Andrew Reid

That's a terrible result from the Alexa 🙂

Some test results... SlashCam have the S1R II 8K at 22ms, but I think open gate brings that closer to 30ms? Sony a1 is at 15ms for 8K, no crop. The 4K/120p is also much better / cleaner on the a1: S1R II https://www.slashcam.de/artikel/Test/Panasonic-LUMIX-S1R-II-Sensor-Bildqualitaet---Debayering--Rolling-Shutter-und-Dynamik--Rolling-Shutter---Panaso.html#RollingShutterPanason This is important because 4K/120p is usually what sets apart your £3k new camera from a £1k used S1H. Granted there's a few new features that have come through since. But if you don't need the speed, the a1, S1R II, Z8 and so on seem a bit pointless to me? There's so many cheaper options if 60p or even 30p is your only need. a7 IV, S1H, Fuji X-H2, and so on.

What follows is not my opinion. Just a bunch of facts. Sony a1 is £2800 used now. Let's suppose Sony a1 is same price at point of acquisition as a new S1R II - ok you may have to get a used Sony with a few marks and 10k shots on it, but such is the nature of the used market these days you'll easily find an offer with 1-2 year warranty like a new cam. For 8K it is 422 10bit 500Mbit H265. The equivalent to H.264 at 1000Mbit. 300Mbit is a bit low for 8K and the much slower sensor in the S1R II means rolling shutter is problematic in the 8K and open gate modes. But that's an ok trade-off if the price is lower. But it is £2999 at WEX. So for sure the a1 is a direct competitor. E-mount is more adaptable. I can even autofocus my manual focus lenses on it. There's fewer native lenses for L, and fewer adapters. E-mount is all-round superior because it's been around longer and has a larger installed user-base. I like L-mount, but it just doesn't give you as wide a choice in glass. And we must take into account the size, design and build quality of the body, where subjective opinion matters a lot - but there's no denying the S5 II body which houses the more powerful panasonic tech is a mid-range £1300 consumer-grade construction and feels like one, whereas the a1 is firmly in the professional bracket, along with the a9 series. And AF on the Sony still way ahead. Open gate is definitely a plus for the Panasonic. As people who own multiple cameras though, my choice would be to bring out the trusty S1H for a grand when open gate or anamorphic is needed. When it comes to other more common scenarios like autofocus shooting, higher frame rates, 4K/120p, low rolling shutter and a wider choice of lenses, most people would be served better by the a1 than the s1r II or s1H. The a7rv sensor is fantastic. Same sensor in the Sigma Fp-L... which is why I kept hold of it, despite it being an odd duck. I don't think I will 🙂 It's a great camera but just doesn't light my fire enough. The Sony a1 is nearly 5 years old and has a better spec, a better lens mount, is smaller and better built. The GFX 100 is king for manual focus vintage glass... the large sensor is just glorious, and the design - although it's a bit of a chonk - is just such a pleasure to work with. I'd rather have the Sony a1 and GFX 100 at the core of my camera world, and everything else I add to that is either a bargain or a niche use. For example I love my X-Pro3 for a small street photography camera, and the Ricoh GR OG. Definitely considering adding an S1H to the bag again though, as it's entered bargain territory and is one of the very few modern mirrorless cameras still to have that oh-so-rare AA filter. The S1H's image is better than the S5 II and the differences to the S1 II or S1R II are probably pretty tiny. 6K is enough for me. Z8 is the best spec on paper for the price in today's world. You mean in a worse body 😉

I am considering going back to an OG S1H, just think the new cameras have lost that true flagship feeling, and the price isn't low enough to justify the trade-offs. Still no S1H Mark II but other than it being faster, and probably worse in low light with a more oversharpened image, I can't see what it will bring to the table and will probably be four or five and a half grand! The S1R Mark II / S1 Mark II, whilst better than an S5 or S9, are not a good alternative to a Sony a1 or Nikon Z8. And Fuji GFX 100 still has the best look of everything. It makes full frame look like a toy!

X-T50 is the new X-T30 whereas this is a side-step. I reckon the X-T50 is worth the extra to be honest. Or get the original X-T30 which used is around 600 euro.

The GFX 100 RF has a great sensor but it's a bit pointless to have a sensor size advantage only to shoot at F4 max. The sensor size advantage = better low light, a more shallow depth of field, more character from the lens - all of that F4 works against. And the sensor size of the 100 RF comes with a big premium. So you're paying quite a lot extra for no advantage. Much better to have a full frame + F2 combo unless you really need 100 megapixel - but then who wants such a large sensor only to crop down to Micro Four Thirds framing? My beloved GFX 100 is at its best when you can ignore all the slow Fuji lenses and put a Minolta MD 50mm F1.4 on there.

It's time https://www.eoshd.com/news/why-its-time-for-fujifilm-to-go-full-frame/ And a full frame X100 without the RX1 III or Leica Q price tags would be fabulous thank you.

Actually... The boom in raw codecs is being driven by clients That's my hunch. They want the best possible quality master files to do whatever they do with them. And lack the understanding that H.265 is more than fine, or that LOG should *shock horror* be graded!

I prefer H.265 as well, over the pseudo raw formats. Cinema DNG is still the best quality RAW in terms of the film look and unprocessed sensor readout.

So is NRAW really REDCODE or is REDCODE really NRAW, I am confused now.

Less adapters as well and no Sigma (full frame).

Well, Nikon have come a long way in 10 years since the D750 at least. R3D, a proper screen, 32bit float, IBIS all very welcome as you say. But Nikon should have made a much bigger splash with the first Cinema Z camera. It should have been a cutting edge flagship at a really aggressive price. Instead they have gone with what is practically a point & shoot camera. It fits the philosophy of the "DSLR video revolution" though doesn't it? Cheap (by today's norm), small, light, cinematic image quality, great codec and hybrid photo/video features. Micro SD and HDMI is idiotic though.

Btw I think it's a strange first Nikon RED launch product. They don't seem to understand marketing. The first camera with RED tech should be higher-end than this, a statement. Instead they've gone and done a YouTube camera. It'll be interesting to see whether the volume of sales to content cretins makes up for the devaluation of RED's brand. It's not really a cinema camera... maybe it's 2025's answer to the Blackmagic Pocket OG?

WOW they finally did it... A world beyond the 3.5" LCD exists!!! If it is cheap and does REDCODE 6K to CFexpress then it's game on.

Cripple hammer may have to retire.