Juank

Here is a quick HDMI lag solution for S5mk2 from Gerald:
S5 II Update: Regarding the HDMI lag, there is an option in the menu to turn off "Sound Output (HDMI)". Doing so will prevent audio from going to the external device, but will significantly improve the delay issue. Night and day difference. Not ideal, but might help some users.
 

Exactly!! These early first "reviews" all say that AF performance is very very close, with Sony only marginally ahead. (and with Sony being by far a bigger sponsor overall, you have to wonder how much unconscious bias might be going on....)
And we all know it often takes a lot of time to get the most out of an AF system, to know all its quirks and settings. Thousands of people have been spending hundreds of thousands of hours using and figuring out Sony AF over the last few years.
While the S5mk2 isn't even shipping yet.
Wouldn't shock me if after a year of people using the S5mk2, learning and understanding it, that perhaps Panasonic AF comes out on top as #1 now.
But anyway... why even care, we're arguing over the last 0.1% of AF performance? We're splitting hairs.
I think it is time to agree there are now more important things to consider about a camera than the AF!
Yup, Canon made a move for their short term benefit that will long term harm them. 
  
Bingo! When Panasonic's AF is beating what was just a few short years ago the "amazingly best AF" from Canon, then we know these AF debates can be over. 
Who cares who exactly has the number one spot in this exact moment in time, be it Sony/Canon/Nikon/Panasonic/whoever? It's like caring if the Nikon D4 or Canon 1D X has the better AF for photography?? That kind of debate between photographers ceased to be relevant to 99% of us! And now it looks like we're reaching that point in autofocus for videographers as well? 

I must say... I do really love this camera. Disclaimer being Panasonic is loaning me the camera and lenses and paid for an entire Tokyo trip. 
I'm trying to be as objective as possible, but the AF performance has been surprisingly good. I love the IBIS and the color science is great. It doesn't feel as premium as my OM-1 or even an R5... but this isn't in that price bracket. The fact that this camera is this good, all while being under $2k is actually a big deal. 
Makes me excited for an S2H... or other flagships. I still love micro 4/3 and think the 10-25 panny/leica is one of the best lenses ever. I can't wait for a GH version of this camera with phase detect!

Yes, he's back! 😃

been aaaagggeeesssss since the last upload
 
oh wait, he had one from just two months ago that I missed (which was removed, then added):
 

New video from jinny tech
 
did cineform patent its algorithm?
 
 

With 0.5s hdmi lag i don't need that full hdmi. If you put a consumet wireless on top like a Hollyland, it will even add up more.
Top of the line Panny. S2H with open gate downsampled 4k60 with rolling shutter below 15ms, perfect HD up to 120p. SDI, internal NDs. More freedom to crop for S16, 16mm, 2/3 inch, 1to1 with full height of the sensor, all that up to its maximal framerates. 3200 Euro without internal NDs but with Sdi. S2HX with NDs for 4000 Euro. Dreamcam.
Put that in a Eva body for 5500 Euro.
Dynamic range is already top!
Alternatively a S2H with downsampled 4k60 in FF with rolling shutter below 15ms, perfect HD up to 120, more love and flexibility for crop modes, the new AF system, low Hdmi lag. For 2900 Euro.
@IronFilm S2H or S1H2 in 2025? That's darn late. Forget my wishlist!😂

Just better rolling shutter and 4K60fps Full Frame (I don't think we will see 120fps with a 20MP+ sensor). I was not so impressed by Gyro stabilization on the A7SIII, the new Panny stabilization looks way better, no need to use very high shutter speed, no crop, no post processing, no resolution lost.

#1 wish: give us zero delay SDI output!! (they can go with DIN instead of BNC if they need to save space, no big deal, one of my old Atomos monitors already uses DIN instead of BNC)
  
Oh snap! We posted this at exactly the same time. 

Not that they are taking note, but to me the biggest improvement needed that I can't believe is still an issue is the HDMI delay. As long as the latency is this high it will never be able to be used in a professional setting. Both pulling focus and just monitoring in general is so much worse because of it. 

So lets see..
1. Big bright focking screen 4.5-5 inches. Yes, we want that, we need that. If you are making a cinema camera in your S-line it should have that. With a reworked menu and proper monitoring tools.
2. Ability to add gyro stabilization in post. Panny already have e-stab that works on top of their awesome Active IS. So why not give us an OFX plug-in that works in every editing sofware and brings stabilisation to the next level.. again!
3. Some proper video specs. FF6k60p should be a minimum high frame rate option I would think. 8k? Maybe but not really that important. 4k120p should be there as well. 
4. RAW is imminent I guess just wish they would add BRAW. Not really holding my fingers for that but one can dream right?
I dont even know what else would I need. Some top tier DR probably cutting into Alexa territory. 

