Ninpo33

Yup, understood. Thanks for the specific details. At the low price of the S1R on the used market I'll probably just get one anyway regardless of my Tokyo trip kit and play around with the 5k video in the flat profile. With the depreciation already built in I won't loose any sleep over it.

I agree completely. Also, a large portion of the camera buyers have become quite savvy. In the world of YouTube "reviews", Gerald Undone and forums such as this, the camera buyer is now paying closer attention. Marketing mistakes or camera firmware issues are now put under the microscope and brands have to be really careful to get it right. Lumix has been on a nice little trajectory as of late and even with the S9 launch kerfuffle they have been gaining some nice marketshare with the S5ii/S5iix. Fixing a lot of the known issues people used to have with the brand and giving us more specs than we even asked for. We like Panasonic because they have been amazingly good to us over the years despite being the 4th or 5th tier down in popularity. Would the current low budget anamorphic trend even have happened without them? Wild move putting the various anamorphic IBIS modes and desqueeze into cheap consumer bodies when the FX3 doesn't even have open gate. Who would have thought open gate 6k would have been the feature the Gen Z crowd is so excited about for vertical crops? (sigh) I'm hoping/praying they are just taking their time to get it right and making sure the S2h and S2R end up being super solid. 4k/60p with no crop is a big one for sure and even if we know 8k isn't necessary for this camera, marketing wise they might need to bring it. They have a unique opportunity to snatch a lot of the Sony shooters who are holding onto their A7siii and FX3 cameras who also have't had any reason to upgrade. A Sony A1 type flagship for less and with more features. I want a Sigma Fp Pro. A revamped BS1H or EVA 1 full frame type camera. Alexa LF micro. Hell, even bring back the video camera form factor. It's odd that they still sell 1" sensor camcorders but never stepped up to compete in the Canon c300 or Sony FX6 space? Alas, they've taken long enough that even me, a loyal Lumix fan, GH3 hacker and 14 year loyalist, am actually on the fence about going Sony or Fuji to meet some of my needs this year. Hurry up Lumix...!!!

Love the S1h. If only it could have the IBIS of the S5ii... I guess that's what we are all hoping to see in Q4 2024 from Lumix. The S1R is really the one that I'm the most curious about and have never used. I've used all the other Lumix bodies and they cut well together but after seeing several posts, (Yours and Andrew's mostly) The S1R in 5K has me intrigued. Especially at the price it's currently going for. One of the reasons I love this forum above all others is because Andrew and the people here care about image quality and see through the marketing and hype of brands. I like to tinker and play with cameras and so for me things like the Sigma FP, Lumix GX85, even the S9, all have appeal. But with the S1R I need some high res (40 - 50mp) stills for a book that's being done along with the documentary film and will be run and gun, solo shooting both video and interviews in Tokyo. Space is a premium while traveling and so the stills camera needs to do double duty as a B camera for video interviews. Ideally a 3rd camera that sits on sticks in the back for safety/coverage. So finally, a question... You didn't keep the S1R for stills and went Sony. Is it because of speed? I don't have fast moving wedding day stuff happening and the stills are more for BTS and shooting tabletop type stuff in the studio. More controlled. But how do the S1R video specs compare and cut with the other S cameras? I could see it as a sweet 5k Super 35 camera with no crop 4k/60p if it could hold up. Without V-Log I hesitate and I can't spare the space on these trips if it's not going to perform double duty as well as something else.

Yeah, I’m really close to just going with this setup now that things are hovering around $1,000 USD each on the used market. I’m working on a hybrid setup that ticks all the boxes for an upcoming documentary in Tokyo and as much as I want to throw down for a Sony A1 right now, for the price of that single camera I can literally get all 3 lumix bodies and be covered. Older S prices keep dropping so it’s a win win while my analysis paralysis plays out LOL

Yes I agree completely. For you it would be more like a "D-Camera" emergency back up that lived in the bag and came out for casual stuff and if one of your other three other bodies went down. For me too if I'm really being honest. I'm still undecided as well TBH. Prices are creeping down on a lot of great cameras right now. Fujifilm X-H2s - $1750 used. GFX 100s - $2750 used. Sony A1 - $4,000 used. ZVE1 - $1,700 new on sale. So many great options and we are actually quite spoiled with options compared to 5 years ago. I've been tracking things all month as I gear up to either switch systems (after 14 years with Panasonic) or add additional Lumix bodies. One of the reasons I really follow your posts is because I'm in such a similar spot. I guess many of us who are waiting for a S2h, S2r are felling the same thing. I hesitate to buy any older S bodies at this point because of all the new upgrades of late... Even at these bargain prices and knowing that, S1h for Video A- Cam S1r for B-Cam and stills S5ii for autos and IBIS will do the trick.

