zerocool22

Looks like a nice camera, looking forward to some side by sides with the c50, fx3 and s1ii. AF with adapters, AF with native glass, ibis, colour, dr, battery life.

IBIS for me was a total game changer, and it's crazy that no one has been able to come close to Lumix in this department.

I think such a compact form factor would benefit greatly from IBIS to eliminate micro jitters on handheld shots, but gimbal shooters probably don’t want it to mitigate wobble effect on wide lenses. Not a deal breaker for me personally but I’d be disappointed if they omit it. Sony shill tubers will have a field day pointing that out as a miss if that’s the case. 

There's a lot of "well...." and "it depends" in there.
- If you have a manual focus lens with FF gears on it, the R4D is infinitely better, in that it can do it at all (after you buy the focus gear for additional money and spend time calibrating the lens)
- If the subject is within between 1.5m and 4m of the camera, the R4D might be better (it's really good here, but I haven't tested the S1R II which might also be very good there)
- If there is haze in the air, the S1R II will probably be infinitely better.  Haze reflects light which makes lidar throw up its hands and give up
- If focusing closer than 1m or so, R4D can get weird because of parallax (the lidar unit sits above the lens - this becomes more relevant the closer you get)
- If focusing more than 4-5m away with r4d, the lidar keeps doing alright until about 10m or so and then it just doesn't work at all and calls it infinity.  This is fine with wider lenses, but awful with long lenses.  That's probably also why the calibration doesn't understand that there are lenses longer than 100mm or so.

Totally get the frustration, mixed feelings here too. But honestly, I’ve been directing AI content for agency work and even for music videos where the budget wouldn’t cover full CGI. It’s not about losing work, it’s about adapting. Most clients are abroad and on tight budgets, so outsourcing is just reality. Learning to guide AI creatively is how you stay ahead, not get replaced!

I think this is the first time the S5ii can do raw and it was X model only previously?
Considering the prices of used S5ii’s now, that makes it some piece of kit!
I have a minty S5ii for sale if anyone (EU only) wants one, for €1000 inc postage, or it’s off to MPB within 48 hours…

After 4+ yrs of shooting on my trusty Nikon Z6 I decided it was finally time for an upgrade. I wanted internal 10 bit and better IBIS. I felt I had pushed my Z6 really hard and taken my due diligence to use it on tons of shoots and really make the most out of it, so upgrading felt fine to me haha. Originally got a Canon R7 and Sigma 18-35; I filmed a lot on a Canon R5 and loved it.  I equally love the r7, decent lowlight for a crop sensor, great ergonomics and image, really fun camera to shoot with. 
 
But then I found the deal of a lifetime…a Panasonic S9 AND the 20-60mm for only $700?!?!?  How?!?!?  I’m fortunate to have a good reputable liquidation auction in my area and they happened to have the Panasonic S9 open box with this lens up for bid. I bid on it and won and am picking up today; if I love this camera, I return or sell the Canon R7. If I prefer the R7, I can literally sell the Panasonic for a profit. But seems like such an insane camera for the price even what it normally goes for on eBay. But $700 for this pair is insanity; I could sell the kit lens if I wanted to and be paying under $600 for an S9 body haha…now we are almost in what used to be Panasonic G7 pricing territory (my first camera).  So pumped for this camera; I can overlook its flaws for how cheap it is for me. I never been use an EVF and I don’t take photos enough to really miss the electronic shutter or lack of a hotshoe. For me the excellent IBIS, full frame, lowlight, 6k open gate etc etc make this camera appealing. I ordered the smallrig cage with a grip; this will be my a-cam and I might keep my OG Nikon Z6 as a b-cam, since with the ninja v its full frame 10 bit image will match well with really any camera I get. But yeah, can’t get over how good of a deal this thing is. Picking it up from the auction today, will make a more detailed comparison post against my R7 and document what I decide to keep. 

Try this instagram page. I hope the makers and their tools make a full movie in this style. 
 
https://www.instagram.com/reel/DMNxgCdIWxR/?utm_source=ig_web_copy_link

those photogs are veterans with 30+ years experience, all have best nikon, canon, pentax, etc lenses. been there. 
 
ml raw on 5d3 can do 10 bit uhd raw. ml raw at 10 bit and above especially at 14 bit, is vert different from typical mirrorless raw or 10 bit preres h.265. been there. 14 bit raw itself is unparalleled even now. 
 

Always great to hear the ML community is still pushing along. I cut my teeth on the 5D MKII ML and still have two 5D MKIIIs with ML that I refuse to sell! All that said, the R50V is $650 brand new and once those hit the used market they'll be $500 and under vs the 5D MKIII which is still going for roughly the same price. So nostalgia aside, the R50V's price, specs - not to mention form factor and access to RF and EF lenses - really makes it hard to argue that anything ML related is the prudent way to go in 2025, imo.

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.
 

Same, costed me lots of jobs as well. As often they request the premiere/Ae project files. Or they ask if I can take over an existing premiere edit. Been working in resolve for 10 years now, and stopped using adobe because of their subscription model. All in all I might have made more money, just paying for the subscriptions..
Sorry to get offtopic a bit here.

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.
 

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.
 

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.
 

Just passed through this, and my 2 cents:

- If you work professionally, go Mac (and yeah, I'm a windows guy). Even a M1, for video editing, run circles around any price comparable WIndows machine.
- If you are not a professional and/or Apple costs 2,5x more in your country than in US (my case are both), Windows is still good.

