currensheldon

Sorry if it wasn't clear but I was referring to the S1H. The S1 still has the focus-peak dropping out problem, for sure. If I ramped it up as high as it would go, once I hit record, it was about where I like it - but then when you aren't recording, it's waayyyy to high, which is annoying. But the S1H does not have this problem in 6k or 4k.

Well, just got my S1H yesterday and shot some test-footage this morning. I have to say, it is pretty eye-poppingly good. I am actually surprised at how good it is. The 6K is especially sharp and the 10-bit is as good as the 10-bit 4K on my EVA-1. Colors look wonderful. In general, the camera is pretty incredible. It is big because this thing is packed full of beautiful features. The top LCD screen is so nice to have, where you can monitor audio, all of your main settings, timecode, etc. The amount of codecs, frame rates, and features is really amazing. IBIS is as good as you'd expect from Panasonic - easily best in class. The focus peaking has been fixed for the S1 (where it would get less pronounced once you hit record). It now keeps its strength whether you are recording or not. That's a huge fix and welcome. Looking forward to setting up a shoot so I can shoot an entire video with the camera. I shot a bit of 6K this morning. Feel free to download here: https://www.dropbox.com/s/40a70off03uacf4/S1H Test.mov?dl=0 - Shot in 10-bit 420 5.9k 24p, V-Log. Down-resed to DCI 4K in Premiere Pro. Graded with Varicam LUT, Aggressive 709 and then just some very minor adjustments on individual clips.

If Canon put out a 5D equivalent mirrorless camera but with S1H specs (don't even need 6K, just 10-bit 422 All-I DCI 4K up to 60fps - maybe even raw external or 120fps 4k to sweeten the deal), I'd go Canon in a heartbeat for color, IQ, and AF. Their RF lenses and their ND adapter are top notch. As is their AF. And then to have the option to go with the C500II, C300II, or C200 as an A-Cam for bigger shoots is a pretty amazing combo.

I wouldn't be surprised to see an EVA-2 by NAB 2020. I think the EVA-2 will be very much like the EVA-1, but without the use of a recorder for all possible codecs and some other updates. So something like: - Super35 sensor - 5.7k or 6k at 30p internal in H265 - DCI 4K in same codecs - 10 bit All-I 422. I bet they'll add 4k 120fps, maybe in burst mode. - Raw to an external recorder (hopefully in 12-bit and not 10-bit like the EVA-1). - L-Mount - I think they have to go this route because lenses is where you make the real dough and to get people into the L-Mount and S1H ecosystem. A unified mount is great for lens purchasing. - Some form of AF - but probably the same as the S1(H) series, which would still be pretty great compared to the EVA-1 now (no AF). I would love pretty much the S1H in a slightly more slimmed down version of the EVA-1, but I have a feeling they'll save their full-frame camera and internal raw for the Varicam LT Mark II and price it in that $15k range. But a full-frame sensor would be awesssommmeeeee. And then I hope for some other small changes: - Better audio control - A usable screen, more like the C200/500s - Get rid of the weird ISO/WB knob - Slightly more compact - like FS5 size.

They may not be too concerned about protecting the EVA-1, as I'd guess there will be an EVA-2 with higher-end specs by NAB 2020. And this EVA-2 will have the L-Mount, which will result in them selling more lenses and therefore making more money. Currently, with the EVA-1, they sell the camera and then that's it. Whereas the S1(H) series is a total ecosystem with a lot more money to be made. Not saying the S1H will outperform the EVA-1 or have 12-bit raw, but I would guess that Panasonic is eager to get their cinema line into the full-frame, L-Mount world to compete with C500 and FX9 and make more serious dough from their excellent L-Mount glass. So, I'd expect a full-frame 6k-8k Varicam LT with multiple mounts and a full-frame 4k EVA-2 with L-Mount to be released in the next 6-12 months... Hopefully.

Looks Panasonic is going to beat Nikon to the punch. And at 6k raw too. This is pretty incredible for a $4,000 FULL FRAME camera: https://www.atomos.com/press-releases/atomos-panasonic-lumixSH1-6K35mmFFR

These new recorders are HUGE, in my opinion. Black Magic Raw is perhaps the best codec currently available that isn't made by Red. Beautiful 12-bit raw footage that can actually take up less space than ProRes LT or All-I 10-bit H264. I have almost bought Black Magic cameras many times just for the codec, but I edit in Premiere and don't particularly love their cameras. With today's update, I can continue to use the EVA-1 or C300 Mark II, record everything in the amazing BM Raw AND still edit in Premiere (though I should just switch to Da Vinci)! These recorders breathe some serious life back into cameras like the EVA-1 and C300II. Pretty amazing that Black Magic would do this. They are really working to get people into their full workflow and using some part of their tools. They will sell a lot of these recorders, probably at the expense of a few Ursas and Pockets, but they will have a lot more people in their ecosystem now. Hats off, BMD. This is amazing.

