Parker

I think both of those shots are from the NX500, actually, but yeah, my copy is NX mount, but I have also used the m4/3 version on a GH5 quite a bit, so not quite as wide, but was still my gimbal lens of choice for a long time (until my work bought a Laowa 7.5mm to use instead).

@mercer I have used the Rokinon 12mm f/2 extensively, I really like it. Tiny, bright, plenty sharp, great minimum focus distance, a no-brainer really. Flares are a little bit messy. Mine got damaged somehow and the internal focusing elements got all messed up, but after I took it to a lens technician the infinity focus is bang-on so it's a cinch to get shots really quickly. Here are a couple stills that I think show off the versatility of the lens, flares, bokeh, etc.

I'm wondering this myself. I use 8-bit vlog-l on the gh5 all the time and it's fine for my uses, definitely still an increase in DR. It will be interesting to see if the supposed "full curve" or whatever of actual VLOG is in 8-bit. Hopefully not worse, a la sony-style s-log banding, etc.

My guess is that the HLG is only available in 24/25p or 30p though (same as the S1), since, unfortunately you can't use it for 60p, so as far as dynamic range goes you'd be limited to however much you could tweak the built in profiles.

Even without VLOG, I'm loving this camera and floored by the colors and dynamic range. Here are a couple screengrabs from a shoot I was on yesterday, using the HLG profile. I'm very, very excited to get my hands on the log upgrade. I think this is the first time I've ever had a video camera where I'm actually choosing the DR I want scene-to-scene at my discretion, rather than being forced to deal with limitations of the camera. There's plenty of room in the shadows and highlight roll-off is silky smooth. Color me impressed.

I wonder if they are only using the 18-35 in crop mode. Mine behaves very strangely if you try and use it in full frame mode, which is annoying, they need to update the firmware, either on the camera or the lens. It's still usable from about 28 to 35mm with minimal to no vignetting, but the camera introduces big black bars/software glitching, visible in both video and even raw stills, although it functions just fine in aps-c crop.

I'm never going to sell my NX1/NX500 combo -- at this point I have gotten rid of all native lenses except the 16-50S and the 16-50 PZ (and I have one of Luca's speedboosters as well). But the NX500 with the hack enabling silent, electronic shutter is invaluable to me as a timelapse camera. While I have moved on to an S1/GH5 pairing for most of my paid work, the dynamic range of raw photos on the NX cameras at ISO100 is still basically unbeatable in my opinion. 28 megapixels, and shadows can be boosted to 100 in LR with zero downsides, it's amazing. Video-wise, while these cameras, some 5 years later, are finally, finally starting to get a little long in the tooth dynamic-range wise (and missing higher 4k framerates,) If you keep them locked down, in 4k 24p, the image is still so sharp and beautiful, and in reasonably low-DR scenes still does -- and always will -- achieve stellar results. For me, IBIS is a must-have now, and a real game-changer for my type of work. While the new Nikon cams are interesting, no 4k60p is very annoying, not enough of an upgrade from the NX cameras. The XT-3 is very cool, but has poor battery life and no IBIS. I have really been liking the S1 though. Its autofocus is not as bad as they say, especially with the recent update. Stills are technically lower resolution but hold detail far better at high ISOs than the NX1, which turns to mush after ISO 800 really. Of course, the S1 is also quite large and heavy. No perfect camera! Although the NX1, for its time, was pretty damn close.

I think they're just regional differentiators. For example, my S1, purchased in the USA, is a DC-S1-MP-K. In some cases, Panasonic even likes to change the actual model name region-to-region, like the G80/G85 etc. But yeah. All S1's still.

Thanks @Walter H @liamlumiere I appreciate the answers! Looks like every country/region has a little bit different way of receiving the upgrade, which is kind of annoying. As I'm located in the USA, the UK-redemption isn't what I'm looking for. I purchased the camera through B&H and registered with Panasonic the day I got it, I'll just have to be patient!

