abehalpert

The corporate tax cuts have had no positive impact on capital investment by corporations in the US, which is actually declining. Corporations were flush with cash before the tax cut and had plenty of money to invest if they so chose. (The money was also not located in other countries except virtually via accounting tricks.) Corporations have used the tax cut largely for stock buybacks. Trickle-down economics never grows the pie, but that's not the intent anyway. The intent is to give a larger slice to the wealthiest.

This is all par for the course in the U.S. these days. Trump lies so extravagantly and so often that nobody bats an eye anymore. But of course the real story is how neoliberals up to and including Obama shredded the social contract in the U.S. and decimated the middle class, paving the way for someone like Trump to come sell snake oil. Similar things have happened in Europe, where centrist governments are falling like dominoes as people look for alternative solutions from the right and left.

They're not gonna put internal raw on the S1 if they can't put it on the S1H (which only has SD card slots)....but I hope I'm wrong! They just fixed 2 of the only drawbacks I have with my darling S1: the v-log clipping and the HFR exposure control... Zowie!

Yeah the camera's got nice color rendition

The color in some of these videos looks beautiful. But a lot of the saturated colors in the Philip Bloom video were really loud and videoish.

Also - do we care more about lens weight or optical quality? For me, it's the latter (within reason)...

It's been mentioned, but not enough: RF is the superior mount choice because of the advantages that the short flange distance offers to lens design. Plus Canon has good EF adapters. Here's hoping for a pro R body with similar video specs to the 1DXmk3! (Not getting my hopes up...) Also, just because you have good AF doesn't mean you need to use it. I love my S1 and have the DJI focus motor on my Ronin-S which is great for manual focus! But there are lots of occasions (such as tracking in on an object and approaching MFD) where good AF would do a better job than I do. But the S1's AF sucks. PS: Cinema5D has the FP's dynamic range pegged at 11.3 stops - 1 stop under what the S1 can do. Hardly an amazing result but not surprising since Sigma said it would have only 12.5. Cinema5D also said it has moire. https://***URL not allowed***/sigma-fp-camera-first-impression-sample-footage-and-lab-test-results/

Yeah WTF

Phew! I'm gonna get it. Here's hoping they fix the blue clipping in v-log! (And also give us manual exposure control in HFR...)

Probably before - the review is dated June 25 and I doubt they updated the images with the new firmware.

Here it is: https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=panasonic_dcs1&attr29_1=panasonic_dcs1&attr72_0=4k&attr72_1=1080&normalization=full&widget=691&x=-0.08419793901662723&y=-0.3207147516225125 Basically the 4K looks great (especially for having no OLPF) but the HD looks like moire city.

Can anyone confirm what I see in the DPReview IQ comparison tool - that the Panasonic S1 suffers from bad moire in HD resolution, whereas it looks great in 4K?

Thanks for the interesting info! I'd love to see your review of the S1H once you get your hands on it, as well as a comparison to the IQ of the S1.

I think the issue is that lighting design (and budget) is crucial for the look of that or any movie. I read an interview with the Hannah Grace DP somewhere where he said he had to baby the camera because of the 8-bit codec. In other words, get it right in-camera. When I used to AC, I was on so many indy film shoots where the DP pushed the ISO of his/her RED or Alexa past their self-imposed limit (typically 1600) because their lights were too weak after being diffused. So, I think that having a camera with the highest possible usable dynamic range and maximum ISO would probably help overcome some deficiencies of your lighting budget.

I think we need to punish Canon for withholding features and trying to sell more gear by splitting their products into so many segments. I considered buying a Z6 to reward Nikon for being the first to offer RAW out, but that's been a long time coming. I love what Fuji is doing and wish the X-T3 were full-frame. Even though I hate Sony color and build, I will probably buy the A7S3 if it checks out, as Sony cameras are increasingly in demand in my market. Although that could change if the C500mk2 takes off. But production houses are invested in Sony lenses and will probably see no reason to switch, especially if the FS7 successor offers 4k 120fps and the C300mk2 successor does not.

Internal RAW would be amazing but A) they're not going to do it and B) they would have to pay tribute to RED. I really don't like Sony color or physical/menu design but unfortunately clients request Sony a lot from me. I think it has something to do with the success of the FS7, probably because it has 4K slow-mo and the C300mk2 does not. For some reason, the EVA1 has not become popular in NYC (I hear it's more popular in Europe). But either the S1H or the A7S3 will be a B-camera for many users and Sony may be a better money-maker for me... But I love my GH5 and would prefer to stay Panasonic ? or go Black Magic. At the end of the day, though, I may just buy whichever body has the best DR and sensitivity because that's what I really need. If the A7S3 has the best, it would soften the sting of capitulating to Sony.

ProRes RAW via HDMI to Atomos, correct? Now that would get my wallet open...

This camera looks fucking badass. That being said, as someone who doesn't need anamorphic, unlimited recording, or 6K, I'm not sure if it's worth 2x the price of the S1 to me. Depends on the DR/low-light tests. And even though I hate Sony color, so many clients are asking for Sony these days that I have to wait to see what the A7S3 offers. Should be out in September if not tomorrow.

I agree with Andrew's latest post, unless the new camera has substantially better DR and low-light performance. But it seems that it does not.

Are people still seeing macro blocking in blue skies when shooting BRAW or has that been fixed?

Are people still having issues with macro blocking in blue skies in BRAW or has that been addressed? Also, is it possible that the A7S3 will have far superior DR because it does live HDR using a quad bayer situation with alternating high- and low-gain pixels?

Actually looks like the 6k version has a tad less DR in 3200 mode

For those who say the image is too detailed - why not use a soft lens or lens filtration? Or both? But in truth, I don't really need 4K-level detail either. It's more of a marketability thing for me... PS: Yes, please, to RAW internally! That would be the day...

It's sad, because the Canon "look" remains my favorite. But I think they rested on those laurels too long.

I largely agree with you. But honestly, I don't care how ugly the camera is or how difficult it is to use. I just want enough DR to capture the colors of the sunset and still see details in the shadows of the person in the foreground. I would also like to record a clean image in candlelight. And a beefy enough codec to handle that DR (preferably RAW). Here's hoping for the A7SIII!