currensheldon

Quite true. That’s why there are dozens of non IBIS cinema cameras to choose from. Don’t see why there can’t be one IBIS video camera though. Lots of professionals use a GH5 and its IBIS - and know when to turn it off and on depending on the shooting situation. I’m not asking for a cinema camera to shoot feature films on. I’m asking for a FS5/C100 workhorse MFT video camera (or Fuji X) with all the things video cameras have - and some tech transferred over from mirrorless cams.

Yea it seems like a slam dunk if they can combine the GH5s low light with GH5 IBIS in there too. I think there’s a big user base who wants a stabilized mini cinema camera - but nobody will give it.

Seems like it would be obvious, but will a MFT cinema camera (a mini EVA-1) ever come (not counting AF100 and JVC - both a bit old now)? The exact GH5 sensor (or GH5s) with all of the bells and whistles of a regular cinema camera (NDs, XLRs, 4-channel audio, etc) and true V-Log. Seems like this would sell great as Canon doesn’t seem to want to update the C100, Sony not giving the FS5 good 4K codecs. I would looooove this. OR have Fuji make a min cinema camera with their perfect Super35 lens lineup for lightweight filmmaking. Panasonic? Fuji? Olympus? Even all the 4/3 video cameras that come out (Pocket4K, EZ Cam, Sharp, etc) aren’t true video cameras with NDs and good audio.

Yea, based on the FS5, I'd say they could (if they wanted to be) the first company to add in a variable ND in a mirrorless body. Would have to make the body slightly bigger. However, this would crush FS5 sales, so I'm not sure they'll do it. They'll have to differentiate some other way (my guess).

Yea I think that's the ticket. The GH6 really does need to come out strong to have any hope in the new full-frame world: - 120-150fps in 10-bit 4K. - Internal NDs (electronic or on-sensor ND). - V-log (13-stops instead of 11.5 or whatever GH5s ended up being). - Low light of GH5s with IBIS of GH5 And with the 10-25mm f1.7 - honestly, that could keep me happy for a long time. A 25-75mm f1.7 or 35-100 f2 would also be great. The GH5 was 2 years ahead of all other hybrid cameras and has only recently been matched by Pocket 4K (and to some degree the X-T3 and Panasonic's own S1) in codecs, specs - but still has upper hand in some regards with IBIS, photo capabilities, XLR adapter. So, for MFT to stay strong, they need to continue to be 2-3 years ahead with video capabilities on the GH-line.

I'd say it's pretty on par with the GH5, which is excellent. I've found in other full-frame mirrorless cameras (Just Sony, since I haven't used Nikons), I found the IBIS to be pretty warpy, warbly, and only useable when standing still. But the GH5 has amazing IBIS and can be used in all situations. The S1 lives up to it, for sure - pretty amazing for a full-frame sensor. Might be why the body has some extra heft.

I do a lot of my own work, but have also been hired on quite a few jobs/episodes/pick-up shoots that are either in the Netflix/Amazon/HBO world (and require Netflix approved cameras) or some jobs that are hoping to be picked up by Netflix down the line. Obviously, Netflix buys documentaries that aren't necessarily shot in 10-bit 4K, but a lot of people want to shoot in that anyway just in case.

Yea have to agree with Ade here and, when it comes to things that aren't acceptable in 2019, a 1.8x crop on a full frame camera and terrible RS are way higher deal breakers than autofocus for me. I've used autofocus a couple of times in a semi-professional environment (mostly just for fun) and have come to the conclusion that I still can't trust it. On jobs that truly matter or for a paying client (or my own work that I really care about), I'm manual focusing every single time. Even with the amazing Canon DPAF, it's easy for it to slip off the subject or to the background when the subject moves, moves quickly, or you are panning between subjects. And focus going from close to deep and back again during a pan is not acceptable. I also don't have much trouble focusing manually. Yes, for gimbals it's nice, but the Ronin-S plugs right into the GH5 (haven't tested the S1 yet) and I can manually focus anyway. There are plenty of small, cheap, lightweight follow focuses for all the one-hand gimbals that I'd much rather use with a manual focusing prime (like Zeiss Contax, Vogitlanders, or Loxias) than trust AF. -- As for ergonomics, the little bit of extra body weight doesn't bother me much because once I put the lens on it, the difference is pretty minimal. No, it won't be my travel and for-fun camera, but for professional work, an extra 200-300 grams doesn't bother me. I liked the EOS R, but there were just too many pain points and compromises. Same with the C200. I need a 10-bit 4K codec for my work. And the C300 is an ergonomic nightmare. Canon currently just has a strange lineup of cameras that are crippled in a variety of ways. So, Panasonic, at this moment, is really my only option for my needs.

