jgharding

The main + points for me are:
60mp = great ability to crop and even in APSC mode, that’s still a more detailed 26mp file compared with a FF 24mp.
Tilt screen. Yay. Not a flippy flappy. Double yay.
Smaller & lighter. More yays.
PDAF = yay.
The negative points for me = €7k (but bodes well for something similar around 1/2 the price from Lumix?) and no option for anything like either of the following;
Canon’s 24-105mm f2.8
Tamron’s 70-180mm f2.8
A lens similar to either of these is THE fundamental weak spot for me with L Mount.
 

Yeah I get what you're saying on all counts.
I do what you describe there right now, and generally the S1H is the A-cam, mainly due to the S5 ii's lack of OLPF and moiré issues in interviews.
I'll take the S5 ii around for cutaways and so on as it's way lighter and you can do touchscreen focus pulls.
The hope is that an S1H ii would add the AF, with some improvements, and hopefully not add any bugs LOL

 
 

Yeah I get what you're saying on all counts.
I do what you describe there right now, and generally the S1H is the A-cam, mainly due to the S5 ii's lack of OLPF and moiré issues in interviews.
I'll take the S5 ii around for cutaways and so on as it's way lighter and you can do touchscreen focus pulls.
The hope is that an S1H ii would add the AF, with some improvements, and hopefully not add any bugs LOL

 
 

I suspect something is coming very soon as in by this Spring.
Exactly what, no idea, but I'd say the essence of the S1H, some of the tech (AF) from the S5ii and then more on top.
Probably the 'perfect' camera for my needs...but my needs are also based around certain lenses and unless that ever comes into being...
I'm still wrestling over how to get the roles of my S5ii (A cam) and S1H (B cam) reversed because I prefer using the S1H over the S5ii and the image quality out of the S1H...though that is not massive to my eyes, but is 'a thing'.
The issue is the S1H is much more suited to static duty and with the battery grip, even more so, but switching back and forth between units and lenses is a right PITA so I shall probably just stick with them in the roles as they are.
L Mount does my head in. Love the quality, love the capability...but it's spread out over various units, none of which tick all the boxes for me ands the absence of a fast, lightweight compact 70-200 is 'massive' to me.
The bottom line for me is I will be interested for curiosities sake to see where Lumix go, but unless they bring out the lenses I need, L Mount remains a compromised system for my specific needs.

Some thoughts on what the Leica Q3 specs mean for Panasonic's next big mirrorless cameras
https://www.eoshd.com/news/new-leica-q3-points-to-future-panasonic-s1h-mark-ii-specs-such-as-8k-and-prores/

I guess if I look at it from the perspective of BM then perhaps it makes slightly more sense.  BM has made cameras with S16 and MFT sensors and they used the MFT mount, and they made cameras with S35 sensors and used the EF mount.  Assuming they then wanted to make a FF camera, what mount would they choose?
EF mount
They have used it before, and their users already have lenses that use it, but the crop factor would change between the S35 and FF sensors, and the EF mount has pretty much been abandoned by Canon, so maybe BM want something that's still in active support RF mount
Canon have been quite restrictive with third-party use of the mount, so maybe Canon is blocking BM from licensing it, or maybe it's prohibitively expensive, or maybe the flange distance is too little for things like internal NDs PL mount
Seems like a logical choice with lots of existing lenses and support from other manufacturers, but maybe it's a step too far for their existing customer base, or maybe they want AF support (does PL support AF?) Nikon mounts
Not a lot of cine lenses for Nikon I wouldn't have thought, focus direction is the other way to EF lenses, which might be troublesome to their existing customers Fujifilm X-mount
No AF lenses available that cover FF and only 5 third-party lenses that do (on B&H) MFT mount
Wouldn't cover FF sensor Sony
A logical choice, but like Canon RF, Sony might not want to help BM compete with their cine-cameras so might be charging a lot for the license or might be refusing outright From this perspective I think L-mount makes more sense, and sort-of aligns with their previous use of MFT and EF mounts, which were both "semi-open" systems with lots of existing glass from original and third-parties.

Hi all,
After using S5 ii and S1H on a shoot together I noticed a few interesting things RE moiré.

