Juank

Andrew, just a suggestion for an interesting sub topic for your S1H analysis and review, should you have time.  Paul at ExtraShot found (see 12:08 in this video) that shooting 6k 4:2:0 and downsampling to 4k in FCPX gave superior results to shooting in 4k 4:2:2 in the camera.  In other words, FCPX makes a better job of the downsampling (and notwithstanding the lower color subsampling of the 6k footage) than does the camera on the fly.  The implication of this is that, if a user has a computer with sufficient grunt power, they should shoot everything in 6k, even when they don't need to crop in post.  The DCI (4k) resulting from shooting in 4k and downsampling in post will be even higher quality than the 'native' (out of camera) DCI 4k. (Paul notes in the comments that he only tested this using FCPX - the quality of downsampling 6k->4k might not be the same with other NLEs...though, logically, it might be that some are even better in this respect...who knows...)
 

One of the main reasons a lot of cameras like this don’t make the Netflix list is Timecode. 
The C200 raw is one of the best Images under $20k, but does not have timecode I/O and therefore doesn’t make the list. Netflix officials have even stated that is why it isn’t on the list. Same with Pocket 4k/6k.
smart of Panasonic to include it so they can make this list. 

Hate to spoil the $6000 Canon fanclub party, but I took delivery of the Sigma Fp today and glad to say the full frame 4K CDNG is incredible. Looks nothing like 8bit RAW... More like having 14bit Magic Lantern with huge dynamic range. Whatever they have done with colour science on this camera it is very clever.
Remains to be calculated how large the file sizes are in 4K 8bit RAW mode internally. Massive I expect!
Going to try the 12bit next via USB C to my Samsung T5.
But the internal MOV ALL-I 4K is also very nice.
Bitrate is a very high 400Mbit in this mode.
It's a beast.

No need to buy a faulty Blackmagic Pocket any more.
And this pocket cinema camera actually ships on time.
Cinema DNG is real raw, the results are incredible.
Full frame... can't do without it.
Very adaptable lens mount, more so than EF on Pocket 6K.
Screen is visible in daylight...always a bonus
Autofocus can sort you out a quick shot in RAW but is not bullet proof... I am looking forward to putting manual focus Leica M lenses on my Fp, personally... More cinematic than autofocus material will ever be.
It has a very good E-stabilisation mode. Locks down an image. Crops-in quite a lot, but makes nice alternative to a Super 35mm mode
Colour profiles are cinematic as hell. Orange & Teal is not "overdone", it's very sexy indeed.
Ergonomics are almost Leica-like in simplicity and responsiveness.
Very good menus.
Very snappy and responsive to use.
It is the size of a Sony RX1
And about as heavy... weighs nothing!! The build quality however leaves absolutely nought to be desired, it is as solid as a rock and feels expensive. All the controls have a camera-feel to them, unlike the RX1
Is a bit smaller than a Leica Q but feels even better made.
Mounting holes on side of the body are nice pro touch.
And there is no consumer junk in the menus, and no mode dial. Does not feel like a toy, feels made for artists.
No mechanical shutter, so it's completely silent.
Uses same battery as our favourite GH2!! Keeps the size down. Amazingly, it shoots 4K RAW on the GH2's little battery... Think about that
The 40mm F2.8 has the rendering of something faster, looks more like an F2... Very well made, lovely metal casing and manual aperture ring, yet keeps the size down to RX1 / Leica Q proportions when attached. Not tried my EF lenses on the MC adapter yet. Will be interesting to see how the IS handles.
Oh, and it has a Sensor Temperature readout in the Info menus...
Mine's at 31 degrees Celsius ?

No unconscious bias. Objective facts, yes. If Panasonic had released a $6K version of the S1H with no EVF, no articulated screen, no anamorphic mode, with a flippy mirror in the way, we'd all be going "eh"
Not saying the 1D X III does not have benefits and is not a big improvement from the previous one....
But it's still limited by being a DSLR, huge file sizes in RAW, very high price, and fact there are much better options around for 10bit if you're ok with manual focus (as filmmaker you should be!)
Foveon version of the Fp I very much doubt will shoot decent video due to how much extra data there is on the Foveon chip.

To each their own, I recently bought a C200 not expecting to use RAW that much but with the very simple workflow, USB-C speed & storage space coming way down, I'm finding myself shooting RAW as much as possible. It's kind of hard to go back to 8-bit after 10-bit but even harder once you start messing with 12-bit RAW. 
Having access to RAW internally at a flick of a switch is a godsend imo and brings me back to MLRaw days (minus the post workflow & reliability issues!).
I have 2 Atomos recorders (including the V) and use them as monitors 95% of the time. Internal recording is the way to go for me.
HEIC is also very interesting for stills giving basically 10-bit 4:2:2 vs 8-bit 4:2:0 for JPGs. 