Yep! Purchased one and have had it for a week. Initial impressions are very positive. I have never written a review on a seller's website before but felt compelled to do so for the S1. Here is what I wrote: I have used a variety of mirrorless cameras, starting with Sony A7s and A7rII and then the GH5 and most recently the Canon EOS R. The only camera that Ive held on to long-term is the GH5, so I was very excited when I heard Panasonic was releasing a full-frame mirrorless camera. Now that it has arrived, it is truly the most professional, robust, and beautiful mirrorless camera Ive used. I bought and tested out the Canon EOS R, but found it frustrating ergonomically and with hindered video specs (big crops, no stabilization, etc), it required a lot of compromises. It took beautiful images, but for video (which is what I mostly do), the GH5 outperformed it in every way. Next to the EOS R (and definitely all the Sonys), the Panasonic S1 feels like a true professional camera. It's a bit heavier than the other mirrorless cameras, but since I mainly use Sigmas 24-70, 18-35, or 50-100mm, once you have the lenses on there, it's not a huge difference. Its actually more comfortable because the grip is so nicely designed. REALLY looking forward to the 10-bit, V-Log update in a couple of months as well as the Sigma EF L adapter in a few weeks. Will really help make this camera shine. -- To expand on some of those points, it really does feel like a truly professional camera. While there are plenty of mirrorless cameras that get you great results, I often feel like I am fighting the camera (like the EOS R) to have it do what I want. You can do it, it's just not that much fun. Same with Sonys - they just don't feel good and I (personally) don't enjoy using them. I also really think the Sony mirrorless and 8-bit (FS) image is seriously flawed - and that's my #1 consideration for any filmmaking tool. I'm in no way a Panasonic fanboy, but after trying for years to use Sony and Canon, the former with a compromise on image quality, the latter with a compromise on usability, specs, and performance, I'm finally satisfied in Panasonic world with the EVA-1, S1, and GH5. Great color, incredible image, great usability, incredible customization, all the tools and all the required specs and approved codecs. Their mount system is a mess, so looking forward to them hopefully streamlining that in the next year or two. Highly recommend the S1. If nothing else, this test really shows the pretty wide gap in color and image quality between Panasonic and Sony, in my opinion. S1 looks fantastic.

Agree that they need to optimize the Variable ND adapter. The drop-in filter does not seem to be super secure and I don't have a lot of trust that it's keeping any dust away from my sensor. With that said, having a variable ND filter in the adapter is brilliant and truly a game changer for quick changes. But, would much rather have it in the body and electronically controlled like the FS5 - all ND filters should be like this from now on. The EOS R is overall pretty disappointing, especially after playing around with the S1 for a few days. It really does feel like the first real professional mirrorless camera I've used that is not called a GH5.

Haha it's true. It's a total mount disaster and they need to get it together. Not terrible for me right now because I use mostly the Sigma 18-35mm, Sigma 50-100mm, and Sigma 24-70mm on the EVA-1 and then use those same lenses with a speedbooster on the GH5. I have a couple MFT lenses for when I want to go small, but for all professional work, the Sigma 18-35mm pretty much lives on the GH5. Plan to do the same with the MC-21 adapter on the S1. --- I thought I could live without the stabilization of the GH5, but for smaller cameras, it is just too much of a leg up. The S1 is the first truly useable and solid full-frame IBIS I've used (haven't tried Nikon's). And with the XLR adapter, Panasonic has so many fewer compromises than Canon or Sony. Will just have to use my EF lenses for awhile longer. Not a huge deal.

Was holding out hope, but after using the S1 (vs the EOS R), I'm going full Panasonic for the foreseeable future (the S1 is AWESOME). The EVA-1 is approved by all, has amazing, wide variety of codecs, and is an all around stellar camera (will need to shell out $300-400 for a monitor of course). I'm even starting to prefer Panasonic's color science to Canon's. The EVA-1 + the S1 + the GH5 is a great three-camera lineup Panasonic has going. Excited to see them move their low-end cinema line over to L-Mount and, hopefully, an MFT mount camera too. It would be great to either have an EVA Mini MFT with the GH5/6 being the B-Cam, or an EVA-2 L-Mount with the S1 as a B-Cam.

For the major manufacturers of the most popular cameras (Canon, Panasonic, Sony), this has been a very quiet NAB. Really nothing of note except a variation on a cinema lens lineup (Canon Sumire). Bummer. I guess the rumored Canon C200 10-bit update and EOS R raw update was truly a typo... Surprised Panasonic didn't announce more information about the 10-25mm f1.7 MFT lens. It's been 6-months since it was announced and I'd love to get my hands on that lens. Hopefully some more information soon. Same with pricing and official release date of S1 V-Log/10-bit update (they should really bump that up to May/June). Perhaps CineGear will bring some more announcements. Atomos and Black Magic have had a party though.

Gotcha - so just the firmware update announced 2-months ago and a camcorder from a month ago. Bummer.

So Sony announced some stuff at their press conference. Did Panasonic not announce anything at all?