The EVA-1 screen is horrendous - and I really like that camera. The Swit-55 5” screen is a great replacement and with a sunhood can easily be used outdoors. It also doesn’t take up much more space than the screen that comes with the camera. But for something that is supposed to be small and already has a 5” screen, seems really dumb BMD didn’t make the Pocket screens more usable. I think Andrew hit it right on the head - great image and an amazing codec in a camera that is a bit of a disaster. I got the Pocket 4k and it locked up on me three times and just randomly died twice with about half battery life left. Returned it promptly. I wouldn’t even trust it on small personal projects, let alone for a real job.

Leaks say it is $10k with FS7 trade-in, so I'd guess it will be close to $14-15k, so not a significant price difference at that point. Not saying it won't be an excellent camera (most are these days), but I would argue even against Venice, Canon's Cinema EOS line has overall better color and image. And C500II also has the digital/software IS and will surely match it in dynamic range or be so close it doesn't really matter. Also, Canon has their dual pixel autofocus, which I still think performs better than anything Sony has released. Yes, it does have a few more updates than the FS7 (Venice color and AF), but nothing big like the C500II has internally (6k raw, 4k raw, 6k 60fps, etc). I just thought the FX9 would at least match the Canon on specs.

Wow. If this press text is telling us everything, this is a pretty lame update from Sony. Basically a full-frame FS7 (from 2015). That's it. Not sure how this competes with the C500 II, which has full-frame 6k raw up to 60fps, 4k raw up to 60fps, as well as all the delicious full-frame 10-bit codecs in 4k and 2k. I guess the FX9 does have 120fps in 4K, but only with an added module that will surely cost an extra $3-5k. Sony has really started to rest on their laurels since the FS7 and A7SII. Not a meaningful update from them since those two cameras.

Despite the silly branding, many tests have shown the Polar Pro to be one of the top variable NDs out there. And I'll attest that it has WAY less color cast and vignetting than my Tiffen variable ND. Along with not affecting picture quality that much, the Polar Pro also has very nice hard stops so you never get the dreaded x-pattern or really strong corner vignettes. Another ND I'd recommend is the Aurora PowerXND Mark II - also has great hard stops and very easy to change ND strength with no x-pattern or vignetting. A bit more expensive than the Tiffen, but much cheaper than the Polar Pro.

Wow. If Sony can fix their general image/color issues, these could be huge. Either way, they'll sell really well, especially a full-frame Sony FX6 - craziness. These two cameras might be Sonys return back to the top of the specifications and feature list for the best price. Surely FX9 will be much cheaper than the Canon C500II (I'm guessing $10-12k) and the FS5 will come in right around the C200/EVA-1 launch price ($7kish).

It doesn't have an RF Mount, dual XLRs, or an internal ND (either internal or with the adapter). So the Pocket 6K does not have all of the specs a C100 III would have. I've tried out the Pocket 4k and all of the usability issues remain in the 6K version, 3 or 4 of them being fatal flaws (meaning, I won't use it professionally): - terrible battery life - fixed screen that is difficult to work with and not daylight viewable - Terrible ergonomics and general shape. - Quite a few reports on random shut-downs (I had the Pocket 4K turn off on me more than a dozen times whenever the battery got close to 50%). Currently, Black Magic makes cameras that give you a beautiful image with a fantastic codec and menu system at a GREAT price, but everything else is a bit of a disaster.

Canon could garner a good bit of goodwill by just simply releasing a mini C100 MarkIII with 4K 60p 10-bit, RF Mount, great AF (that’s a given), dual XLRs, etc. maybe somewhere in size between the C100 and XC15. Still small and light enough to put on smaller gimbals basically. could just be their standard doc and one man band camera for $4500-5000.

If the Sony 16-55mm f2.8 at least had stabilization, they would have sold one to every FS5 and FS7 owner out there - awesome lens less than 500-grams, but without stabilization, it becomes way less useful for those cameras. Would much rather use the 24-105mm f4 from Canon/Sigma with a speedbooster and also have a greater range + stabilization. Since I greatly dislike Sony's color and image, I'm happy to see them stumbling. Hopefully more money goes to Panasonic, Sigma, and Fuji, all three which seem to be at least trying to make innovative and updated products.

I also like Panasonic's release strategy. Instead of boat loads of vloggers getting this camera and talking only about AF for vlogging (as Canon and Sony do), they gave it to a collection of actual filmmakers and DPs to make REAL films with and also to the most professional-minded Youtube channels, which are mostly all stores: ProAV, Wex Video, B&H, Adorama, and then some general favorites like the DPReview guys. Maybe it's not best way to go for internet virility, but it's at least respectable. Rather than the Hawaii + Model + vlogger combo that Sony and Canon do time and time again and flood the internet with their "reviews"

In the Panasonic presentation, the presenter says it around 8:52. Newsshooter also reported the same thing.