I did finally edit a first version of the SA video.

Canon R5c, DJI RS3 Pro, RF 70-200 2.8, RF 100-500, RF 400 2.8, EF 24-70 2.8. All shoot 8K RAW 50fps other than the Cheetahs running that are at 4k 100fps.
 
 

Here you have a fair comparison and where one and the other one can sing, respectively:
 

With pixel count being 24MP it does not seem to me it might be the same sensor as used in the Sony A7iii, Lumix S5/1/1H in its different alterations, this time with PDAF like the A7iii. What the all have in common is rolling shutter of around 21ms in FF and 4K 60p for S35 crop only. I like the form factor though and swivel screen and full HDMI. Maybe I will trade my S1 in for it and finally give the great sensor some good running for its money finally. I only used the S1 on three small paid gigs over the last two years, for a short and as C cam for another short. I have no personal connection with this camera. With my Gx85 it´s the opposite. It is dear to my heart. Maybe the S5ii will be a good substitute for my S1.
Just that 22ms rolling shutter is a bit unpleasant compared to filming with the GH5 with its 15ms. 15ms is good enough for me, 22ms sometimes a bit challenging. So with a better rolling shutter the S5ii would be a no brainer for me, if image quality is the same as S1 in theoriy and practical use and abuse as well.

It basically seems like Sony has been holding out on PDAF for Panasonic cameras for years and they are finally letting them license PDAF on a sensor that is older and that Sony will probably never use again - so why not milk it for some more money since Panasonic's only big gripe against it is the bad AF?
To be fair, that sensor is gorgeous on Panasonic cameras (not so much Sony's), and the S1H still has the best 24fps IQ of any mirrorless camera out there. 
IF Panasonic can dramatically improve the HDMI latency (full-sized, yay!), add internal ProRes, and the AF is as reliable as some of the competition, The S5 II will be very tempting - especially around $2000-2200... It's basically an S1H but much smaller, cheaper, better codec (ProRes), and much better AF (ostensibly). And when you look at it that way, sounds pretty sweet to me.
--
I am curious what they are going to do with the S2H (or S1H II) though, as that camera will have to feature 120fps 4k, no crop, probably 8k, internal ProRes, and so many other video goodies. It almost seems like they should just make a BS2H and soup-it up to the max and go all out on video and then the S5 II can be their hybrid. 
 
 

Its a simple question of comptetion. FF 4k60 should be a defacto standadt of a video-oriented camera this days. OK 20% crop is passible but not 50%. Thats it. But I guess Pana is reusing an old Sony IMX410 sensor over and over again and that is sad in itself. If a PDAF is their main feature to differentiate from S5 its not all that great. Its important for the future of the system but just for the S5mk2 itself.. not so much. We need more after 2.5 years. 

I mean, it's a full frame camera. It'd be nice to be able to do 4K 60p without a crop. I like to have the choice between full frame and APS-C. It's one of the benefits of full frame that has won me over, as I can extend the reach of my lenses. 

Nothing.
Except if you are a hybrid shooter like me with a prime and flipping between stills and video all day long!
That 28mm…well the framing was great for those stills, but then I flipped to video and it’s more like 42mm and I can’t back up to match as I was already backed up to the wall!
”So just shoot FF or APSC!”
Well I could but I like what I get from my Lumix cameras so I work around it by having cameras and lenses dedicated to certain things at certain times.
It is a workaround but one I can live with if I have to and for most of the video side, I actually use a 28-70mm f2.8 to which I have just added a 16-28 giving me options more like 24-42mm and 42-105mm and I tend to use the wider angle as my indoor lens and switch to the longer zoom as my outdoor.
I then only use the extreme ends (as if they were twin primes) so indoor I shoot 24 and 42 and outdoor 42 and 105 which as with any focal lengths you become used to, gives you a ‘look’ that you just know how to work with.
I have the above set up with the S5 dedicated to indoor (and gimbal outdoor) and the S1H outdoor.
This is possibly where I might just trade both cams for one single S5ii and keep my S1R’s…
 

400 ISO. Yes, 4k 120fps has audio recording no matter what the bitrate.

400Mbps All-I codec would be nice. And option to completely turn off sharpening.

