Patrick B.

That’s great to hear! I honestly can’t find many examples of people using it, but the couple I saw got me kind of excited ha. After seeing it disabled it feels like the phone makers are really shooting themselves in the foot but forcing it on by default and not allowing any control. This is on an older Galaxy S7 using an anamorphic adapter, but some of the shots do NOT look like a phone to me.

Ok yeah good point. I did read something about that in the Filmic Pro blog. I was hoping they had some kind of list of recommendations. I did find a couple phone reviews on their blog.

Awesome. Yeah, I’ve started shopping around for the best Android phone for video. I can’t find many video examples testing this particular feature, but the couple I found were very convincing. I’m seriously wondering if I might be able to transition to phones. Now I’m just wondering which versions of Android support this API version and feature. The one tricky thing with Androids is they all run their own special OS flavors. So I think it would true that some phones can’t be upgraded?

Being an iPhone owner I totally missed this: This is great and I hope Apple follows suit in opening up their API. For all the advancements in mobile phone imaging, I feel like the baked in sharpening artifacts are the one of the weakest areas of mobile video now that DR and low light are starting to improve. This seriously makes me want to get an Android just for video.

Z Cam has mentioned on their FB group that the E2 uses ASIC, but they managed to add ProRes after the fact. Likely they had planned it from the start though so maybe that’s a different case.

Yeah, the original A7s was the first camera I seriously lusted after as I was just diving into the world of trying to shoot my own music videos and social media content. Agree it was really the idea of being able to shoot in any lighting that was so attractive. I saw this Trace music video done by the very talented Nathan Presley and fell in love with the look. (He used to have it posted on his Vimeo and it specified the A7s in the title.) I always thought it had a filmic quality to it. I ended up buying a used A7S ii and later selling it (along with an a6000, a6300, and a5100). The battery life on with their gen 1 battery always drove me nuts, but if they’re really going for $500 used that is a steal!

Personally, I’d rather have internal 10-bit, uncropped 4K, AF in 120fps, and maybe a RAW video codec for the heck of it. But I guess 8K is more headline grabbing for them to say “hey, we’re back in the video game”. I also hope they keep the feature from EOS R where the shutter closes to protect the sensor with the camera is off. Such a nice touch.

Ha, yeah just saw this posted: https://www.mirrorlessrumors.com/french-website-leakes-the-first-canon-eos-5r-images/ Crazy.

Unless the recent firmware has changed things it would only output a 23.98 signal in 4K. In HD you’d have to go with 24 FPS.

Wow, it may sound sad but I’m excited about this. ? 24p was one of the main reasons I got an R over an RP (besides c-log). I might pick up an RP as a b-cam now. I didn’t see the new M6 mark ii mentioned but hoping it’s included.

Ahh, so it DOES have 25p, but not 24p. I guess the 25p doesn't show for me because I have it set to NTSC. So that might an option to set it to PAL and get 25p. But still very odd to exclude 24p in 1080p 10-bit.

@thebrothersthre3 @Vision well you get 10-bit 1080p in v-log BUT only down to 30p. So no 24 or 25p. Seems so Canon-like to remove those and I hope S1H doesn’t have that limitation.

Don’t have my S1 in front of me but I’m pretty sure it doesn’t have 10-bit available in 1080p which was a big disappointment for me as 10-bit 4k h.264 doesn’t edit well in my MacBook. Hoping S1H doesn’t have this limitation.

Ahh ok that makes sense.

Interesting. I’m mainly an audio guy but wasn’t aware of that. That was my understanding too. It just takes two different exposures in quick succession thus the worse rolling shutter performance. Doesn’t RED do this too in their special WDR modes? As opposed to Arri where it seems that both exposures happen together.

I’m curious why simultaneous dual gain sensor architectures a la the Alexa Alev III aren’t more common in smaller cameras. This allows a low and high ISO signal to be combined for one HDR image. It seems that in ten years most cameras still can’t match the Alexa for sheer video dynamic range, yet CMOS sensor technology has obviously evolved in many ways. Is there a limiting factor like size/heat, a patent, or maybe otherwise? Perhaps it’s just that the average consumer is more interested in increased resolution? We now are seeing the switchable dual gain architecture used more, but I’m not aware of lower end cameras using simultaneous dual gain. Related info: https://www.arri.com/en/learn-help/technology/alev-sensors

Good question. I believe it was also noted in the Newshooter S1H article when he referred to the “highlight bleed” in the blue channel.

I thought part of the advantage of having full v-gamut was to avoid things like this. ?

Amen. A lot of people rave about sharpness, but that is the exact opposite of what I look for in an image. It’s one reason I’ve enjoyed shooting on Canon over Sony (despite the disappointing lack of features in their lower tier cameras).

That’s great. I hope it goes better than the Z6 has ?

@deezid nice. I’ve never shot on a Varicam but I feel like the S1 v-log gets in the realm of that creaminess which i love so much in Varicam samples I’ve seen.

@funkyou86 thanks for posting that! I have the S1 but not the Pocket. Which camera is on the left? That frame grab seemed to have a little more highlight info and/or smoother roll off in the window.

Curious to see this too. Closest comparison I could find was S1 to EVA1.

@mercer @crevice I'm getting a little over 3 hours of power with the large NPF batteries running through the SmallHD Focus, One Little Remote v4, and the Micro with a Metabones Super16 Speedbooster attached. Not sure what actual record time will be like, but that's pretty impressive.

Camera maxes out at 1600 ISO. I've only shot a couple test clips so far, but the noise seemed lower than I expected and very fine and pleasing in RAW format. Haven't tried noise reduction yet. @BenEricson "glossy" is actually the perfect description for most of the modern 4k cameras. I like how the older Blackmagic cameras with the Fairchild sensors have a characterful imperfection to them. To me they look a little more vintage vs modern.