Seems like it might be quiet, but still holding out hope for the predictions I made in the other thread I started. Namely, a C100 Mark III or some other small form factor camera from Canon or Panasonic (think FS5 sized or smaller) in their new mounts (RF or L). a Black Magic BM Raw recorder would be great as well since I'm looking to switch to Da Vinci soon (also looking forward to that update). Some other updates that would be great: - An attachment to stick the DJI X5s on the Ronin-S would be great. - Pricing and availability of the Panasonic 10-25mm f1.7 (or a GH6 tease). - CFExpress official launch so we can update on XQD cameras and not be locked into Sony's cards.

Good to know about Nodes - I figured it would just take a couple of hours of concerted effort to learn so perhaps will do so on next short project.

True. I've only ever played around with Resolve, but I want my in-project file structure to look EXACTLY like it does on my drive. Not possible to this on Resolve? Also agree with the nodes. I do basic color correction and can do it pretty quickly with Adobe's adjustment layers + lumetri color panels. -- Other than those two, which are pretty big for me, I find Resolve to be faster and much less buggy/crashy. But not sure I'll switch because so many editors use Premiere and sometimes need to share projects back and forth.

Pretty excited about this because Resolve is MUCH faster on my macs than Premiere is. Have a couple big projects to finish in Premiere, but would love to switch to DaVinci. I love 15, so hoping 16 is even better.

Yea, NAB starts tomorrow, but I'm starting to lose hope. Canon has announced a bunch of new camcorders and some serious cinema lenses, so that may be it for them? Guess we still have a few days and Panasonic and Sony have their big announcements on Sunday, so we'll see. Hoping this and a C200 codec update is around the corner...

Pretty crazy you will soon be able to shoot full-frame 8K for $6-7k. Currently, the cheapest way to do that is the Monstro for $50k+. And the cheapest 8K is the Red Helium sensor at $25k (but actually closer to $35k to actually shoot something). Seems as though the E2 is getting lots of great reviews and I actually like the idea of a modular brain (like Red) if you can get accessories that aren't $2-5k a pop. Snag a Shinobi monitor ($400) or Swit ($200) and some Sony NPF batteries ($100 for all-day power), and you're good to go. The full-frame with EF Mount + something like the Sigma Art 24-70 or 24-105 would cover a ton of use cases. Definitely intrigued.

I've used the GH5 with its latest firmware update that was specifically focused on AF, and with the 12mm f1.4, 12-60mm, and 42.5mm f1.2, I thought the autofocus did great - didn't notice a huge difference from the EOS R. Granted, most of my AF stuff is pretty simple (pushing into a subject on glidetrack, interviews, and walk and talk gimbal shots), but still the type of shots that I would think most people use AF for. 90% of my AF usage is on a gimbal.

I've used the EOS R pretty extensively, but looking forward to my S1 arriving this week. After I test it, I'll let you know, but I'm pretty sure the Panasonic S1 is going to be way more to my liking for shooting video and with your GH5s, a much better combo for color and picture profiles.

On two recent jobs, I had to do both photo and video. The first one I used the GH5, second I used the EOS R. More than anything else, the EOS R photos are BY FAR superior to the MFT sensor on the GH5. I was blown away by the stills quality. I did miss the GH5 on the video shoot and like using that camera more than the EOS R, but the EOS R on a handheld gimbal in HD with a stabilized lens is pretty great (dual pixel AF is great). But, for sure, the EOS R seems much better than anything in the MFT world for sheer still image quality.

After using the EOS R for three weeks straight on a shoot, I started to grow comfortable with it and ended up liking it (for the moist part). Granted, we shot in HD, so the crop wasn't an issue. Image definitely seems soft after shooting with the C200 and GH5 for a couple of years - but adding a bit of sharpening in post helps.. Also moving the focus point with the touchscreen sucks - I missed the joystick way more than I thought it would. The touch bar is terrible and I just ended up locking it. No stabilization was also a bummer as I had gotten used to the GH5 stabilization really helping in gimbal and handheld work. By FAR, the best part of the EOS R is the new variable ND adapter. That is a true game-changer. (Sigma needs to make a drop-in variable ND for L-Mount). Other than that, however, I'm excited for my Panasonic S1 to come in so I can pair it up with my GH5. That's a combo I'm excited about. Also I shoot 90% of my work in 4K, so I'm sure the EOS R would start to drive me crazy with its crop - thought I do own the three good APS-C lenses for EF mount for my C200 (18-35mm, 50-100mm, 17-55mm). -- Really looking forward to see what happens at NAB with the C200 and EOS R, but if things stay the same or just slight upgrades (like C200 gets 8-bit 422...), I may end my half-in, half-out middle ground of Canon & Panasonic and go full Panny. But if Nikon Z6 and Canon EOS R both get raw out, then Panasonic needs to update the S1 faster than July (for V-Log and 10-bit internal) and also get raw out as well.