But look at this sexy little 6k open gate beauty... For me I am going to have fun with M mount glass and treating it more like a less robust Sigma FP. Maybe one day Lumix will unlock the prores raw once sales start to slide or the new S2 cameras come out. I feel like if Lumix drops the price to $1,200, removes record limits in next firmware and then puts out a sweet f/2 pancake and AF mini zoom, This thing would sell like crazy.

I'm also curious about this. Everyone always assumes it's just the same sensor and color science with all the S cameras but sometimes people who own multiple S bodies can see the subtle differences. I found a few S9's for $1,100 this weekend in Japan but am waiting for the $1,000 sweet spot for value to me as back up/pocket 6k/street/ C-Camera to my other L mount stuff.

Looking forward to hearing your thoughts on the S9 after you put it through its paces. I will be using mine in a similar use case and think it will be perfect. I've been missing my GX85 Street camera so happy to have something small and light to take around with some M lenses. V-Log and Stabilized FF 6k Anamorphic with Lidar autofocus on a mini $1,200 body. What a world we live in...

I remember those videos. He really led the early movement for minimal camera setups at the time. Very inspiring to me and my travel kits over the years. I think about those old videos and also Kenny Ty and his early Canon T2i stuff on Vimeo whenever I get too fixated on camera specs or have late night GAS...

This video is pretty out of date and doesn't take any of the new firmware updates into account. Firmware version 1.6 on 11/24/2020 added the "Secret Sauce"... 1. Improved AF performance • Tracking and recognition performance of AF have been improved with an addition of head recognition. • Human/Animal recognition can be set ON or OFF when the AF mode is set to [1-Area] or [1-Area+]. • [AF+MF] can be used during video recording. 2. Added video functions • The following 5K(4992x3744) video recording mode in MOV format has been supported. - 5K30p/25p/24p, 4:2:0 10bit LongGOP, 200Mbps, LPCM • [Like 2100(HLG)] has been added in [Photo Style] to support 10-bit HDR video recording. • [Luminance Level] function supports the 10-bit mode. • High-Resolution audio recording using an XLR Microphone Adaptor DMW-XLR1 is available and it can be controlled with [XLR Mic Adaptor Setting] menu. * MOV only • 4K 60P/50P 4:2:2 10-bit video output over HDMI has been supported. • [SS/Gain Operation] function has been added. • [Red REC Frame Indicator] is available. • It is possible to play back vertical videos vertically.

You might not have to what till next year,I'm shopping the Japanese websites and seeing some killer deals. At around $1,000 I think the S9 is an amazing deal. I'm going to scoop one up next paycheck and have some fun with it. I sold my GX85 a few months ago for a really solid price on eBay so it's getting close to an even swap for the S9 financially. I would love a new GX body with some of the GH7 love but that ship will probably never sail. The S9 is going to be the little brother to the S5iix and maybe a used S1R to round out my doc travel kit for a current project. If Lumix will end up removing record limits in firmware updates and give us a few more specs I feel like the Sigma FP crowd could even jump ship for the 6k open gate and ease of file codecs. No tax and cheap Fedex for $1,200 on Japanese sites today. Some even have the craptastic pancake lens included.

True story; Years ago I was hired to fly to Thailand and follow around the worlds leading Michael Jackson impersonator for a concert tour. If things went well I was going to be hired on to film the rest of the world tour. Everything was super last minute and I had just sold my camera so I ended up going totally minimalistic and grabbing the RX100. I had been using it as a B-Cam for a few months and was pretty comfortable with it but it was still terrifying coming from my rigged out 5Dmkii. At my stopover in Hawaii I learned that the Thai people were protesting and they were marching in the street, the economy was tanking and things were a mess. Concert was cancelled. Ended up flying to Nepal to film some other documentary stuff for a friend and his hemp company for two months. RX100 was a blast to use and I really enjoyed going so minimal up in the mountains. Next trip I bought the GH4 and GX85 (Based on Andrew's articles here) And the RX100 was quickly sold after seeing the image stabilization and the really filmic image of the little GX85 beast.

I agree. I have a huge set of legacy Minolta/Sony A mount glass that I'm looking forward to using on the A1. Even the niche Metabones speed booster for A-Mount hence the question about Super 35 crop modes. Did they ever get HDMI RAW output working correctly to the Atomos? Could never find a straight answer online.