But there is a VERY important point the narrowed a lot my choices, and a lot of people doeas not realize it until is very late - codecs and chroma subsampling support. If you want to edit without proxies, is a must have feature.

What H.264 and H.265 Hardware Decoding is Supported in DaVinci Resolve Studio?

If you work with h.264, bad luck: only 8-but 4:2:0, except if you get an RTX 5xxx series.

If you use H.265, you have better support, but pay attention to the subsampling - the 4070 (and all the RTX 4xxx) does not decode 10 bit 4:2:2. This was my case, and that narrowed my choices (when I did the upgrade, the RTX 5xxx were not launched).

I had to buy a Intel non-f CPU (as you) to use the internal GPU enabled just to use Quicksync for decode. For encoding, I did not found a comparable table like this, but since almost all reviews test the encoding (rendering) part, is just to look for the desired card.

Ryzens are much more performant (and chepear to build, specially motherboards) but have almost nothing decode support in the iGpus. But a Ryzen with a RTX5xxx card, or an Intel ARC Card would be a choice for me nowadays.

In my case, since the money was short, went for a i5-12600k (for good decoding for editing) and a RTX 3060 with 12gb (was better than the 4060 for because of 12gb instead of 8gb - and since I have not hurries for rendering, top performance in rendering was not a problem). Works with Fuji open gate 6.2k in 10-bit 4:2:2 as champ, albeit I only do minor corrections - with a lot of effects it could not be the case.

But I saw a guy that made a system with a top i9 processor anda a 4090, but when tried to edit 4:2:2 10-bit, it was slow as hell.

But probably was the last PC that I put together - I built all my computer since the 286 days. The new Mac Mini is a steal - for video, is better than a PC costing double the price of the Mac Mini.

Well most of us were just waiting on 50fps 4k full frame. I hope everything else improved as well. 
Like a better monitor, better colors etc. Prores raw internal is a bummer as resolve does not support it natively. 

But why 24-60mm? Of all the lenses they could have developed for this launch..

In my experience, if you're editing on a laptop - and especially if you want to do it while not plugged in, modern Macbooks are really hard to beat.  My M2 Max is good enough that I no longer see any reason that I'd keep a desktop computer around (I still have one for gaming and if selling it wouldn't be a big pain, I'd probably do that since I boot it up about once per month).
On the other hand, if you want the highest price to performance (and absolute highest performance) on a desktop computer, PC hardware is more powerful - and in many cases, you will be able to upgrade pieces instead of needing to upgrade the entire unit.
As far as your proposed spec, I think you'll be unbalanced in favor of a very high-end processor and a mid-range graphics card.  You might consider a somewhat lesser CPU, again knowing that upgrading in the future will be an option if needed.  Do you plan to overclock the CPU?  If not, there's not much benefit to a K vs non-K variant.
One other consideration might be whether you plan to use any of the "AI" features that are being added to Resolve.  If so, it might be worth considering one of the newer Intel Core Ultra chips (if the price difference isn't huge) since the main "benefit" of them over 14th generation is that they have a coprocessor for machine learning.  I have no idea if Resolve can even use it yet, but even if it doesn't yet, it's a safe bet that BMD will add support in the near future.
Anyway, that setup will be night and day faster than what you're using now.  You definitely won't be going wrong with it.

Hi guys,

So my pc is getting old around 5 years now. Playback rate is not that great in davinci resolve to the point I am losing too much time, still running an amd ryzen 1700x and gtx1080, SSD's and 32GB RAM. 
Not sure if there are any major breakthroughs that have sped up your editing workflow through your pc hardware lately.

Thinking about getting an i9 14900k and an rtx 4070. But open to any advice!

Thanks!

As long as colours look shitty enough, everbody seems to be happy.😊 A lot of youtube footage from the current 10bit and raw cameras makes CineD on the Gh4 look like from a grand era of color science.
I really loved the colors from your Bmmcc footage and I liked them better than GH7. @kye I've only liked the color from half a hand full of GH6/7 videos, one of them with high production values by Olan Collardy.
 
It seems to me like it's harder for a lot of people to treat log footage shot in natural light, coming from these modern hybrid cameras of the last five years. I like my og bmpcc much better than my Lumix S in that regard, same with stuff available on youtube.

Terrific range...
And tool by consequence BTW -- let alone 6-stops at the wide end and 4.5-stops at the telephoto end which expands the number of shots you're able to get straight from your hands as you can see here (no replacement for a gimbal when walking for sure but why should it be anyway? ; )
Follows a dead silent AF and no breathing outcome...

Same, costed me lots of jobs as well. As often they request the premiere/Ae project files. Or they ask if I can take over an existing premiere edit. Been working in resolve for 10 years now, and stopped using adobe because of their subscription model. All in all I might have made more money, just paying for the subscriptions..
Sorry to get offtopic a bit here.

Same, costed me lots of jobs as well. As often they request the premiere/Ae project files. Or they ask if I can take over an existing premiere edit. Been working in resolve for 10 years now, and stopped using adobe because of their subscription model. All in all I might have made more money, just paying for the subscriptions..
Sorry to get offtopic a bit here.

In my experience, at least in my area, a majority of editors are still using Premiere.  I'm one of the few using Resolve.