sam rides a mtb

I recall some discussion about this awhile back - think it was here on EOSHD forums. Anyways, looks super simple. Can't wait to try it. https://hackaday.com/2020/07/18/an-hdmi-monitor-from-your-phone/

Actually looks like it may swing and tilt (just not sure it swings into selfie mode) https://www.slashcam.de/images/news/PanasonicS1R_display-14634_PIC3.jpg

Am I correct in that once we get global shutters into mirrorless cameras, they'll be no need for the mechanical shutter? Do flashes and strobes sync properly with global electronic shutters? Perfect spot to place an electronic variable ND! With electronic shutters currently offering a broader range of shutter speeds than mechanical shutter (at the expense of a rolling readout) I could see this being the next big thing. Maybe even that full frame Panasonic does away with the mechanical shutter if they are able to implement a global shutter. Would probably help reduce flange distance.

I think you are close to hitting the nail on the head. I don't foresee Canon ever putting something like this together in a product. It's is somewhat kind of the ideal system revolving around a 4/3 chip - interchangeable pl-style mounts that can have speedboosters built in or just passive adapters. I could see this being a route Panasonic or Black Magic could go, but now are blocked from doing so because of this stupid patent. So many good ideas throughout history have probably been lost to big companies buying patents to minimize competition and never get a chance to come to fruition.

Not my footage, but one example:

Bumping this thread. I've run a few tests though don't have them with me as I'm traveling, but I could see a significant difference with some heavy grading. Straight out of camera, even on 10-bit monitor, I couldn't see any difference. When I'm back home and have some spare time, I'll try to post some of my findings and tests. In the meantime, anyone do any of these side by side tests?

Very happy about this Funny I saw on another forum (don't think it was here), someone who was claiming that no one uses timecode anymore and that this was pointless to feature this. I couldn't disagree more. TOD TC has been a lifesaver in countless situations, and when doing work for broadcast, the editors (more so the assistant editors who have to do the initial camera grouping) I work with always stress having TOD timecode that is synced among all the cameras. I can see if you're a OMB with one or two cams and only so much footage, that TC would be less of a concern. But for episodic multi-cam shows and documentaries, having TC that can be jam-synced is a huge timesaver and helps keep things ordered. Even when I'm just shooting a 2-cam interview for a freelance gig, I always try to have the two cams running the same TC, and have been applauded by the clients for doing so, even when they don't think to ask for it.

Thanks Luke! This looks great! Thinking if it's not the EVA S35 sensor that's the "big" thing, then it may very well be much improved SNR for cleaner, noise-free images with a greater range of ISO. Also DR seems to be pretty spectacular in all of the images you shared with us. Perhaps this is due to not a larger sensor, but maybe larger pixels due to an overall lower pixel count. Please keep the teasers coming - not asking you to reveal anything (don't want any trouble for you and your Panasonic NDA), just rather a few more frame grabs and BTS shots until official launch would sweet. Sure there are others here too who would like to see more. On another note, congratulations on the new family member And totally get it if you spend less time here and more time with family as that will always be more important than teasing us with frame grabs lol.

Where did you read this? This indeed would be a killer feature and hopefully it's standard TC protocols so it can be jam synced with other cameras. Used a JVC years ago that jammed fine with other identical Jvc cameras but not with other cameras and devices.

@Neumann Films Any additional frame grabs or BTS shots you can share with us while we wait for the official announcement?

In all honesty, S35 or not, whatever it is, it's going to be (to quote the one-eyed bandit here) "the bee's knees", the snake's hips, the kipper's knickers, the cat's whiskers, the monkey's eyebrows, the dog's bollocks, and so on

So someone here hit the nail on the head - so the answer is in this thread somewhere. I'm still leaning on EVA sensor. Yes it seems a bit ridiculous for Panasonic to release a new GH5 iteration so soon and possibly for a crazy low price (if indeed it is S35 sensor) but the EVA sensor would probably be more cost effective than a new sensor when you consider R&D. Maybe they also sold less EVAs than expected so coukd repurpose sensor maybe? - just a thought. The argument that they wouldn't do it because of their lenses is a weak argument when you consider they added anamorphic modes and don't currently make a single anamorphic lens. The EVA has an EF mount and yet Panasonic doesn't make a single EF mount lens. People have been asking for a JVC-inspired S35 M4/3 camera for a while now. EVA sensor even was designed woth a 4k/UHD M4/3 scan/crop. I would not be upset at all despite recently purchasing a GH5. Remember the initial hints we got: "something big," "middle path", "***** ****" (possibly asterisks standin for "super 35mm"). Middle path between GH5 and EVA could be this. Also, either Mitch Gross or Matt Frazer told me a while back when I asked about an EVA with M4/3 mount that I should just be patient (or something along those lines - forgive me for not quoting verbatim). To the Orange Kiwi here who apparently knows all - I await your notorious "No" lol!

This is what I guessed too a few pages back. Being that Luke just pointed out that this was shot at T1.9 after the mention of the voigts and shallow dof, I am starting to believe the larger sensor possibility. Crazy as it may be, still think it could be an EVA sensor with M4/3 mount. Maybe I am just dreaming...

