j_one

The lens itself. The compact body was just a bonus.

With the success of the x100v, I wonder why there hasn't been a large sensor compact refresh from Panny. The LX100 ii was barely an update too, I just don't understand...its one of my favorite cameras.

It's crazy how they go for $4k used now. Or maybe it's not so crazy, I often forget how much time has passed (it's already 2024?) but it's a great value. I'd be tempted to switch too. By the way, eva1 secondhand prices are even more insane now. I struggle with the idea of having kit that would get me hired more easily, or at least be "recognizable" by name vs someone asking "what's a varicam?". Hell at least they'll know what an ursa mini is despite its reputation as a lower end camera/brand. I think that's what pushed me to lean towards the ursa vs the eva1 when I started. For corporate it seems FX line dominates, some Canon. Narrative, its any Alexa with some Venice here and there. Commercial, it's a toss up between any of the big players, including Komodo/Raptor/C300. So I came to the conclusion that if you don't have the trending models in your kit then your strategy to be hired as an owner op by camera model alone is almost a moot point, and you should just get a baseline camera package that YOU prefer and works for your lower-end jobs where renting isn't even in the conversation.

I've been trying to find a source for this literally anywhere. Is it mostly hearsay? Marketing touts brand new sensor.

Pocket Cinema Camera 6k, same Pocket 6k Pro housing, new internals

As an S5ii owner enjoying in-body cooling I not only agree with the sentiments but also applaud the thorough review of where we were vs what people deem acceptable now. I think all I'm saying in regards to crying out that 4k 120fps overheats quickly is that, at its price point, I'd be surprised if it didn't, past or present. If they throw in the kitchen sink to marginally compete on specs (or poorly attempt to not cannibalize other units), so be it. As with the R5, if people make the complaints apparent enough through user experience, I'm hoping future sales will force them to dial back on poor marketing practices, push and pull. I personally can't wrap my head around the concept of cameras priced like the zv-e1 that just may light on fire when you press record. But I also feel the same way about the flood of six second IG/tiktok reels with seizure-inducing transitions. If that's their audience, maybe I'm just out of touch, and it makes sense why they think they can get away with it. There's a demographic.

4k60p record times seem decent for this kind of body considering past Sony track record. And to complain about overheating when recording 4k120p for long periods of time...I really cannot think of any common shooting scenario where one would need to be doing that reliably. I also can understand the philosophy of urging manufacturers to sell cameras that just don't overheat at all. My older iPhone overheats and slows to a crawl in these record-breaking summer temps. I don't cut Apple slack for that so I guess its only fair to give my professional camera tools the same treatment. Still though. Yeah, don't make excuses for engineers cutting corners in heat-dissipation (for whatever reasons they do it for), but also, SIR, really, why are you recording 4k120 for that long? 60p sure...

Glad you got it sorted (for now, I'm going to start keeping tally score of your re-configurations lol) I think the only real reason I'd want the X is for All-I recording with the RAW upgrade thrown in.

Right, some of the "criticisms" could be labeled as nitpicking, sensor-sh*tting or genuine concerns depending on your use case for the camera (and the expectations you would have from a $2k mirrorless unit). Me personally, I really wasn't expecting the first attempt at PDAF to be this great and am happy to wait on the updates or new iterations of the tech. However issues with banding, channel clipping, chroma noise pattern and green noise signal, picture profile NR and smoothing etc are worthy of mention on the sole basis of them being a step back from previous models. These are new issues that weren't there before, much like S1H ghosting. But regardless, I'm enjoying the S5ii for everything it CAN do and have been working around the processing quirks, there's no other swiss army knife camera like it. It's pulling its weight with strobe photography. Videos grade wonderfully with VLOG in good light. I have some great LUTs to burn in looks, very handy for turnaround. The boot time is kinda annoying, though. Perhaps I'm most curious about how the S5IIx prores (and even HDMI raw image) will look in comparison to the current image in the S5ii with the available codecs. There's some noticeable differences in the processing of the prores image of the GH6 vs h.265 and I suspect the same will be true here!

I think this is the biggest thing that has started to have me considering returning the camera while I still have a week left to do so. Also, all the exterior footage I've shot and seen online looks leaning towards a magenta/brown tint too much. The latitude and banding issues in the S5 facebook group seems to fall on deaf ears when called out. I actually thought V-log colors were better on skin and clothes in the studio scene in that video, but the green shadows are really not great when compared to original S5.

Ever since the D750 I've had hopes that Nikon would pull through with a banger of a release in video specs. I think the Z9 RAW indicates they're going in the right direction, but I just haven't seen enough use or support online to draw a proper conclusion. When NRAW was released I was super hyped; maybe it's just my eyes or bias but I did "perceive" what looked like richer tonality in the few sources of footage online. That kind of color depth from 5D magic lantern, Sigma FP, or Redcode etc. I'd like to find some files of well-lit scenes and push in Resolve. So I'm looking forward to hearing what both the rumored Z8 and S1Hii releases bring. I'd trade up from my s5ii to either of them for ultimate high-res hybrids with PDAF and color I favor, and just adapt EF glass. I just can't bring myself to settle on the R5C man.