I just got back into film photography. Last month I did an Evil Dead inspired horror photo shoot. This is the first time I've done a conceptual photo shoot with a model. I resurrected my old 35mm Canon Rebel and bought a couple of lenses. This is shot with the Canon 28mm 1.8 (all wide open) on 35mm with Kodak Portra 800. I have some more horror themed photo shoots set up, and some pinup style shoots as well. I also recently got a Yashica Rookie TLR camera and some 120 film.

Hi Folks,
I see a recurring question here on the opening of the module. In short, it isn't hard. You basically have to pry it apart along the seam. Some will use a guitar pick, but I happened to have a 1" square of metal (you might have it too... it came with a magnetic phone mount, the metal that sticks to the phone) that was thin and able to get in there to pry and pop it open.
I see some people have asked about a larger capacity battery, and while that is certainly possible, I wasn't able to find one. I just replaced it with another 800mah 14500 3.7v battery I found at the local electronics store. MAKE SURE IT HAS SOLDERABLE ENDS ON IT!!
Once you pop the top, you've got to pull the circuit board out and disconnect the two connectors. The battery is held in place with some double sided tape on the underside that you can't see, but you'll need a small screwdriver or something to pry it out.
Next step is to take the plastic wrapper off to expose the connections. (see my first picture)
Then on the top side of the battery, peel the black cover back (it's under the little circuit board) to expose the top battery connector. Cut that silver strip. (see picture 3)
You do the same thing on the bottom of the battery. Basically at this point you've got to pay attention to how long the solderable lead is that is on your replacement battery. Mine was about an inch long, so I didn't end up cutting the connector at the very bottom. You can see how I trimmed it in picture 5. Once those two connectors are cut, you move the unit you just cut off onto your new battery. In picture 6 I've soldered that connector that goes down the side of the battery. Do the same thing on the top.
Once you've soldered it up, wrap the battery back up with some electrical tape and you're good to go!
 
 
 
 

https://canon.jp/business/solution/indtech/cmos/lineup
LI7080SA Super 35mm 4K: 14Bit 120fps, DGO support and 16+ stops of dynamic range. Double the readout speed compared to C300M3's 6.4μm 4K/60fps DGO and stable power consumption. A professional high-performance Super 35mm 4K 120fps high dynamic range sensor that can take on full frame.
LI5030SA Global shutter FF 5.7K: 170Ke- large FWC (equivalent to ISO54), 1.8e-rms at 18dB gain (equivalent to ISO160), 15EV dynamic range, stable power consumption, with RGB/monochrome/RGB-IR/CFA-free versions. One of the top performing global shutter sensor, no image quality compromise compared to regular sensors, however readout speed is on the slower side -  5.7K 1.9:1 12bit 64fps.

I recently completed a music / band performance video project where I was asked to shoot 3 videos in 2hrs without even seeing the venue. To make it even better, the audio was not pre-recorded so I had to record it live during the band performances. The venue was actually a junkyard with a rehearsal stage in one of the buildings, so definitely challenging all around. Below are the first two videos, I haven't released the 3rd video yet.
The stationary A camera was the Canon C70 shooting 12bit Cinema Raw LT at 30FPS with the Canon EF 24mm F2.8 lens because there was no room to get the camera further back from the stage (very small venue). The B-cam was the Canon R7 with the Canon EF 24-70 F2.8 lens and lens adapter; all shots with the R7 were handheld with IBIS enabled and digital IS disabled. The cover photos were taken with the Canon R7. Both cameras were set at ISO800, CLOG3 Cinema Gamut.
The audio was captured by the C70 using an Azden SGM-250MX shotgun mic. Everything was edited in post with DR and managed color. A light creative LUT was placed over the top at the end. The lighting was all over the place, I did not bring lighting because I thought we were shooting outdoors so I just had to make do with what the venue provided.
Fun fact; the venue was about 90F during the recording so blazing hot and we had to turn the fans off to capture the audio; definitely would not have trusted a camera that overheats for this shoot.
 
 
 
 

25 fps, only lens IS, lens Canon RF 400 2.8 IS (rented). I don't use EIS as I'm RAW only other than when I need 120fps that I need to use 10bit log. 

On long lenses 70-200, 100-500 and 400 in my experience IS works better than IS+IBIS, and as you cannot turn off IBIS and keep IS on the R5 I always use the R5c for long lens work especially handled. 

16 stops on an Alexa would be like 24 stops on a RED 😄