While I don't have any concrete evidence to back this up, I'm putting my money on Panasonic putting the EVA sensor in this new GH5 which I'm calling the GHS35 The EVA conveniently has a 4/3rds crop mode which would compliment M4/3 lenses quite well with the correct mount. Could see it being similar to JVC LS300 with the variable scan mapping of the S35 sensor with M4/3 mount. Would explain how Luke is still getting full res anamorphic and would also explain the low-light capability with the dual native ISO. Makes more sense to me than organic sensor or Starvis sensor at this point since these EVA sensors are already being manufactured for Panasonic.

Thinking more and more that its going to be the EVA sensor that they put in this new GHS35 camera

I originally though the "***** ****" was "super 35mm" and that it wasn't a new variation of the GH5, but rather a PL- mount adapter with a focal reducer built in to make m4/3 sensor into s35 sensor (like a speedbooster for PL glass), though Luke saying the adapter is by Wooden Camera throws that idea out the window. I really don't think it's a whole new camera so much as an add-on enhancement for the GH5. Just my two cents.

Was just thinking about if they were to incorporate an ND, how could they do that.  Doesn't the $2k AC90 have one of these electronic NDs?

All I can say is that it better have a relocatable grip with hand strap - similar to c100/300 series - simply put, more ergonomic.  Think there was even a patent out a few years back by Panasonic that showed a camera with a grip that extended out, maybe rotated.   It is so un-ergonomic to hold any still camera to your face for so long.  There is a major bend in the wrist for this to occur. Less so with tilting viewfinders (like GX7).  Without holding anything, move your right hand near your face as though your are holding a SLR style camera.  Then rotate your hand as though you are holding a camcorder to your face with the hand through the hand strap.  Which feels better?  Now imagine the hand in the camcorder strap could be moved lower to not need to be so close to your face - even more ergonomic!

I love my GH3's and really only could use a couple bug fixes such as the 1 hour freerun timecode jump that happens almost daily for me.  The playback issue in camera of some files once you reach a lot of files (usually only on 128GB cards but sometimes on the smaller cards too), as well as the jump in numbering that happens randomly.  All these bugs happen on both of my cameras.  As far as image quality is concerned, its more than adequate for what I shoot which is for television mostly in the US.   Though to be honest, the major feature I am hoping for (otherwise will attempt to manufacture my own - see here: http://www.personal-view.com/talks/discussion/comment/139826#Comment_139826) is to have a grip that is more in a horizontal position and has a handstrap like the Canon C300 series and Sony FS series.  I shoot for 8-12 hours a day, 7 days a week and sometimes on ships (have shot for the last several seasons of Whale Wars with the GH1, GH2, and GH3) and have constant cramps in my hand even when using a shoulder rig, as you have to have access to the control dials quite frequently for run n gun shooting, and the traditional SLR form is not really that ergonomic at all - just move your right hand up to your face and see what position is naturally rests in.  Quite shocked by how few people seem to complain about this.  Anyone else here shoot for hours on end and deal with this?

With all that extra resolution you could apply some serious software stailization, like the new warp stabilizer in Adobe Premiere Pro CS6! Also could do some sweet pan and scan like what done with this video (which originated at much lower quality): [url="https://www.youtube.com/watch?v=JXRGPVLq8IA"]https://www.youtube....h?v=JXRGPVLq8IA[/url]

Andrew, I have been a long time follower and even made the jump on the GH1 way back when I saw your early footage at the night market when you were shopping with your gf.  You seem to be one of the few HDSLR bloggers that really looks past all the marketing hype and focuses on what actually makes a camera good - from usability to image quality.  Just watched your demo reel and you inspired me to put a new one together as it had been 5 years since my last one. Any feedback would be appreciated :) http://www.youtube.com/watch?v=1h3A1MrIBcU

perhaps some music that is a bit more dynamic - something that doesn't sound so much like a loop.  Also, try making the clips a bit shorter and use some very basic transitions to keep it flowing.  Shots look good, otherwise!

[quote author=Andrew Reid - EOSHD link=topic=53.msg53#msg53 date=1323215244] I am now exclusively using Adobe Premiere Pro CS5.5 instead of Final Cut Pro and I have not yet found a way to crop the video to 1920×520 anamorphic when exporting out, oddly the crop feature doesn’t seem to do anything. But I have found that I prefer to have the black bars than the silly looking slim playback window on Vimeo when it is uploaded to there. So the video is actually 1920×1080 in full with borders rather than anamorphic sized. [/quote] If I am not mistaken, files to be uploaded to Vimeo, YouTube or most video sites ask for square pixels.  Really simple solution here.. in Premiere, every new sequence has its own settings.  you can very well, take your existing project's sequence (s) and drag or copy it into another sequence of completely different parameters.  Create new sequence: File, New Sequence: click the next tab that second appears (in CS5 it is called 'General' - might be called somethings else, then select 'Desktop' which I think is also now called something else: at this point you can input your own custom resolution (1920x520 and everything).  Now you can drag/copy what you created in the 1920x1080 project/sequence into new one.  You can then choose to export a file - H.264 with any resolution you choose (with some options for anamorphic pixels, which you don't want to select - select square pixels) and input your custom res here again.  Done. If you want to maintain the full res... first edit in 1920x1080 - interpret your footage in Premiere as 1.5 or 2.0; then drag over to new sequence with custom resolution where you multiply 1920 x 1.5 or 2.0 depending on which adapter your using.  Might not be able to play back video too well from sequence.  Go to export like above with again square pixels and input custom res.  Hope this helps.