured!). During that entire period though, I didn't do any jobs and just focused on recovering, but had decided to dip my toe back into the water and had a small job planned for a friend this week. As I was just going through my equipment in preparation of getting back into the swing of things my pup Teri knocked over my main S5 and IT BROKE. Now, it doesn't impact my job because I have two extras of the same cameras, but obviously it left me needing to get a new camera. Sooo... I bought the Lumix S5IIX instead of getting another used S5. I swore I'd never buy a camera brand new again, but the used price isn't that much less, and I was able to get a decent deal on it with a lens. With all I've been through (having my kidney removed was, without a doubt, the most painful thing I've ever experienced, just FYI) I figured I'd treat myself. This is a long way to ask a couple questions while I wait for it to arrive tomorrow: 1. how easy is it to match the original S5 straight out of camera or with a little tweaking using the standard or natural color profile? I will use log, but for certain jobs it's just easier to skip that part. 2. why is there no third party battery grip? has anyone heard why? 3. I have a couple third party batteries. Wasabi and Newmowa brands. Has anyone encouraged any problems with third party batteries? I have like six OEM batteries but I've heard the S5II and S5IIX's battery life isn't as good as the S5. 4. what are the best settings? I've seen tons of YouTubers but I'd prefer to hear it from people that do more than film themselves in their spare bedroom/garage and actually are out there getting the most out of their camera. 5. This one is most important: I just want you all to know I love you all. My ordeal has given me a greater appreciation for life, the interactions I have with other human beings, and just everything, really. Thank you @Andrew Reid and everyone else that makes this place special.

If you don't need the auto focus the S1H is also an excellent video AND stills camera with very good stabilization.

I think there are a lot of reasons to stick with M43 and go with the G9II, namely the stabilization and the lightweight lenses. I don't totally regret switching to the S5 (not the S5II) but I really, really miss the lower profile and smaller lenses. If you are looking to switch, though, I agree with PannySVHS. I think that the Lumix S5II (or S5IIx) is a great option particularly because of the stability. You would have great low light and versatility, with the best stabilization, along with really good auto focus.

This. The ability to shoot at such high frame rates without any rolling shutter is a huge deal for sports photographers. It's a genuine game changer for them. Read out speeds have gotten very good, yes, but it's just no match. 120fps, even for a short burst, is just a killer feature and I suspect almost every sports organization and team will be buying several for their production and social media teams. I know that people in the combat sports bubble I am in sure will be.

Global shutter is cool and all, but not having it really hasn't impacted my work given how good RS has gotten. I see this as being a much bigger deal for photography than video.

It should be okay in good lighting. Never heard much about it's rolling shutter being too bad. It's used by some of the pro-wrestling videographers I know and I've never noticed it being too bad.

Canon was always going to have an advantage because of their legacy lenses and near native performance on their RF cameras. Plus the name is just massive. I think though that camera sales are only part of the picture. Are those people buying new lenses, or are they using their legacy lenses on the new bodies? Also, what is the regional break down? I see A LOT Sony cameras these days, especially professionally. Most social media and web content teams use them for photo and video, from local companies to national companies (my friends working for WWE, All Elite Wrestling, and the UFC all shoot on Sony, for example.) The social media teams for most major venues in my neck of the woods, like TD Garden in Boston, also are using mostly Sony. But I'm also located in the Northeast United States/New England, so it might be different in other parts of the world or even other parts of the country. I also want to, but cannot for certain, say that Sony has the edge here for wedding shooters, though Canon has a heavy presence there too, especially amongst older professionals.

I love the retro body so much.

What excites me is them moving to the L-mount and also what their future plans could be. I could definitely see myself picking up a Blackmagic camera for my non-event work now that it's using the L-mount. Their price of entry is low enough as it is that I could easily justify it since I'd be able to use all my lenses I've gotten since switching completely to the L-mount.

Agreed. Aside from just being ugly, it's just not a very practical design for a video centric camera. My guess though is that's how they save money on development and manufacturing costs.

Full frame sensor, too!