Just saw that this camera also has timecode in/out - HUGE. Outside of an internal ND, there isn't much else I'd ask for in this camera. 120fps in 4K would have been nice, but there aren't many cameras that can do that at all under $15k (just Z-Cam?). With 400mbps All-I 4K and Timecode, this may be the first mirrorless camera actually approved by the Netflix/Amazons of the world.

All the different features that Panasonic have put into this camera shows that they know what they are doing - not to mention all of the beefy codecs, frame rates, resolutions, bit-rates, etc. Plus the best IBIS in the game and now some of the finest lenses (their 50mm f1.4 is silly sharp and I'm guessing the 24-70mm f2.8 will be so as well). And with native Panasonic lenses on the S1, the AF is plenty good for many situations. Somehow, people still say Sony is better with its 8-bit 420 100mbps codec and horrid colors. I really don't get it.

Yep - I believe that's it. "We are developing raw output over HDMI with Atomos for the S1H" - but he did stumble over his words a bit there.

This does look like an incredible camera. Raw over HDMI coming! That's exciting. But... no announcement of price or release date? Very strange...

Updated specs from CanonRumors. THIS is much more like it for their high-end cinema camera. Still leaves some room for the C300 III to play in. Still really needs 120fps in 4K though. Canon Cinema EOS C500 Mark II rumored specifications: Full-frame sensor Records up to 5.9k at 60p RAW full frame Records 4K60p in Super35 crop internally in Cinema RAW light Records 2k120p in Super16 crop in Cinema RAW light Can record in XF-AVC in 4k and 2k oversampled from the 5.9k sensor with 4:2:2 10- bit sampling CFExpress is needed because of the bitrate, the 5.9K RAW is 2.5Gbps, 4k is the same bitrate as the Cinema EOS C200 at 1Gbps RAW internal recording (both 4K and 2K). 4K is up to 60p, 2K up to 120p. Optional XF-AVC recording in 4:2:2 10 bit (4K up to 60p, 2k up to 120p) User interchangeable lens mount Optional modules with EVF, genlock, timecode, 12G-SDI, etc EF and PL mount available at launch

Strange if this is true. Obviously it will have all of the professional inputs/outputs and be Netflix approved and all that, but besides timecode and 2k raw, why would I get this over the C200, which has unbelievable internal raw recording up to 60fps in DCI 4K? Again, the sad thing with Canon is that this now puts a ceiling on the C300 Mark III - how could the next level down camera have 6k or 8k, 120fps in 4k, internal raw, and RF Mount, and still be priced lower than this camera? I guess it will have a Super35mm sensor, but not sure that's as big of a deal if it has all the other specs that the C500 II does not. I had the same reaction when they announced the C700 at $30k. That's it!? If that's all they are putting in a $30k camera, what hope is there for us who want an awesome RF-Mount $5k C100 Mark III? Still 8-bit 30p in 4k?

Exactly. Say what you will about the company and their pricing or whatever, but the sensors they use with their workflow and, most importantly, REDCODE, makes their image really, really shine. The Komodo is very exciting especially because of the battery and CFast choices and potential Atomos partnership. Automatically makes getting the whole system up and running a much more affordable endeavor. If the Komodo can deliver in sensor size, frame rates, and ISO like Gemini, Red is going to have a pretty big hit on their hands.

I've been thinking the same thing. The EF mount, though incredibly popular, just isn't a modern mount and therefore does not allow all of the awesome things that short flange distance mounts do (Variable NDs, Speedboosters, tons of adaptability, etc). If Canon's GIANT lens collection is lacking anywhere, it is definitely in the high-quality, APS-C/Super35 lens category. The 18-80mm t4.4 is an amazing lens, but slow and also $4500. The 17-55mm f2.8 is fine, but sort of cheap and the focus ring is very subpar. Canon has ZERO lightweight primes with equivalent full-frame FOV at any focal length. Yes, you can use all of their full-frame lenses, but I'd much rather have the size, performance, and focal lengths of the X-Mount Fuji series than anything in Canon's full-frame lens lineup for the Pocket 6k. The only great lens (Sigma 18-35mm f1.8) isn't made by Canon and doesn't have stabilization. Also, no BM Raw at 4k?! That's crazy too. So you have to deal with double the file sizes for 6K even when you only need 4k. I think the Pocket 4K is a way better option because: - it's half the cost - With a speedbooster, you can get a 1.2x crop rather than 1.6x crop - You can shoot BM Raw in 4K, which I think is still the best quality vs file size combo this side of RedCode. - You have the option to use small, lightweight MFT lenses on it if you wish - You can adapter pretty much any lens ever made - The Panasonic 10-25mm f1.7 may be the best stick-it-on and never take it off lens for either of these two cameras. If the Pocket 4K had the RF Mount, then that would be a different story as you could have a variable ND on there with the Canon adapter and that's very awesome. Red is definitely getting it right with Komodo with the RF Mount and battery solution - very smart and BM should take note (though the Red will be 2-3x the cost).