currensheldon

Lots of cool ideas there, but for video shooters, only having 512gb internal storage before off-loading would be a nightmare. Got to keep the card slots. In my opinion, they have to do a couple of BIG things. Those would be: - Internal eND - Be the first - Internal BM Raw or ProRes Raw - even if this was available out the USB-C to an external SSD (like the Sigma FP), that would be HUGE. Being able to bypass the Ninja V would be so great. Then also some : - PDAF - They have to do it at this point. Or figure out a way to make DfD/Contrast aas good as the competition. - 5.9k or 6k like the S1, S5, S1H would be fine, but they'll probably go for 8k. - Timecode - Get that Netflix appoval - 180-240fps in 4k - Just to beat the full-frame models Some other cool ideas would be to have a battery grip also have two mini XLRs, or have one mini XLR on the body. We'll seee.

Yes, Arlo's album "Die Midwestern" is excellent. Thanks for watching!

I created 1280x720 mp4 proxies directly in Premiere and re-attached the originals for color and export.

Hey all - I've been using the R5 extensively on a variety of shoots the past couple of months and have absolutely loved it. The AF is spot-on, the HQ 4k modes are gorgeous, the user experience is amazing, the 120fps is the best I've used outside of the C300 III. So far, I have had zero overheating issues. The timer in 4k HQ has gone down from 25-minutes to 20-minutes a couple of times, but have never had any issues. Just released last night is a music video I directed, shot, and edited. Outside of some tripod shots, I'd say 90% of the shoot was shot on the R5. Youtube compression sucks so there seems to be some artifacts, but they aren't present in the 4k ProRes export. Enjoy!

I absolutely love this line. The Panasonic S1-series (and Fuji) are my favorite designed and best-looking cameras there are. And this line from Sigma is exactly what I would want in a prime lineup - all-metal, awesome focus ring, aperture ring on lens, small and lightweight, and f2 for the most important lenses. So beautiful. Still deciding between L-Mount and RF Mount, but the quality of this lineup is a big point to L-Mount. I love the zero sacrifice of quality and materials for the sub $800, smaller prime lineup.

Totally agree on the 24-70mm f4 IS with the speedboosteer. It's a newer lens, has stabilization, becomes a 24-70mm f2.8 with the speedbooster, is light and small. will be a graet combo. Combine that with the 35mm f2 IS and the 85mm f1.4 IS and you have a pretty amazing three lens setup for everything.

The only place it does make sense is using the speedbooster. Pretty amazing you can spend around $700-$800, get the EF 24-70mm f4 IS and get stabilization, a true 24-70mm field of view, and a f2.8 aperture. Whereas the RF version will cost you $2300 and give you a 36-105mm (or so). Much prefer thee FoV of a true 24-70mm. OR get the Sigma EF 24-70mm f2.8 for $1100 and get a 24-70mm f2.0 with stabilization. Love the C70 and excited for it, but I'll probably wait for a full-frame C90 before transferring all my EF glass to RF glass (which I am excited to do...).

All good points. C50 - The C50 is coming, yes, but I just don't think it will really be competing against the FX6 and EVA-2s of the worlds. Seems like it will be a box but with the C200 sensor (but without the raw?) - seems like it could be a bit of a meh release from Canon. Full rumored specs here: https://www.canonrumors.com/revisiting-the-canon-cinema-eos-c50-and-what-it-could-be/ S1H - I said it before, but the C70 is what the S1H should have been in the first place. As a mirrorless, everyone whined it was too large. They should have just beefed it up a bit, added internal NDs, an SDI, and maybe a couple mini XLR ports (or just stuck with their hotshoe XLR adapter, which works very well). I think it would have sold like hotcakes at $4.5k. -- Most of the specs I listed are specs I think Panasonic needs to differentiate themselves. I loved the EVA-1 and its specs still stack up well to most of the competition ($6500 for 4k 60fps, 10-bit in all sorts of flavors AND 5.7k ProRes Raw). But I think they either need to go BIG with the EVA-2 at the $6500 - 7500 price point (which might mean 8k, or 120fps+ at 4k, or ProRes internal, or (somehow) raw internal, full-frame sensor, IBIS, etc). Though, if they threw the S1H sensor into a BGH1-style box, added internal NDs and some mini XLRs, that would be pretty sweet as well.

