Video Hummus

They should have looked at what Sigma did with the fp and tried to do something similar. I believe the S1H has a vent with a fan but there isn’t actually any exposure to the internals as I think that cameras has a heatpipe and heatsink on the inside and the fan blows on the other side of the heat sink to cool it. So water or gunk could mess up the van but not get inside. I could be wrong on this. I don’t see any other way to water seal it otherwise. The camera manufactures need to start getting clever on how to cool things down. They could incorporate cheeky heatsink/heatpipe on the bottom of the camera, or a heatpipe that attaches to the 1/4-20 at the bottom so when you screw in a tripod or quick release heat can move from inside to outside (🧐 good opprotunity there for a weekend warrior with a CNC machine to cash in!).

Honestly I would not fiddle with that port at all. Don’t even touch it. It WILL BREAK.

Definitely wait! If it has the AF that can compete. Otherwise, it will most likely be ignored. So hoping Panny can sort it out because they make great workhorse cameras like it's been said many times. Yup, that and the 4K120p. Although, sounds like you'll need a beast of a computer to edit those files. Hopefully the camera can cool down enough between relatively short 1-10 minute active recordings (where you stop recording, reframe, change settings, etc...) and when you hit the record button again. IF it can't then I can see some major problems for users. Not being able to do long form stuff in 4K is shitty. Maybe its hardware related, maybe its the cripple hammer. I'm sure we will know soon enough.

BTW, @Andrew Reid thanks for including feedback from the forum in steering or informing the questions you'll be asking Panasonic in these interviews. Hopefully you can get more of these in the future.

Maybe. I fear the stigma over DfD cannot be overcome regardless of the future performance improvements.

I'm not giving up on believing they can deliver something. It's just that the market has changed and having reliable AF available (doesn't mean you have to use it!) is becoming a must-have feature these days. Just having a really solid, rich 6K or 4K image and the ability to do ProRes RAW via HDMI isn't as appealing anymore when (pending more hands-on tests) the R5/R6/A7SIII gives us that and solid AF. Anyway, what I'm trying to say is, it's becoming hard and harder to look the other way on Panasonics AF woes when the competition is starting to offer features that pretty much use to be the sole domain of GH4/GH5 in the sub $3K market. So they need to kinda have something compelling if their AF is bottom tier, hence my questions I wrote in this thread for Andrew to potentially ask. What's their plan?...because I have fairly expensive MFT gear, and with Olympus out of the game, and the camera industry contracting like it is, I'm evaluating what system to spend my hard earned cash in for the next 5+ years. It's important they have a clear answer.

I would like to see a GH6 with something like a modified version of that rumored 42 (or was it 56?) MP quad-Bayer STARVIS sensor. Where we could have the possibility for a high MP photo mode and a quad-Bayer, dual gain, or dual gain output video mode for 4K24p to 120p. Unlimited recording in ALL-I and IPB. Oversampled 4K and 1080p. The R5 and A7SIII will set the bar, hopefully Panasonic can jump over it with the GH6 because in my opinion they will need to to stay relevant in todays market. Sony and Canon are now sitting at the 10-bit 4K table and looking at Panasonics lunch.

Info is coming straight from Canon...not a rumor. Which I’m glad for as it makes it easier to make an informed buying decision!

I’m a bit worried by the perceived dynamic range and possible RS issues in 4K modes (the modes I would use 95% of the time). Hopefully we will get some in-depth numbers and tests soon.

Glad they have a R6 to fill that price bracket and user case! Yes it is, and now I’m even more excited to see what Sony can do and what Panasonic will answer with. Huge opening now for a S35/MFT 6.5K or 8K camera that does all that the R5 does but with unlimited recording (because of smaller sensor/less heat/etc...). Fact seems to be FF 8K, HFR, high MP is a problem too cool in anything but a cinema camera body with active cooling. Unless sensor tech and processing gets faster and cooler this will be a FF limitation for the time being.

While 20 mins overheating times in certain modes are a bummer and could be a problem for some people, I for one, am glad they took the “lets put the feature in” versus saying “heat limitations wouldn’t have allowed it” and released something less exciting or groundbreaking. They would haven been lambasted for it either way. It’s a lose-lose for them and they made the better decision here in my humble opinion. Wether the headline is “R5 falls short: only offers 4K60p cropped” or “R5 has potential to overheat when recording 8K RAW(!) 4K120p(!), or oversampled 4K from 8K HQ mode(!). The later headline is forgivable!

I see this as a bigger problem for Wedding shooters...I missed the shot because my camera overheated and wouldn’t turn on.... If your on a set then use a cinema camera.

Yes, It might be a weak point. Sony certainly excels in this area. FF Mirrorless wars are official on after a false start a couple of years ago.

I think Canon did really well here. Footage from the R5 at first glance looks very good. The footage of 4k120p looks very useable in a sense. The price is high for the R5 but it seems to be worth it. I still think the 8K RAW is impractical for a lot of people, but it also seems to delivery on the 4K as well. The R6 price is very competitive for what you get. I think Canon hit a back to back home run here.