How/where did you do this exactly? I thought it wasn't being released until July 31?

This dude on Youtube released some files for download showing the standard S1 profile vs the new v-log 10-bit: Video here: https://www.youtube.com/watch?v=DUWr1dJ6Gr8 Download here: https://www.dropbox.com/sh/tbeah6el1et55yo/AABBQs0-OL_THPUekwm6sWRba?dl=0 I had a quick go at the files, the v-log is definitely saving some blown out highlights in the sky over the standard profile, top is standard, bottom is my grade of V-Log:

The osmo pocket is sweet! With the little case it comes with, its really pretty well-protected, you can shove it in a bag, throw it in your, well, pocket haha, it's very tiny. Stabilized 4k 60p is awesome, and the cinelike d profile even intercuts decently well with larger, better cameras, with decent DR. But for a grab-and-go, decent-quality pocket camera, there's really nothing better. My only complaint is that the 4k 60 files are surprisingly hard to edit, even my maxed out 2019 iMac chokes a little bit on them, which is annoying. As an example, I went on a little jeeping adventure recently and took it along just for fun. Nothing crazy, but so easy to get fun, creative shots, boots up real quick, very easy to use, I take it everywhere with me now:

Here is an S1 frame grab with my beloved contax Zeiss 50mm 1.7, this was shot in HLG and hasn't been graded at all, just pulled from rec2020 back into rec709. I think the color and dynamic range speaks for itself:

I've only had an S1 available to me for about two weeks now. I've shot more stills than video — raw files hold detail really well even at 12800 iso — though I haven't quite gotten the hang of how the sensor fully works, recoverable detail almost seems split between shadows and highlights and will just take some practice and getting used to. Pretty robust sensor though! For video, the HLG profile is holding dynamic range very well, definitely a leg-up on the GH5 and NX1 that I'm coming from. Color seems fantastic. I've used the 24-105 kit lens for a couple quick, close-up b-roll shots and autofocus worked surprisingly well. Manual focus, even by wire, is surprisingly good too, lots of options and is repeatable. Ergonomically I like the camera — nice and beefy grip — some of the buttons are a bit spongy for my taste though. I shot a quick interview handheld the other day just using the video enhance IS (similar to the GH5's IS Lock) and I was definitely feeling the weight of the camera by the end of it, especially with the vertical grip. I'm very excited to see the big new VLOG update though, 14 stops of DR and V-gamut, this is going to be a beast of a camera.

I have unlimited Google Drive space through my old college .edu email (currently using around 6 TB). I'm not sure how many institutions have that kind of policy (my university will even create edu accounts for former students and alumni, for example my parents graduated in the early 1980s and I helped them set up new EDU accounts of their own, also with unlimited cloud storage space) plus, having an active .edu account can provide a lot of other online discounts and benefits through services like Unidays and B&H, etc. I'm not sure if that's possible for everyone, but a good option to check out if it is. I guess I'd be totally screwed if Google ever changed their policy tho ??

I primarily shoot a lot of talking head/short marketing pieces for universities, businesses, and city organizations. For the majority of my shoots I still use my beloved bitrate-hacked Samsung NX1 (with a speedbooster for that FF look) as an A cam, and the ever trusty GH5 as a b cam and for shooting lots of handheld b-roll. I really need extra DR though, especially on the NX1. A company I'm contracted with just ordered in an S1 at my request, so I'm very excited to see what 14 stops of dynamic range looks like in real-world use for my needs going forward. I'm keeping an eye out on what fuji is going to do with the XH-2, and excited to see what happens with the new S1H as well. I'm sure the fabled A7siii will be incredible on paper, but my work has an A7sii that sits unused and gathering dust in a cupboard in favor of the GH5, and I have always found Sony cameras soulless and fiddly to use. I get that we all want the perfect camera, but I also understand manufacturers' seeming reluctance to provide it, since many of us would never have to upgrade once we finally get something that ticks all the boxes.