If they add 120fps, that would really be the only upgrade to the EVA-1 (which already has loads of 10-bit 4k codecs and 5.7k ProRes Raw). I wonder if they'll swing for the fences a bit more to take on C300 III and FX9. Full-frame 8k? Internal raw (somehow?)? I wonder what they can do.

Well, Canon and Sony's lineups are pretty solid and set for the next 2-4 years. Canon: C500 II/C300 III, C70, and R5/R6. Only thing missing is the full-frame C90, rumored for 2021. Sony: FX9, FX6, and A7sIII - all full-frame, 4k, raw output. Where is the EVA-2? I think both the C70 and FX6 are very solid and great additions, but it does leave a big door open for Panasonic and the L-Mount. They already have the S1H (which is sort of the original C70) and now can complement those with a $6000-$7000 full-frame, 6k cinema camera. Release EVA-2 with L-Mount - FULL FRAME - 6k sensor - 120-180fps in 4k - IBIS - first ever in a cinema camera and make it LOCKABLE (I know cinema cameras "NEVER!" have IBIS, but I think the market would love it). - SDI and timecode (obviously) - Dual ISO (640 and 4000) - 12-bit codec - Codecs in EVA-2 and S1H and 5.9k ProRes Raw output are great - internal raw would be excellent but maybe not possible. An internal 12-bit codec would be awesome though. - ProRes - Just put it in there. Differentiate yourself from Canon/Sony with everyone's favorite codec. - PDAF - The market demands it. At least the S5 AF in the EVA-2. - Compact Body - Make it smaller, more like the FX6 sized than EVA-1

Outside of my two minor whines above, I don't get the complaining. I think both Canon and Sony have done a great job with C70 and FX6 (and R5 and A7sIII). Sony has gone with two, very solid 4k cameras. Not getting caught up in the resolution race, but giving the people strong 10-bit 422 codecs all the way up to 120fps in 4k. Add in a great size for the FX6, variable ND, timecode, SDI, full-frame, etc. All great. Their biggest blunder is having basically NO AUDIO without the handle. Making its biggest selling point (small size for versatility and gimbals) sort of moot if you need any audio. Canon has done very well with the C70 - solid codecs with timecode, XLRs, NDs, speedbooster, all in an interesting package and form factor that will be great for gimbals and a variety of situations. Both the FX6 or C70 will be all that you need for the next 3-5 years. The FS5 aged quick due to 8-bit 4k and the C300 II was way over-priced and also aged quick due to max 30fps in 4k (when the FS7 already has 60fps). The FX9 was a tiny update compared to the FS7, but th FX6 is a HUGE update compared to the FS5.

the no intermediate 10-bit 422 codecs and audio on the handle are both pretty big dealbreakers. Also not convinced Sony has fixed their IQ enough to go up against Canon and Panasonic.

Oh, both XLRs on the handle - bummer. Since FS5 and C200, I never want my audio separated from the core. C70 is looking like the winner in the lower end cinema line.

C70 + Speedbooster: $6k 24-70mm IS or 24-105mm f4 IS (f2.8 with booster): $800-900 canon 35mm f2: $600 or so canon 50mm f1.4: $450 or so 70-200mm f4 is: $1000 (or 16-35mm if you need wide). — still have some moola left over for some mics, extra battery, accessories. That’s what I would do with $10k starting fresh.