How innovative of Canon to include 24p in a firmware update! 

Well in my experience with GH5 its not Sony or Canon level of autofocus but! If u dont jump infront of lens like twat it should work perfect i hate seen people comparing Sony to Pana autofocus on youtube they dont talk about 8bit 100mb codec or lack anamorphic  features or waveform scopes or real Cinema 24p mode 
Sorry for rage comments people i truly got nothing against other brands.
This was shot with GH5 autofocus 10bit internal using waveform and one tiny lens 
 

Reading these may prove to be a good starting point:
 
 

The era of Raw is around the corner, now that Nikon is implementing it others should follow
I know this has been said before but id rather more DR than pixels  

I don't mind waiting another 6 months for the GH6, and I hope they add the following:
1. ToF to make up for the crappy DFD in video.
2. Internal electronic ND.
3. Usable ISO upto 12800.
4. That new 8k photo mode in 10-bit in place of the 6k photo mode on the GH5.
5. A compressed RAW codec for when you need it for well paying jobs ?
 

Jesus fucking christ, what amazing journalism from Engadget:
https://www.engadget.com/2019/09/24/xiaomi-mi-mix-alpha-price-launch-date/

This guy is brilliant. He has already brought Red to its knees. Sony and Apple should hire him for sending Red to the cleaners wrt their fake patents. 
I noticed he has a gofundme campaign, and I  would love to contribute. Anyone who believes in honesty and fighting off the evil behemoths and corporate super bullies,  should help him too. In whatever little way. 
This is truly the modern age David vs Goliath story. 

Nice upgrade but some strange omissions indeed. No touchscreen for that A9 AF also seems like a gross oversight (when the $6,500 C200 does it). 
Guess we’ll now have to wait & see what the FX6 will bring to the table..

You should steer away from those 2.4GHz solutions. The band is just too crowded and range too limited. Thanks for the warning, would have expected better from Rode.

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

So glad @androidlad posts on this forum.

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

As a person that has a degree in computer science and experience in the industry (now left) good software is developed to share as much code base as possible.
So your argument is that Canon tested 29.97 FPS to make sure it works flawlessly in their latest cameras but couldn’t put forth the pitiful amount of effort it would take to test and record 23.97 FPS? Especially when they’ve included 23.97 FPS in the past with the same models?
How did canon pull off 24fps in the 6d mark ii and the original M6? It has a lessor processor, the DIGIC 7, in the same form factors.
You are saying somehow canon can’t develop and test 24fps with their DIGIC 8 processor, which by the way is built on the same foundational knowledge as it’s successor the DIGIC 7, in the M6 ii ?
The same DIGIC 8 processor in the M50 that SOMEHOW included 4k24p recording.
You’re just trolling at this point.
Please show me or find someone that can confirm your license theory. It doesn’t add up. There has been no evidence for it.
Somehow every other camera manufacturer can manage to “afford” 24fps codec licensing terms. Canon can’t? They must really be fucked as a company then if they can’t afford the single frame rate every single person wants in their camera as a base.
Its Canon playing shenanigans with brain dead feature segmentation.

Very, very, very unlikely. Such logic operations are done inside digic. And EVEN if that was true, their $0.03 on savings will cost them millions on bad press and sales.

From my understanding, color science and video codec are part of the story of Canon’s failure. There were several more fatal mistakes being made by Canon itself in the past five years. Before Sony released the first 4K camera A7S, Canon occupied most of the video shooting marketing because most of the photographers, especially in wedding photography sector wanted to manage the equipment easier thus they purchase all Canon stuffs from bodies to wide range of EF lenses. This was the good old day of Full HD movie that was still adequate for the producers facing the average consumer market.
Canon reserved the color profile and 4K exclusively for the Cinema EOS and lured the producers to buy the expensive movie body which could utilize their EF lenses to “save” money from buying extra filmmaking lenses.  In certain sense, Canon slowed down its step to improve the video technology because they believed 4K were for the professional and wouldn’t be the mainstream in the coming five years. And the users’ loyalty to EF lenses will help it maintained the sales of camera body.
However, Sony thought differently and tried to be the bad boy to ruin the lenses-monopolization of Canon by using the trick – the EF to E-mount adapter. When Sony A7S entered the market all wedding photographers and filmmakers just went crazy with the most economic 4K solution at that period. The adapter helped Sony to buy time and boost sales during the days without enough good choices of E-mount lenses. Canon couldn’t do anything because the patent of EF mount was already expired which meant it was going to be exploited by other camera brands.
This smart move ruined the plan of Canon entirely but it still did not want to face the truth that 4K should be getting cheaper and more popular in the following years. Instead of releasing 4K in the EOS DSLR line, it launched the stupid XC10 as responding to the need of 4K in the prosumer market. The situation getting worse when more brands and various kind of equipment penetrated the market such as GoPro 4 Black, DJI Inspire 1, iPhone 6S, etc. I still remember my first 4K camera was LG G4 in 2015!
But even worse that actually, Canon’s technology of CMOS hasn’t been improved much after 5D mark II. The merely increased pixels and boring ergonomic design just losing all its charm . The only reason of buying Canon is just because the users are photojournalists who need weather and dust sealing in the tough environment. Sony (with EF lenses), GoPro, DJI and iPhone take its place in video taking position. Otherwise, there are not much reason to have DSLR with lame video spec. EOS m6 mark II may be the new hope. But what Canon should do that is releasing more power in color profiles and in body RAW recording. Otherwise, a little Sony RX100 mk VII is still able to blow it away.
Dinosaur should die anyway but usually slowly.