The S5 ii definitely suffers from sensor-Moiré in certain situations, here you can see that as a distant rough-tweed cover on the gobo comes into focus with the pan down, it dances like crazy with brightly coloured red and green Moiré. I just edited around it TBH:
You could do some repair in post for this, but for the odd cutaway on the post budget the film has, it's not worth it TBH.
Interestingly below though, the S1H actually suffered with Moiré in some of the interviews, while the S5 ii didn't. I've not seen this before. The S1H has an OLPF and has never shown any Moiré til now. This shot is in 25p BRAW and has a mild yellow and blue Moiré on the shirt, it then cuts to the close shot on the S5 ii, where there's no Moiré at all. This doesn't look like sensor Moiré to me, and indeed that wouldn't make a lot of sense. I've punched in a lot so it survives YouTube compression, and you'll need to watch in 4K. I edited the topic etc as I had thought it was just in 4K S35 BRAW, but actually its in both 6K and 4K raw, open gate and S35.
I do wonder if this is something to do with how BRAW is being processed, the S1H generally has been Moiré resistant over a ton of shoots in the last few years, so perhaps the BRAW processing in Resolve has changed in some negative way I thought? Resolve wise I've tried all the scaling filters, every raw decode quality, every raw profile, and it's still there, so I think it may be a Video Assist 12G glitch.
To me, this looks like some kind of aliasing from scaling, so at some point there's scaling happening in software either in the Video Assist 12G or maybe even the S1H?

I admit it's mild and YouTube covers most of when it's full size, but back to back with Moiré-free footage it's distracting. If I can't find any other options or settings I'll flag it to Blackmagic Design and see what's up.

Not an answer to your specific query about BRAW playing a role but here is a side by side that someone has done with the S5ii and S1H comparing moiré.
Its there in both but far more pronounced in the S5ii with the suspicion that the OLPF of the S1H is the differentiator but I doubt that is the whole tale.
From that test, it would be expected to be more from the S5ii but its interesting that you are seeing more with the S1H in BRAW than internal. 
Could be additional processing in the camera is taming it when recording internally ?

Exactly! And sometimes you wouldn't even need to open the link. The answer is in the search result summary. If it's a video, even a short one, you have to click past so much irrelevance from someone who's in love with the smell of their own farts before finally finding the answer (if it's even correct in the first place).
Honestly, it's getting harder and harder. I was reading something a while back on Reddit where someone said they usually skip to the second page of search results as the first is just trash!

It's really short sighted. Fashion goes back and forth between YouTube and written word I think.
We may be at peak YouTube, but I am also quite sick of huge sponsor midrolls, constant YouTube-fashion verbal ticks like "I don't love X feature" and "this is gonna be your shutter, this is gonna be thee battery door, this is gonna be the sensor, gonna be gonna be", and of Google answering my questions with a link to a massive video full of "WHAT IS UP GUYS SMASH A LIKE BUTTON AND BANG THE BELL" instead of one sentence that answers my f-ing question.
There's seems to be a baby/bathwater problem these days as there alayws has been.
Remember when manual focus photography lenses were worth very little? Remember when people gave away vintage audio equipment cos all the new digital stuff was "better"? Dumping stuff because something new exists has a habit of leading to regret.
Imagine killing off the non-AI written word at this point in time :S

I'm actually surprised that they didn't go their own way too, though they might feel more financially secure to be on the payroll somewhere. The big difference between them and the rest of the YouTubers out there is that they're older and have families, so being on payroll somewhere might be more appealing. Probably provides more stability than having to rely on YouTube ad revenue that can really fluctuate. 

I have to say the tendency for youtubers to test IBIS in ultra slow motion (basically pointless) and autofocus by THROWING THEMSELVES BACK AND FORTH SHOUTING is really starting to grate on me
It's pretty saturated out there and getting hard to tell the difference between one channel and the next these days
actually just the shouting alone is doing my head in going through these videos.  🤣

So far I get sense it is working at the Sony level, and much better than GH6.
I've not gone deep into it, but AF features are many many pages in the menus.
Such a mistake for Panasonic not to have this but OM-System does.
Can't seem to find an ALL-I codec mode though anywhere.

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations.
I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly.
The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP
The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff.
I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body.
Can confirm the lovely Olympus colours are still present and correct!

I'm done right there!
A slightly smaller/lighter series 2 would be welcome, but otherwise the above.
But that will never be...even if they do continue the line because all new cameras have to be some great leap over what came before or just get labelled mkii versions.
I was all set to make my S5 my primary video tool for this year, but have just decided to reverse that decision and put the S1H back rightly where it belongs, - as my primary.
S1H A cam because it's the best video camera I have with the best rear screen and best IBIS, plus the OLPF...and it just takes one groom all day long with a shiny suit...
S5 reverts back to B cam because despite it being the smallest and lightest of my trio, it does lag by the tiniest margin behind the S1H in the IBIS department and arguably the S1H by virtue of it's size/weight makes it a better platform anyway. Plus I really hate having to use a rear screen not in line with the lens. 
S1R principally stills but will also be used this year as a C cam, purely during the ceremony. A + B are on tripods front left and front right, the S1H just rolling rolling rolling with fixed subject (The Ceremony) and the S5 rolling for the duration and focused mainly on The Ceremony, but will also be turned for some front row(s) capture. Meanwhile, the S1R will get flipped over to video mode for a few seconds here and there as I rove, particularly from the rear whilst shooting stills.
I was going to flip to OM Systems and their new OM-1, but too soon for me.
This year is now 100% nailed down as L Mount, - zero chance of change, even if I won the lottery and something 100% perfect for me was launched.
Next year however...
1: Hoping for a next gen S2-H/R and S52-HR but not holding my breath on either.
2: Keeping an eye on Sigma, but as their FP/L has 6 'faults' in my eyes, not holding my breath there either.
3: Fuji XH2 could be a contender, but no change for change sake here unless it is 'better' than what I have already by a quantifiable margin.
4: OM-1 still in the running.
5: Nikon/Canon/Sony not in the running for me.
Nothing else even remotely meeting my needs.