I would go with Canon's RF system strictly for the C70 and the awesome RF lenses dropping. That will be an amazing camera for everything you can do for the next 3-years. Also, I don't like Sony's image out of camera and it takes a lot of work to make it look as good as Canon's right out of the gate color and IQ - the FX9 image looks better, but everything else has an image that isn't nearly as good as Canon or Panasonic. The Panasonic S5 and a couple of their f1.8 lenses coming out would also be a great, more affordable option.

This does look great. Hard to argue with this camera. Canon has been on a roll (outside of the overheating R5 debacle), and this camera may be their best offering in their year of amazing offerings (C500 II, 1DX III, C300 III, R5, R6, C70 and a silly amount of lenses).

Ah nevermind. I'll just get a C70.

Anyone in the USA have this camera yet?

One of the main reasons I don't love using mirrorless cameras for video is the lack of internal ND. I don't mind using variable NDs, but I do hate losing my lens hood to block flare, protection, for shooting in light rain or varying weather conditions, and to increase contrast in the image. I'm not a huge fan of matte-boxes as they add a lot of bulk and are more to travel with and carry around (I have tried the Polar Pro Basecamp, which is pretty great). Anyone have a good solution for shooting with a variable ND but also being able to cover the front of their lens?

Just adding 120fps in 4k on the S1H would put it right back at the top of the heap specs-wise. It would have 6k ProRes Raw over the A7sIII and tons more usability over it and the R5 (with better XLR adapter than Sony, timecode, zero overheating, etc). Plus, 6k ProRes Raw is wayyyyyyyy easier to work with than the R5's 8k raw and the IQ difference is probably negligible. No real need for Panasonic to put out another mirrorless body - something like the C70, with internal NDs, more cinema style body, integrated XLRs, etc on the other hand would be AWESOME. The S1H specs (full frame, 6k, dual ISO, IBIS, timecode) with the C70-like cine style layout + internal raw and 120fps would be amazing. Again, probably more likely in an EVA-2 (minus the IBIS) and will be bigger than C70, but would still be great to have.

If you don't care about: timecode, unlimited record times, a more substantial build, slightly more usable screen configuration, top LCD, better EVF (I never use it for video anyway), then I would get the S5. I don't notice a huge difference between 400 and 150 10-bit recording, so you should be fine there. Can always get 6k or ProRes Raw (soon) or All-I ProRes recording with an external recorder.

I haven't used the S5 yet, but I do own and have used the S1H for the last year. I love the camera. For me, the biggest advantages are timecode (a must for my doc work when I have external audio), the All-I 400Mbps (sometimes required), and the unlimited record times. The ProRes Raw is great, but the S5 will be getting that soon. Otherwise, I think the S5's more compact size, better AF (though the S1H is confirmed to get it), and the already amazing 10-bit 422 150Mbps codec that I most often use on the S1H anyway, make it a pretty compelling option.

Wonder if the EVA-2 with L-Mount will have similar specs to this (probably impossible until 2022) S1H upgrade: https://www.panasonicff.com/rumors-panasonic-lumix-s1v-l-mount-cinema-camera-coming/ I personally would rather have great 4k (codec options, frame rates, raw, low light, etc) than 6k or 8k. These specs below would be excellent. SPECS: Panasonic VARICAM Look 11.8MP Full Frame CMOS Sensor Dual native ISO WDR OFPD Enhanced DFD Autofocus 4K @ 96p 3:2 OpenGate 4K @ 120p DCI 4K 4K @ 160p 2.39:1

It's a bit confusing. If this had internal NDs and 120fps in 4k, that would make it tempting to just always have on hand for action/gimbal shots. But, definitely seems to be targeting a specific market for higher-end webcam and live recordings.

Has there been any mention of EVA-2? What is Panasonic doing? Where is their L-Mount, full-frame, highly-specced video camera to compete C300 III, FX9, FX6, C70, and Komodo? Just put the S1H sensor in an EVA-1 like body (hopefully a bit smaller), add in 120fps in 4k, ProRes Raw over HDMI/SDI, and get on with it.