deezid

Sony is king when it comes to noise reduction (and sharpening). If that's a good thing or not is highly subjective.
 
I'd rather have a an organic looking image than the digital madness the a7s3, a73, a6600, a7s2 etc. offer.

Honestly it’s past time for Tilta or similar to just make a stand-alone AF module that controls their focus motors. Then any camera could have decent AF! 
 
AF this, AF that... it’s just a tool. Sure, you shouldn’t use it all the time, but there are times where it is the tool for the job. Heck, I’d trust Canon’s AF on my 16mm camera most of the time (if that was a thing,) because I’ve tried pulling focus off that tiny ground glass, and it’s just not reliable. As is, I have to get an extra pair of hands and a tape measure to avoid wasting film on blurry takes.  

"All I want is the perfect camera..."
Sadly there's no such thing. The Sony sounded great on paper but the footage looks super underwhelming because of the heavy processing especially.

I mean it's not a V-logger camera, more like a cinema workhorse which could be used as an A-camera image wise even.

After firmware 2.0 I see less reasons to do so. Would love some more less cropped high frame rate options.
Overall 2.0 is quite impressive for V-Log.

Magenta tint seems gone
Orange/yellow lights won't burst into noise anymore
Sharpening seems to be turned off
Noise reduction -1 fixes the motion related issues, also much nicer grain pattern which matches the framerate (temporal NR seems to be gone entirely)
 
Here's a small test I did for an upcoming music video
https://drive.google.com/file/d/1pUW5itKQn2Jjz1pqkqh4sPxB-IgnOWgE/view?usp=sharing

We can have both, no? Something something about eating cake....😎

Yes, but at this point, if it had competent AF it would be the affordable cinema level camera for the those you tubers as well. Go back and look at the comments on PM’s videos when he used the 1DX..people lusting over having one so they could be “like him”. Not saying its right, just saying perceived image is part of the equation in selling products.
It’s moments like these with flagship FF cameras from Panasonics direct competitors self-combusting on the interwebs, is exactly why they need someone out there trumpeting their reliable, workhorse, cameras. It’s marketing 101.

Let's face it. Brand agnosticism doesn't hurt. Too small cage, not proper heat dissipation... The question is why that? Is weather sealed the price to pay for? Or the high-end of theirs? Do we want to pay it?

Can we ask for a recall for the as7iii as well now? Or is the hysteria only reserved for canon because Gerald said so?

I mean it's not a V-logger camera, more like a cinema workhorse which could be used as an A-camera image wise even.

I mean it's not a V-logger camera, more like a cinema workhorse which could be used as an A-camera image wise even.

It would be simply unbeatable. The crazy thing is, that you could grab three used S1H cams last week, as everyone was cashing out to race to Sony and Canon's offerings. Kinda wish I dodn't book that all inclusive vacation to Puerto Rico next week, cause I would certainly love to grab a few more! 😀

Thanks! It looks very clean and the noise is rather fine. I downsized it to UHD 4k and it cleans up even better. I bet with a bit of color noise reduction it will be silky smooth. Assuming you want that look. Rather amazing for ISO 12800. 

Sony is king when it comes to noise reduction (and sharpening). If that's a good thing or not is highly subjective.
 
I'd rather have a an organic looking image than the digital madness the a7s3, a73, a6600, a7s2 etc. offer.

Potato Jet's comparison to the FX9 was very interesting. 

He found the FX9 at max iso (12,800) with exposure brought up in post to match 64,000 iso was a better image than the A7s3 64,000 ISO. It had more detail and he said it was cleaner. I am sure this is at least partly due to the noise reduction on the A7. Pretty disappointing that Sony won't allow NR to be disabled. Very over looked thing on Sony's cameras. 
 

Here's a very boring test shot of my kitchen at ISO 12800, Sigma 24-70 f/2.8 @ f/2.8 (ungraded). The light is coming in from another room and was quite dark to the eye. If you zoom into the image there is definitely noise, but it's totally usable even without noise reduction added.

12bit ADC places an upper limit on the DR, which is 12 stops. Current silicon based sensors work in linear, so 1bit=1 stop.
Again, E2's low noise mode engages the 14bit ADC which is a hardware on the sensor, the video files are encoded with 10bit ProRes, which I'd say holds between 12-13 stops DR.
ARRI uses dual 14bit ADC to merge into a single 16bit stream, this is mapped to 12bit log for its 14+ stops of DR.
It seems that you're confusing linear ADC bitdepth with encoding curve bitdepth which can be log or linear or anything in between (for example, BRAW is non-linear RAW)

What's the title of this? The great Oompa Loompa escape? Or How Sony discovered Cinelike D?

In comparison with few days ago posted newer promo clip for UMP12K by John Brawley - IMO this one looks ridicule at every level  picture wise. Judging solely regarding provided content, promotional Peter MC's short R5 film looks far better, actually as work of seriously capable tool.
I admit that is out of my grasp how and why Sony PR boаrd may approve such material as promotional for 4000+e video camera.  But I have no the least amount of doubt that. say, Brandon Lee will make some masterpieces with a7sIII.

Well, lots of sharpening halos on the Sony. Other videos show lots of artifacts in darker areas and low light, due to heavy temporal noise reduction - some shots look like straight paint brush or an oil painting.

I don't want that. Thanks Sony for making my decision to keep the S1H so much easier. 🙂

What's the title of this? The great Oompa Loompa escape? Or How Sony discovered Cinelike D?

I agree skin tones are crucial. I disagree skin tones are the new form for art of film... : -)

It is now available
https://www.panasonic.com/global/consumer/lumix/s/s1h/firmware_atomos.html
Most cameras do 4K ProRes RAW and have to pixel bin to achieve 12bit, as a full pixel readout at the higher colour depth would be too slow.
This is where the S1H is different... It is the only one to do a full pixel readout, in native 6K at 12bit. Amazing sensor technology.

The Panasonic S1H to Atomos Ninja V ProRes RAW firmware is downloadable here...
https://www.eoshd.com/raw-video/panasonic-s1h-to-atomos-ninja-v-6k-prores-raw-update-now-available-to-download/
Seriously consider giving the 6K RAW a go.
Most ProRes RAW is pixel binned via HDMI (like Nikon Z6, Sigma Fp, GFX 100, etc.)
But not this one.

Even crewed productions still have budget worries. Thus they'll choose the DoP's S1H over renting an ARRI. 

Or perhaps they're shooting in a bathroom, or in a car (or outside a car! Rigged up), or with lots of tricky moving gimbal shots. Plenty of reasons why you'd choose the S1H over a bigger camera, even if you had a larger budget.