I should definitely get one of those!

Thanks for the explanation. Much appreciated.

yeah you're right I think, it's all very small differences now and most can be close to matched with another.
I do prefer the S1H generally but as I say I'll switch come the next Pana body if AF doesn't improve.
I use either Sgamut3.cine with Slog2, or HLG with Rec2020, I spent a few days playing with both and although the road to get there is different you can make them near identical.
HLG is preferable to me cos you can expose normally, Slog2 still requires over exposure per the meters in order to look right which i find really annoying
They do seem to have exactly the same DR once you post piepline them properly though, which says to me that DR is (logically) limited by the sensor really, not which flat gamme curve you slap on it.

Sorry, I probably should have been clearer with my  comment. My point was that as much as I like the output from the S1H, it seems that the FX3/a7siii are highly capable of creating amazing images, especially with that Cinetone profile, so if you really like the AF, I wouldn't necessarily say that the S1H has a highly superior image. 

It's all such a missed opportunity really.
The internet has morphed from "we put ads around what you watch, that keeps it free" to "literally everything is an advert".
It all ties up with the false narrative of infinite growth, the endless destruction of resources in order to replace goods with intentionally shortened lifespans, the rewarding of the most narcissistic and least intellectually and emotionally developed people with the greatest prizes...
I've had VR since very early on, it's cool but full of flaws, I hope more people do good things with it. But what's supposed to be the draw with a highly corporatised "metaverse"? I get to watch even more invasive adverts, have lowest-common denominator borderline-educationally subnormal "influencers" shouting and pulling WIDEMOUTH WIDEYES face directly injected into my eyes hahahah, all the while being somehow exploited for data in ever more dystopian ways? Why would I bother?
On Canonrumors chap's meltdown on Twitter, I find camera YouTube remarkably depressing because it's just endless clones of the same #content over and over saying the same things. Every person with pastel coloured backlight, every person with a softbox off to the side, every person saying the same things and doing the same tests, hoping to get their scraps from the table. Then you buy a camera and actually use it to make stuff and it is NOTHING like any of them said it would be cos they only scratch the surface and move on to pulling pogface beside the next piece of gear...
I was thinking maybe I should make a vid that is a "2 years in" review of the S1H cos it'd be a bit different, but I bet the algorithms would just hide it because it isn't selling the latest trending model. That's how disheartening it is, it just makes me think "why bother".

Had to let y'all know about this great deal that Adorama emailed me. Better jump on it before they change their mind
 
 

YouTube cutting sometimes makes me feel a little ill. It's usually constantly cutting within the same linear shot, so not removing content, just putting in a cut so you can constantly punch in and out, plus it's often accompanied by brickwall mastered pop tunes with every frequency at maximum all the time!

I'm guessing that from the protracted development cycle then it might well be going back to that as well as going full frame.
You'd imagine that they could have put the SD Quattro into an Fp body relatively quickly and I'm still surprised that they haven't as an interim version.
Switching to L mount would open up their own APS-C 16/30/56mm f1.4 lens range which would be an absolutely great match with the existing sensor.
Being in the Fp body would also mean it not being built like a brick shithouse.
I think they're committed to full frame though and I'm hoping that the delay is also being caused by them managing to squeeze video out of it. 
I'd take APS-C and video over Full Frame and not.

I'm going to pitch this to YouTube as a new option so I don't have to keep switching otherwise potentially interesting videos off.

I can definitely see it as a crutch for narrative film-making.
I'm exploring this in the videos I'm looking at and my own work, which for travel is mostly montages with music.  
The works I'm analysing seem to use the intensity of cuts as an added device to build and release tension along with the music and wider sound design.  To a certain extent it's like b-roll is part of sound design and as long as the visuals are remotely relevant then you can kind of cut them up in whatever way you want to, creating everything from a slow peaceful progression to frantic wall-of-sound-and-visuals type moments.  There was a particularly good example of this in one of the Parts Unknown episodes in a high-pressure region (IIRC it might have been Beirut) where they built up to fast cutting of b-roll of the signs of war there / a heavy metal rock band / and the whistling of a pressure pot steam valve in full release.
ThusGuyEdits did an interesting video on that....
Definitely editing for short-attention spans...!