Looks like it does actually have that flippy screen so many were interested in though, so that's good: I did read somewhere, newsshooter maybe? That it does indeed have the same IBIS as its sister S cameras, I'll try to find a reliable link.

Per Ted Sims on the 300Dii, via Facebook: "Release date in the next two months! Yes, that is an all-in-one controller box. No more noisy ballast. The new design is all built together with zero fans, all passive cooling. 20% brighter. DMX added. Powerable from a single battery. Quick release super clamp mounting point on the controller box. 360 degree reinforced yoke. Built-in Effects and Wireless Control via APP."

I'm excited about this one, I saw the original 300D's price got slashed on B&H by like $400 last week so I assumed a new one was probably on the way. Some more pics leaked to the Aputure Facebook group:

@BTM_Pix Thanks for the test! I'm kind of shocked the difference isn't more obvious either, especially since in recent months I have switched from Rokinon cine primes to exclusively contax zeiss glass ?

@kyeyeah I was worried about the slower aperture at first too, especially since, prior to switching completely over to contax, I had a rokinon set of lenses that opened up to t1.5... But surprisingly it has not bothered me at all, I always use it on a speedbooster as well for those extra stops of light. The range is pretty sweet on the gh5, especially combined with the extra tele conversion when needed. @JordanWrightI have had to file down the backs of all of my CZ lenses. There's a tiny little latch for the aperture that sticks out just a tiny bit too far, and was preventing the lens from properly attaching, but it's literally 30 seconds with a dremel tool to file it down just a hair or too, very easy.

I can second the contax zeiss love, they are absolutely fantastic. I started with the 50mm planar f1.7 and was so in love with the look I had to get more. I have since snagged minty copies of the 85mm 1.4 as well as the more compact 85mm 2.8, along with the 60mm macro f2.8, which is a joy to use. But my favorite of all the contax zeiss lenses, by far, which basically lives on my camera, is the 35-70mm f3.4. Gorgeous lens, great range, the push/pull and smooth, long focus throw is very handy for run and gun, and I am just in love with the look. I keep going back and forth on picking up the 35mm 1.4. It's the most expensive of the CZ's and costs a pretty penny, but I'm very, very tempted.

I will primarily be using the pocket without the phone, just pulling it out for a quick shot or two. But I haven't had any problems with the tiny screen, it is fine for framing, and the shots I have looked at so far have not had any focus issues. I have just been using the continuous autofocus, but if you prefer to use single AF I think you can just single-tap the function button to refocus the camera as often as you want, I haven't tried this with my phone attached yet (I use a Galaxy S8) With the phone attached it is obviously much easier to use, and it is annoying that the settings cannot be changed at all unless the phone is attached, but having ND's mitigates this issue at least a little bit.

I have had my osmo pocket for a few days now, I bought it for an upcoming vacation to Greece as a fun, easy little pocket camera to film a family vacation video with. I took it with me on several shoots last week just to mess around with it — shot a motion timelapse setting up an interview, BTS b-roll, etc. — and I actually used it for some B-roll shots in a couple small community theater promos I'm working on (black and white, 2.35:1, adding film grain anyway) so the osmo shots actually cut right in without a problem. I really can't overstate the convenience of reaching into my jacket pocket and obtaining a little 4k 60p stabilized camera movement in just a second or two when I feel like it. I can already tell that this is going to be a super useful tool for me — yes, obviously the IQ is not up to stuff compared to a larger camera and gimbal setup, but for quick social media projects it is more than adequate in my opinion, and pretty fun to use.

I have been using a Benro monopod for years, very rugged, smooth pan and tilt, a no-brainer, really https://www.amazon.com/Benro-Aluminum-Flip-Lock-Articulating-A48FDS4/dp/B00LLFPJEK/ref=sr_1_3?ie=UTF8&qid=1543958529&sr=8-3&keywords=benro+monopod