I'm going to keep practicing for a better workflow in the grade. It most likely is going to be a matter of tinkering with RAW profiles or even creating/loading up some custom luts that get me the commercial ready "pop" I'm used to in the curves of other mentioned camera profiles. I'm seeing more magenta in skintones, (and even more green in shadows than original S5) but as @MrSMW and @hyalinejim stated, these are fixes I can get the hang of over time. As I said before I'm honestly happy as is; I bought this video first in mind. Not expecting magic, but besides my old LX100 I never took the time to learn how their RAW files work because I only used their cameras for video. S5ii is the first Lumix camera I'm determined to use as a true hybrid in the field, I'm optimistic! (Watch, two weeks from now I'll come back raving about Panny color)

I'm not attached to the S5ii just yet. I view it as a proof of concept of what Panny has in store for the other models' refresh. I needed a mirrorless that can do all the things my Ursa can't: PDAF for gimbal and long focal length interview shots, stills for occasional studio shoots, smaller form factor when situation calls for it etc. IBIS is a plus but not a big factor. I'm mostly a happy camper because the camera is stellar. The trouble for me is that while I love V-log for video, I'm just not married to Panny's color for stills in comparison to Canikon, shoot me. Perhaps I need more practice? S5ii stills are alright I guess. But having owned 5D3, 5D4, D810 and coming to Panny I do miss those colors, and the S1R samples I've seen haven't won me over either. I almost went the R6ii route, but I favor V-log DR over Clog3. I'm wondering if its wise to just split these needs into two bodies vs fight to find the right hybrid body under $3k. One high MP DSLR used, one S1H (or future S2H with PDAF?) and adapt the lenses to it.. Or submit to Canon with an R7/R5/R5C and call it a day. I don't like overthinking this stuff. I claim the purchase to be a good business decision, so I shouldn't let my subjective feels about the stills make me ungrateful for what is a really great camera right? There's always going to be compromises.

Wanted to ask, how have you been finding the Gamut LUTS? I was interested in their V-Log Rec709 BaseLut, it seems to be the most pleasing transform. Have you tried that on the s5ii V-log by chance? I have an s5ii on the way, and I don't have time to fuss with the color science shifts Panny has implemented since the GH6 vs the likes of s1/s5/s1h etc...I am also matching to my Blackmagic cameras so having something consistent for all my cams from Gamut would be nice.

I bought the NX1 twice over and enjoyed each experience immensely. It was an amazing hybrid, a true hybrid, that quietly but strongly set the standard for what a hybrid body can be. I'm still amazed by how well stills and video from it hold up today, that sensor was special not even counting ergonomics. Both stills and video had a special "3D 'pop'" rendering to it, hard to describe. But let's not pretend that the video limitations haven't been surpassed by recent releases. Even in Gamma DR, the dynamic range was limited and color just couldn't hold up in any bit of post stretch. Strange pink skintones and milky blacks when you push the limits even with the bitrate hack installed. A shame considering the sensor readout was compared to RED imaging. I think it's still a great contender for a SOOC apsc hybrid that takes amazing stills, but nothing more when you consider the xh2(s) models have a more malleable file in post, in prores, with better PDAF+eye autofocus..

Hey! Ended up getting UMP G1 😁, and ran into a fork in the road with which of those plate systems to invest in. I understand VCT to be more ENG tailored and is quicker to get off and on the tripod, but Arri dovetail plates are what you see on proper film sets. I wanted to go dovetail route but couldn't figure out of you specifically needed expensive Oconnor or Sachtler tripod+heads that are designed for dovetail base plates? Or is the plate something you can mount to less expensive but sturdy tripods? My work will be split between corporate/commercial and local indie narrative projects.

I know you're right. If I'm building up from the lower end then client perception probably isn't as important unless I'm renting anyway. And it's best to get something that can be serviced. That's a proper business decision. I'll look into the Pocket G2 and just budget for the upgrade later on. I had no idea the FS7 dropped to the $2k range, wow. Time is moving along.