Just watched Peter’s R5 promo video/inspiration piece. Purely looking at the footage... Not going to lie...all the footage looked pretty damn good. All with DPAF. Will be interesting to see a deep dive into the image. I’m sure there are things not to like, but for YouTube/vimeo delivery...looks very nice. Overheating issues it seems. I wonder how bad they are. We finally have 4K120p in a mirrorless camera!

We pay sales tax in most states here. 5-8% depending where you live. Watched Peters video. Footage looked way better than Canons live feed. I seem a bit of artifacts in 4k120p but that is acceptable. 4K 24p looked very nice. Stabilization looked really, really good. Very tempting. Sony, ball is in your court.

Dynamic range looked bad in the videos not sure if it’s my feed or what. It almost looked like HLG mapping with wrong mapping

I don’t really care about 8K record limit. 4K will be a bummer but I can see why they are doing it (heat and product segmentation). I think, from what we know, there will be a few gotchas. 1) R5 has the specs but will most likely suffer from bad RS, especially in 8K modes and non cropped 4K. 2) The R6 looks like the perfect camera for people that don’t care about 8K. The R6 is what everybody wanted from the R. I have a feeling, based on past behavior from Canon, there’s going to be a major pain point that will make you think twice. Something like no 24p in 4K for instance. But I haven’t been this excited for a Canon camera in a while. Really hope they set the bar high.

Yes, I enjoy the same luxury living in PA, but I also get free 2 day shipping since I’m closer. One of the reasons its hard not to order from B&H.

Has Panasonic’s plans for MFT changed or shifted direction with the news of Olympus selling its imaging division? How does Panasonic plan to be competitive in the mirrorless market now that we are seeing the competition coming to market with more advanced mirrorless cameras and competing on features like advanced AF technologies, 10-bit 4:2:2, and internal RAW recording options? Do they see advancements in computational photography possibly breathing new life into their crop sensor cameras? If phones can do it why not mirrorless cameras? Will we finally get full V-Log in a future GH camera that will help to unify the workflow and capture process across the LUMIX line? Has Panasonic considered offering internal RAW and/or ProRes recording in its cinema flavored mirrorless cameras (GH5S, S1H) , even as a paid upgrade? A fairly large number of people would be happy to pay for the convenience if the price is right. Panasonic has been the pioneer in bringing professional level features and capabilities to their mirrorless ILC cameras. What qualities or engineering strengths do you see helping push the LUMIX camera brand forward (especially since many competing cameras are all built around the same Sony sensor tech) in a very turbulent market? By far, the number one complaint about LUMIX cameras is the autofocus performance. Panasonic’s DfD offers best in class contrast detection type focusing but it falls short of what people have come to expect from cameras using flavors of phase detection. How does Panasonic plan to stay competitive in the AF feature arena? Anything exciting for LUMIX customers in the future that they want to talk a little bit about?

Would be nice to see some of their older OM mount f2 telephoto primes redone with modern techniques to reduce size and weight. Would be nice to see more Pro grade zooms at f/2, 8-18, 12-35, 40-150. We have f/2.8, f4 primes and zooms that are already tiny.

Based on that FB post it had 22 minutes remaining. If we take it at face value that the card was blank we get a 3250Mbit/s number. So sounds about right. That’s over 400MB/s. That’s minimum RAID 0 with fast hard drivers or a fast SSD. You are also looking at 20+ GB/minute of footage. The 8K image quality better be worth it. I suspect the All-I and IPB to have high bitrates as well. Probably 1,500Mbps and 800Mbps roughly.

You will see those 50% reductions most likely on higher resolutions 8K and above. It probably won’t be implemented for another 5-8 years is my guess, and then only in big streaming companies perhaps with dedicated hardware decoding on the client side. Expect massive encodes times. Not a great capture codec at all, even compared to H265.

Which begs the question why is canon now releasing small maximum aperture super telephotos? Doesn’t the market demand that new RF 800mm be a f4 or f5.6 to get that bokeh and FF lowlight ability? Suddenly f11 is “fine”, lowlight performance will be “good enough”. I’m Just tired of this format double standard double speak bullshit. Including the fabulous “ability to hand hold a 600mm+ lens (OMG!) and get the shot without a tripod 🤯...shit MFT has been doing for years and was maligned almost maliciously for it? Because of a “smallish crop sensor”. Yet, the format seemingly had the right features to make it an excellent tool for the job...sounds like tunnel vision thinking to me. Glad to see R6 has the R5 chunky body. Better chance for video performance features. Might be the camera to watch for Canon video shooters. My biggest problem with Canon is the expensive RF glass. $2500 for R6 and $2300 to put a 15-35 f/2.8 on it... Panasonic has the same problem with L-Mount.

Olympus has had it for years. No body cared. 48MP is for sure nice, but so is 20MP on the 1DXIII and 24MP on the A9. Good enough for sports illustrated covers and National Geographic front page magazine prints.