Zak Forsman

4K high framerates and auto-focus aside, the S1H objectively delivers a better image on the whole. A7SIII still suffers from substandard color fidelity and baked in noise reduction that wrecks detail. The way i look at it is that the S1H excels at the minimum specs that i consider essential, while the A7SIII excels at some specialty operations, but doesn't meet important specs I consider essential. I was hopeful that the A7SIII would surpass the S1H but there are base operations that have to be met before I can get excited about 4k 120p (which is overkill for most situations, anyway. I find b-roll captured at 48-72fps more useful in the edit). I usually have to speed up 120fps for pacing.

Just be prepared for a demo of AF on 16mm film, because that’s definitely gonna happen 🤘🏻

I'd agree. Color is defiantly better than Sony however after using Z-cam I find the Panny colors a bit subpar as well.

I know the S1/S1H sensor is capable of 4K 60p 422 as well as 4k 120p. Z-cam is doing it. The S1H body is plenty big with fans, so I wouldn't think cooling would be the issue. Of course they are still great cameras I just don't understand the limitations. 

4K high framerates and auto-focus aside, the S1H objectively delivers a better image on the whole. A7SIII still suffers from substandard color fidelity and baked in noise reduction that wrecks detail. The way i look at it is that the S1H excels at the minimum specs that i consider essential, while the A7SIII excels at some specialty operations, but doesn't meet important specs I consider essential. I was hopeful that the A7SIII would surpass the S1H but there are base operations that have to be met before I can get excited about 4k 120p (which is overkill for most situations, anyway. I find b-roll captured at 48-72fps more useful in the edit). I usually have to speed up 120fps for pacing.

4K high framerates and auto-focus aside, the S1H objectively delivers a better image on the whole. A7SIII still suffers from substandard color fidelity and baked in noise reduction that wrecks detail. The way i look at it is that the S1H excels at the minimum specs that i consider essential, while the A7SIII excels at some specialty operations, but doesn't meet important specs I consider essential. I was hopeful that the A7SIII would surpass the S1H but there are base operations that have to be met before I can get excited about 4k 120p (which is overkill for most situations, anyway. I find b-roll captured at 48-72fps more useful in the edit). I usually have to speed up 120fps for pacing.

That is not a minor quibble when it comes to our clients' confidence in us. We don't need any more hurdles (big or small) to doing our job and "selling" a client (who only knows enough to ask for a Red) on a different camera package gets old fast. If the EVA2 looked more like a baby Varicam, I would be very happy.

Dear Panasonic,
I would buy this L-mount, FF, 4K 120fps, EVA2 in a heartbeat.
Signed,
a former EVA1 owner that is getting by with two S1H bodies at the moment.

That is not a minor quibble when it comes to our clients' confidence in us. We don't need any more hurdles (big or small) to doing our job and "selling" a client (who only knows enough to ask for a Red) on a different camera package gets old fast. If the EVA2 looked more like a baby Varicam, I would be very happy.

That is not a minor quibble when it comes to our clients' confidence in us. We don't need any more hurdles (big or small) to doing our job and "selling" a client (who only knows enough to ask for a Red) on a different camera package gets old fast. If the EVA2 looked more like a baby Varicam, I would be very happy.

Dear Panasonic,
I would buy this L-mount, FF, 4K 120fps, EVA2 in a heartbeat.
Signed,
a former EVA1 owner that is getting by with two S1H bodies at the moment.

Dear Panasonic,
I would buy this L-mount, FF, 4K 120fps, EVA2 in a heartbeat.
Signed,
a former EVA1 owner that is getting by with two S1H bodies at the moment.

Basically an S1H with 120fps in 4k in a video-camera body (XLRs, internal NDs, etc). Has to be 20-24 megapixels to get 6k raw output or maybe even get it up to 8k raw output (36 megapixels?). 

For me it's not necessary but it comes down to the lenses I'm investing in. At this time I'm not willing to buy any glass that doesn't cover full frame. So by extension I lean towards full frame camera purchases in the future because that takes the most advantage of the lenses I have and will continue to buy.

Yeah, that's my thing too. 
Give me a person manually hunting for focus if need be.  It's actually a pleasant aesthetic, I think.  I'm not knocking anyone that uses AF.  My wife does, for example, (she's stills oriented) but I'm just not that into it for motion pictures...and when I see many cool hybrid cameras passionately dismissed because they lack high-end AF capabilities, I'm curious about that rationale.
An affordable FF camera like this S5 --made affordable because it's without all the bells and whistles sounds pretty great to me.

I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD.
Lilliput BM150-4K
https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html

I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD.
Lilliput BM150-4K
https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html

I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD.
Lilliput BM150-4K
https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html

I needed something that could get banged up traveling from shoot to shoot in situations where gear can get knocked around, so i didn't want to spend a lot. I bought this 2 years ago and have been very happy with it. Despite some battle scars, it's still kicking. $900 USD.
Lilliput BM150-4K
https://www.bhphotovideo.com/c/product/1248684-REG/lilliput_bm150_4k_15_6_carry_on_rackable_4k_broadcast.html

So, it arrives today, and this thing is mint. Not a scratch anywhere.
It's identical to my Sankor 16C, but in much better condition. 
Going to do a flare and sharpness test later. 

Jason Zhang, the owner of the company, posted a test 4 months ago.
 

yep, I've seen the F6 rolling shutter and it is on par with other full frame sensors in this pricing bracket. Meaning, not great. But you'd really have to purposefully induce it for it to be a problem. That being said, if you need to do a whip-pan, the E2 with a .64x speedbooster will get you nearly to full frame (1.2x crop) and be a good back-up for this, HFRs, etc.
Weight difference is only 100g. No idea about timecode.

Yep, it is him.
 

I don't think you're going to make any money going that route. if money isn't a goal, that's fine. but even if it's to be seen, the film will be buried so deep in their libraries that almost no one will even accidentally stumble upon it. a good avenue for indies that want eyeballs and decent money (that aren't picked up by a mini-major for distribution) is still cable VOD. it outperforms all other platforms. not that you shouldn't also get it onto itunes, netflix, prime, hulu, etc. but cable VOD will account for the majority of revenue. the last time i released a feature, it was 79% of revenue. itunes was about 15%. all other platforms combined made up the remainder.
my advice is to submit it to small distributors that have strong relationships with cable providers across north america. do a day and date theatrical release of at least 15 north american cities, and make sure the cable providers know you're doing it, so that your title is listed under "new release" and "now playing in theaters" on their VOD systems. Otherwise you run the risk of going in as a library title where no one will find you unless they already know you title and browse alphabetically for it. a day and date theatrical release will give you premiere placement on cable VOD system resulting in 5-10x more revenue.

if the battery element is important, the Nanlites are definitely better there. Quasar Science offers batteries but they look clunky and dangle from the power socket. I think The Nanlites last about two hours? In terms of equivalency, I'd estimate you'd need 6 or 7 Nanlite tubes to match the output of 4 Quasar Science tubes. But that's matching full power. I have run into situations where a single QS tube at 1% is too intense and I've run a strip of gaff tape down it to cut it down further.

it isn't much, but I set up a couple of the Quasar RGB tubes for this test of a Z-Cam E2, Speedbooster, modded Contax-Zeiss combo. Honestly, this was less of a test and more of a chance to mess around with new gear while chatting with my buddy.