Sorry to bump this old old, but I have the opportunity to pick up the original 4.6k for around $1300, perhaps even less if I negotiate. Need you guys help! I was dead set on picking up a used pocket 6K or even used pcoket G2 for around the same price, but for my work I'd benefit from SDI connections and client perception of the "professional" form factor. Working on a budget. I don't mind forgoing the added benefits the Pro G1/G2 bring. I've tried the ursa mini G2 as well as the pocket 6k pro on set and came to the conclusion that I'd still rather use my own IRNDs of choice as they would perform better with IR pollution more consistently than the included NDs in those models. My question is, with everything stated in this thread so far, is it just not worth dealing with the quality control issues, even if I plan to upgrade past it within the next few months? Even for this price? I'm tired of renting for the time being; need something in-house for a massive push of original content to get my company up and going (mostly corporate/commercial with some narrative film work in the mix). Admittedly I feel as though I should save for something in the sub $2.5-$3k territory. A dream would be to get the EVA-1 used, but I'm content with building with the 6k or 4.6k models until I can afford the likes of a C70/Fx6 in-house. I come from loving budget cameras that produce meaty CDNG files (original bmpcc, 5D magic lantern etc) so if I was a hobbyist I'd buy just call it a day with the Sigma FP. Operation features like autofocus and the like aren't as desired, but I'm looking for a balance between bang-for-buck image and client-level operation...hope that makes sense? I'm considered other options, like the fs700/fs5 with recorder too. Not a fan of the C200 image. Thanks guys!

You know, I was wondering what happened to their 350w model. It improved on the ballast design among other things, but it's just plain out of stock on Adorama. Speaking of Adorama, the Godox VL300 has been $350 on their site for about a month now. I'm VERY interested in your findings. Can you tell more about the ZSYB 300w? What are the cons of using the transformer on a 110v outlet? Are you getting full output with it? I was going to order more VL300s but you just piqued my interest friend! And what's the other light you mentioned that's in the mail? After I picked up some Ambitful and Sutefoto lights that performed better than even the US-available Godox offerings I figure I'd take more risks on these Chinese lights. I'm hungry for output but don't want to pay an arm and a leg just yet!

1440p is my data-conscious sweet spot for most web delivery and general streaming

You feel that way about Long GOP or all codecs?

So what's everyone's take on the FP/FP-L after all the firmware updates, BRAW and Prores Raw unlocks, etc? I viewed these cameras as a neat party trick: apparently Venice-level color and detail rendering and raw data at the cost of sensor readout/DR and ergonomics. My guess was, this camera shines in a studio setting where you can meticulously dial in exposure from controlled lighting to make up for sensor DR. It can also work great for drone, gimbal, and crash cam purposes. Think Blackmagic Micro Studio 4k. It cuts in well with Venice and RED footage better than one might think, in a controlled setting. But, shoot in a high dynamic range scene and your footage may look no different than stuff coming from an LX100. Something is going to clip sooner than you'd like, requiring more grip work. I was hoping for this or the FP-L to be the next true OG Pocket replacement, but instead I ended up categorizing it with how I view 5D Mark III magic lantern: The perfect camera for me, untouchable color and motion rendering at this price point, at the cost of sensor sensitivity that is more headache than it's worth for anything related to professional work. Do the Vlog or Arri Log C color-managed workflows that came from the firmware updates improve latitude or highlight- rolloff? Also, and finally, which crop modes of both cameras are full sensor readouts? I think I'm settling on either a used EVA-1 or a Pocket 6k for my next investment (both cameras with generous amounts of sensor DR for any scene), but I thought I'd stop here to see if I'm dismissing sigma too quickly. I really do love their image rendering and product ethos.

If you're a DP/Camera op bringing in enough monthly to more than justify the cost of a modern high-end production camera then cool. But it seems the general consensus is that the diminishing returns of camera bodies has most smaller production companies and freelancers own their lower-value base kit (your Komodos, R5c, lumix cams, sony alpha cams etc) and rent the higher end models of the same system for the demanding projects that warrant them. I invested in Topaz too, and am a believer in the concept of older cameras being good enough. But, how often are you going to add AI upscaling as a viable process to your workflow/pipeline? It helps in a pinch when you want your C-cam Blackmagic Micro to match your big boy units for a couple shots, but upscaling doesn't sound fun to do all the time. Unless you are only upresing the final render, it doesn't sound efficient adding possible hours of overnight upscaling your clips in your home render farm.

It's interesting you guys bring up the EVA1. SDI input at that price range with a mostly foolproof image...I've seen side-by-side comparisons with the C70 (pre RAW update) and they match VERY close. Image isn't as detailed as S1H or BMPCC6k, but I can live with that. I can work around the crappy LCD and menus too. I'd get the FS700R in this range but the size/recorder setup and the Sony color just doesn't match up. How would you guys compare EVA1 to BMPCC6K for image and usability? That was my next investment for professional work before investing in Komodo/C70/FX9. C200 is worth a mention in that comparison, I suppose.

I've been waiting on Nikon to stop being the sleeping giant I've believed it to be in the video department since the D750 release, and from the IQ I'm seeing from N-RAW we might just have a contender for best video image out of a mirrorless hybrid body. I hope this isn't hype, so I'm waiting for more videos to surface. Color fidelity is outstanding. Image is detailed (cinema body league rendering) without looking mirrorless "sharp". DR isn't lacking. Highlights look serviceable..