At $1200 open box already on the S9 I'm about to scoop one up too. Digging the "Asia only" silver on Japanese sites but will probably just go black to match the S5iix. At $1,000 this will be an awesome C-camera for me and a pocketable little beast.

I should say so...!!! I've also been looking seriously at a used Sony A1 and been doing a deep dive online checking out the robust 8k to 4k (hack) quality out to the Atomos. Question for you Andrew, How is the 5.8k Super 35 mode on the A1, have you had a chance to get into it? Curious about the noise. On 8k the noise looks really clean and I'm digging the look. If the Super 35 is solid I just might have to start saving because at $3500 I think it's a killer deal. So far it's been overlooked in my opinion compared to the other Sony options.

Wasn’t really supposed to be an issue and also… skaters.

I grew up skating with all those guys in the 90’s and was around for a lot of the fun video shoots. Once Spike Jonze moved from skate videos to music videos and commercials, the production quality got crazy on the skate stuff. It was wild to watch us go from super 8/16 and good Mini DV video to Arri Cameras and the Phantom Flex. Plus full Hollywood production crews and amenities. the main thing on the “slow motion explosion day” was how the timing was hard to get for the explosions. You can see the scared reactions on a few of the guys as they land. A couple of them couldn’t hear for an hour or so after…

Nice, I was there that day. The heat from the explosions singed my arm hairs. Always inspiring to be around Spike and Ty Evans and the fun shenanigans they get into. That was a good day of skating with my friends, thanks for posting.

No, it’s definitely in the mix but there was something about it that made me just look at the A7RV instead for the money. Can’t remember what turned me off at the moment. A $3,800 Sony Alpha 1 would be fun but it’s starting to get a little dated and missing a bunch of the stuff the newer cameras are getting for less. The S5iix has me really spoiled for how well it does most everything for the price. Paying that “Sony tax” becomes tough to swallow. An S2R/S1Rii would slot in perfectly to my current worklflow so nicely so I’ve been trying to hold out.

Yeah, I’m right there with you. I’m needing to use it for stills but then cut with it for interviews as a second or third angle so I’m trying to stay same/similar sensor. You can’t beat LUMIX for the features you get for the money and the IBIS is hard to ditch once you’ve been using it for run and gun stuff for a while. I don’t want to spend the money on an FX3 to pair with the A7Rv or Alpha 1 since the stills camera will already be a splurge. I may just pick up a cheap $1,200 S1R for now and wait it out. And then add a cheap S9 when they go on sale to $1200 later this year. ugh.

After the latest Leica SL3 release I’m patiently waiting for its discounted little brother from Panasonic. I have a new job coming up which will need better stills that can double as a third angle for video so I want to add to my LUMIX bodies but am getting tired of waiting. I guess the S9 and Gh7 have been announced so we’re back to waiting for the top of the line S cameras again. I sure hope LUMIX can match what Nikon and Fuji are doing for stills and video and give us what we’re all looking for. The SL3 isn't groundbreaking and the lack of the S1Rii announcements make me wonder if they’re shifting away from the normal release schedule and Leica/Lumix releases as we’ve known them. With Sony,Fuji and Nikon releasing 40mp and larger hybrid cameras, the gap between large megapixel cameras for stills is closing. I just saw a Sony Alpha 1 sell for $3,900 last week and the Fuji GFX series is getting cheaper and cheaper with each day. The X-H2 and X-H2s combo is now at $3,500 for the two of them combined. It’s so nice to have options but man… I just want to dial in a new S1Hii and S1Rii with all the new features and get to work…!!!

People do it all the time in the cinema world. Greg Fraser is always detuning stuff and trying to give character to the clean sensor by tweaking optics. It’s not about making the image softer, most of the time the centers are really sharp but falloff and oof areas are tweaked. Just depends on the project and story of course. See more here… https://www.arrirental.com/en/about/overview/news/tar-a-masterclass-in-lens-customization

Not really sure how you would know that or where your info comes from but I shoot mirrorless on 3 systems and don't own a single native lens. Lot's of benefits of mirrorless vs DSLR and ergonomics and size is still better even with larger lenses. Just because you have to ad a grip or a mount to help it's still light and the extra grip usually gives you extra battery life so it's a win win. As mentioned, it's opened up a whole new word of vintage glass that was otherwise unavailable. Konica Hexanons as a great example. Speed boosters, etc...

That’s all well and good but for the longest time even high end productions use cine expanders, wide angle adapters, and yes… focal reducers. Just an ignorant statement to make and doesn’t help the op’s cause or credit their other views.

No issue with the term, "Medium Format Look" but this...? This is just a dumb statement. Would love to know where you developed this ignorant and misguided opinion.