Laser Blue

Man Andrew,
You have a hard job, I started on page one, here I am at the end just reading all of these comments like, Wow.. opinions can be a headache!
I shoot with gimbals and heavy cams and I shoot handheld with just IBIS and my A7S2, which I'm still on bc of smart color settings, better grain (esp output) than the A73 and FF lowlight. I could never get the handheld shots I have for brand work or 30 km days on foot shooting Docs without IBIS and small mirrorless FF cams. 
I used an S1 recently and I'm excited for the new gen of IBIS, 10bit FF cams. Looks like the S1H is it, (FF anamorphic options whoa) the A7s3 or whatever the Unicorn will be has a lot to live up to.
Thanks for a great site and perspective.

I don't understand how specs can be disappointing when there isn't a major camera company doing what the S1H can do in this price range?
It's fine if it's not for you, but to act like this isn't a major release that raises the bar is just crazy. 
Every other company will have to match or beat the Panasonic. 

Using 256 GB dual cards set to fill up one card and then the other would give you 500+ GBs of storage which would be ample for a whole day's worth, especially if you used the HEVC codecs, although I do agree, external USB-c recording would have been sweet 

Yup.
I think it’s a great product from Panasonic. I was just hoping for workflow features like internal ProRes or USB-C recording and 4K 60p without a crop. Also, don’t forget that Panasonic is one of the few camera companies that actually delivers meaningful firmware updates.
 

This all hinges on weather Apple can shoot down RED's internal raw patent. Even Sony had to surrender on the F5, F55 and FS7 as they legally HAD to make an "external" Sony box to do their compressed raw format. I mean, Sony has already explored this RED patent from a legal perspective.
BlackMagic's "raw" is actually deBayered and compressed. So is it "really" raw? Seemingly not enough for RED to legally trap BlackMagic.??
Unless Nikon, Sony and Panasonic want to go the "deBayered raw" road and compress the sensor data and record it in-camera that way???
I dunno,...I'm sure camera companies just want to output plain raw and not worry about ANY law suits from RED as I have to think that RED will "try" to go after BlackMagic in court.
I'm sure Atomos' pitch to Panny, Nikon and Sony is;  "Don't risk compressed raw internally, it's not worth the legal danger,...just let Atomos do that for you and you will be perfectly safe"
I'm certain that Atomos is rooting AGAINST their buddies at Apple and hope they FAIL at shooting down RED's pattent. Atomos is RELYING on RED's patent to hold up in court.
CT

But can the SD cards handle the 6K Prores RAW data rate at the frame rate of your choice?
Also, I wouldn't expect to see Prores RAW on any camera (Nikon) or third party recorder (Atomos) until after the two Apple petitions to the US Patent Office about REDs' RAW patent legitimacy are resolved.

My understanding is that patents deemed improperly filed or invalid result in the patent concept becoming public domain and permanently unpatentable in perpetuity.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments.
The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs.
In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters.
There was nothing like RED in terms of a capture device in 2008. NOTHING.
Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.)
Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED.
While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit.
Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever.
Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.)
My 2¢.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments.
The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs.
In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters.
There was nothing like RED in terms of a capture device in 2008. NOTHING.
Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.)
Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED.
While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit.
Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever.
Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.)
My 2¢.

My understanding is that patents deemed improperly filed or invalid result in the patent concept becoming public domain and permanently unpatentable in perpetuity.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments.
The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs.
In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters.
There was nothing like RED in terms of a capture device in 2008. NOTHING.
Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.)
Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED.
While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit.
Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever.
Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.)
My 2¢.

The current promotions are: free 3 year warranty with registration, $199 film makers firmware upgrade for free, $400 trade in discount plus value of trade. That puts my second S1 body at $1647 with my trade. Yessssss.

The current promotions are: free 3 year warranty with registration, $199 film makers firmware upgrade for free, $400 trade in discount plus value of trade. That puts my second S1 body at $1647 with my trade. Yessssss.

I have the S1 and plan to buy a second.
Here’s my reasoning:
I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...
Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:
2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.
Retail total $7123. My total $5044!
And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.
And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.
And Sigma native primes are coming.
And Kipon makes a Mamiya MF focal reducer.
Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...
I could go on.
Seriously. How can everyone not be buying S1s?

I have the S1 and plan to buy a second.
Here’s my reasoning:
I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...
Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:
2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.
Retail total $7123. My total $5044!
And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.
And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.
And Sigma native primes are coming.
And Kipon makes a Mamiya MF focal reducer.
Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...
I could go on.
Seriously. How can everyone not be buying S1s?

I have the S1 and plan to buy a second.
Here’s my reasoning:
I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...
Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:
2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.
Retail total $7123. My total $5044!
And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.
And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.
And Sigma native primes are coming.
And Kipon makes a Mamiya MF focal reducer.
Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...
I could go on.
Seriously. How can everyone not be buying S1s?

I have the S1 and plan to buy a second.
Here’s my reasoning:
I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...
Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:
2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.
Retail total $7123. My total $5044!
And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.
And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.
And Sigma native primes are coming.
And Kipon makes a Mamiya MF focal reducer.
Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...
I could go on.
Seriously. How can everyone not be buying S1s?

I have the S1 and plan to buy a second.
Here’s my reasoning:
I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...
Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:
2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.
Retail total $7123. My total $5044!
And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.
And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.
And Sigma native primes are coming.
And Kipon makes a Mamiya MF focal reducer.
Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...
I could go on.
Seriously. How can everyone not be buying S1s?

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass.
Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware...
Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.”
Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm.
Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm.
I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties.
Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me.
Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams.
My money is on Nikon Z. Literally.

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass.
Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware...
Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.”
Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm.
Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm.
I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties.
Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me.
Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams.
My money is on Nikon Z. Literally.

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass.
Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware...
Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.”
Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm.
Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm.
I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties.
Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me.
Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams.
My money is on Nikon Z. Literally.

Wind1414, I call FF sensor with RAW out professional too.

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass.
Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware...
Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.”
Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm.
Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm.
I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties.
Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me.
Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams.
My money is on Nikon Z. Literally.

Facts:
A. The RAW hack is real or not.
B. The RAW hack will be revealed April 1 or not.
C. Based on previous hacks, the work completed by others that benefits all NX1 owners will likely cost nothing. Just like NX-KS2 or MagicLantern. Both of which I am personally VERY grateful for.
Honestly -- please, please stop demanding proof, fabricating conspiracy theories, frankly being a cyber bully to a stranger, shut up and wait.
Until April 1, I know for certain that reading this forum (especially after PAGES of all this pointless drama) is no priority for me.
Leave the stranger offering a promising hack (real or not) alone. Observe outcome. Rejoice/lament said outcome. Move forward.
I personally try not to be a dick about free things to those offering free things before they finish free things that might otherwise no longer be free had I chosen instead to be a dick.

I'm warning you guys, out of full respect for this forum and it's members, the way you're approaching this is pushing the kid away. I can't blame him.
@lucabutera you've been downright nasty sir, not to mention falsifying information about Arikhan, and even threatening banishment.
When you run a succesful business such as you do, you must have good PR skills, and yours need some serious work my friend.
Again, if anyone has any financial gain out of Arikhan's potential findings it's you. You simply are not playing this in a very strategic manner, instead actually behaving quite indignant and entitled.
You had every opprtunity to approach this differently and with each new negative comment you post you squander it more and more. And for what net outcome? Kicking a kid around?
Per favore fermati. Ciao.