I think the C200 looked the best in the studio shot... the BM cameras made the girl look sickly and two-dimensional in comparison. I even preferred the C200 over the Red Helium (I hope I don’t get a cease and desist order).
With that being said, I still believe Canon is making a huge mistake taking 24p out of their “lower” tiered cameras... regardless of their reason for doing it. But at the end of the day, it doesn’t really matter, Canon does not offer an inexpensive camera that I am interested in, so if/when I am in the market for such a camera, I will look to another brand.  

Thank you Mercer! These were great times back then, reporting on cameras etc. ?
I personally use the M and the M50 for small short films like this (M50 below, with the nifty fifty). So despite some people saying that 24p is not needed, I actually need it, and I rather use such a small package camera rather than a larger or more expensive camera for these smaller film projects.
Canons have their problems, but with the VisionColor's Cinetech picture profile I get an excellent cinematic look, and more DR than Cinestyle. If only they could do proper 4k and have a 10bit codec. I tried ML a few times, but the aliasing and overheating keeps me from using it further.

@Eugenia I’ve been reading your blog since your Canon P&S days. I learned a bunch back then, so thanks.
I have a 5D3 (ML Raw), a BMMCC, and an old eos-m, I don’t really use anymore. I passed on the M50 to see if this generation of cameras would have 4K and DPAF... I was excited to hear that they did... but then when I learned there was no 24p... I was completely dumbfounded. 
I still love my 5D3 and feel no need to own a bunch of cameras, so I probably should thank Canon, because they just saved me some money.
I’m keeping a hopeful eye on the Sigma FP’s price and if it’s something I can manage, I may replace my BMMCC with it and slowly build a kit while I finish my current projects on my 5D3. 
If the price isn’t right, I can happily shoot another 2 years with ML Raw and save my money for the first major manufacturer to give me internal Raw at less than $2500. 

Further Canon madness with regards EOS RP, M6 II and 90D:
- Aperture Priority mode 4K shooting is disabled
- Video mode is either Full Auto / Full Manual. It does not follow the mode dial selection
- Cannot shoot 4K by hitting record button in a stills mode - and 1080p is recorded in P Auto no matter what stills mode you are in
- No ALL-I codec option
- No AF or IS with 120fps
- 120fps is cropped, using 84% of sensor
- Bitrate for 4K is just 120Mbit
There is a movie-cropping feature on the 90D, so it will be interesting to see if 4K in the cropped mode is a 1:1 crop with no binning. Either way it's lose-lose. Crop in one, poor resolution and moire in the other.
It isn't clear whether the EOS M6 II has the cropped-sensor mode in 4K or whether this is a 90D feature only.
https://www.usa.canon.com/internet/portal/us/home/learn/education/topics/article/2019/august/video-with-the-eos-90d/video-with-the-eos-90d/!ut/p/z1/jZFbT8JAEIV_DY9ltuz25tvS0otWsWCB7otpy1IaeyGl0sCvd1GiMWpx3mbynZlzMsBgBayKD3kWt3ldxYXoI6Y-3weu7nom8pHlGyiYTseWbZseoQSW7wD6oygC9h99D8D61y8gmkBUei_BMYPbq9fsT5bJ4jbrFdypVwCHXADd0yeugUb-1Hc0RDWToNkTlZ1Q-bFhMSaIqoZl4pF9znABeiKKVFlRJx_foFWCdeG-4Rve8Gb42ojxtm13-5sBGqCu64ZZXWcFH6Z1OUC_Sbb1voXVdxIi8QftK4djehYKKJ7ZPp075FGF5SHnHYRV3ZTCyfxse5fma4g0BWN5LSuSwnUuETXFUhwniiQbKVFkvsYbOQEXwa4Mw0opDC_3JJYc8Wn8IL0BI0U2tA!!/dz/d5/L2dBISEvZ0FBIS9nQSEh/?urile=wcm%3Apath%3A%2Fcanon_newweb_content%2Fdigital_learning%2Feducation%2Band%2Binspiration%2Farticles%2F2019%2Faugust%2Fvideo-with-the-eos-90d%2Fvideo-with-the-eos-90d