Parker

Surprise for S1 owners, fancy new firmware update available one day early: Download Link

6k, 5.9k, 5.4k, Cinema 4k, 10-bit 4k60, manual dual-gain ISO control, and anamorphic support! 

Enjoy your new camera, everybody

3 days to go! 

https://www.gsmarena.com/sony_xperia_1_ii_receives_the_external_monitor_app_from_the_xperia_pro_as_part_of_the_android_11_upd-news-47654.php

@Walter H Thanks man! These particular shots were with Zeiss ZE lenses, with a 35mm Distagon on the RED for the wide shot and an 85mm Planar ZE on on the S1. 

@TomTheDP Honestly not nearly as much of a DR difference between the RED and S1 as I would expect, at least in the limited comparisons I have made between the two cameras.  I'm sure in a very high DR situation, especially with the red raw, that it would win out, but I have always been really impressed with the DR of the S1. 

@Robert Patts I know that "motion cadence" is a big thing for some people, I mean for me personally, the S1 more than suits my needs and is a whole lot of bang for the buck, and with it I have gotten some of the most pleasing images of my career. 

 In my experience, I think the  biggest factors that contribute to a "video" look vs a more cinematic, filmic one -- and not just on the S1, but on any camera -- is usually a combination of not respecting the 180 degree shutter rule, and using glass without character.

Super sharp, clinical, modern glass, such as Sigma's art series or Panny's L-mount glass is always crazy detailed edge-to-edge, but throw something with more character and imperfections like a helios 44-2 or something like that, adding diffusion filters, etc. and keeping. a nice, filmic shutter speed, for me that gross video feeling goes away really fast. Purely subjective, of course. For me the S1 delivers cinematic mojo in spades. 

By "HW" updates are you meaning new, physically different cameras with new hardware? I'm not sure how many people market-wise are buying into the new L-cameras (anecdotally, several work buddies and colleagues just purchased the S5) but I am thrilled about my S1, especially with the recently announced firmware update coming sometime in Q1 of 2021, which means I'll get internal 6k, anamorphic modes and pro res raw via the ninja v. I literally won't need a new camera for years to come. Amazing dynamic range, really good ibis for handheld work, big, bright EVF, very reliable low-light dual-ISO, gorgeous stills, great battery life, and built like a tank. 

A lot of people care about autofocus, but I love my vintage contax zeiss lenses and they're what I prefer to use anyway so it doesn't matter to me. Plus if I really need it I can just pick up a nucleus nano and the fancy new ToF sensor from @BTM_Pix and voila, AF problems solved. 

By "HW" updates are you meaning new, physically different cameras with new hardware? I'm not sure how many people market-wise are buying into the new L-cameras (anecdotally, several work buddies and colleagues just purchased the S5) but I am thrilled about my S1, especially with the recently announced firmware update coming sometime in Q1 of 2021, which means I'll get internal 6k, anamorphic modes and pro res raw via the ninja v. I literally won't need a new camera for years to come. Amazing dynamic range, really good ibis for handheld work, big, bright EVF, very reliable low-light dual-ISO, gorgeous stills, great battery life, and built like a tank. 

A lot of people care about autofocus, but I love my vintage contax zeiss lenses and they're what I prefer to use anyway so it doesn't matter to me. Plus if I really need it I can just pick up a nucleus nano and the fancy new ToF sensor from @BTM_Pix and voila, AF problems solved. 

Meh, Forza 500 fan noise is absolutely negligible, at least on my unit. I use it on talking heads and interviews quite close to the mic day in and day out, I've never had a problem with it at all. 
Most rooms are going to have a lot more ambient noise anyway, in real world use I'd honestly be shocked if anyone could truly have a complaint. 

@Walter H Thanks man! These particular shots were with Zeiss ZE lenses, with a 35mm Distagon on the RED for the wide shot and an 85mm Planar ZE on on the S1. 

@TomTheDP Honestly not nearly as much of a DR difference between the RED and S1 as I would expect, at least in the limited comparisons I have made between the two cameras.  I'm sure in a very high DR situation, especially with the red raw, that it would win out, but I have always been really impressed with the DR of the S1. 

@Robert Patts I know that "motion cadence" is a big thing for some people, I mean for me personally, the S1 more than suits my needs and is a whole lot of bang for the buck, and with it I have gotten some of the most pleasing images of my career. 

 In my experience, I think the  biggest factors that contribute to a "video" look vs a more cinematic, filmic one -- and not just on the S1, but on any camera -- is usually a combination of not respecting the 180 degree shutter rule, and using glass without character.

Super sharp, clinical, modern glass, such as Sigma's art series or Panny's L-mount glass is always crazy detailed edge-to-edge, but throw something with more character and imperfections like a helios 44-2 or something like that, adding diffusion filters, etc. and keeping. a nice, filmic shutter speed, for me that gross video feeling goes away really fast. Purely subjective, of course. For me the S1 delivers cinematic mojo in spades. 

@Walter H Thanks man! These particular shots were with Zeiss ZE lenses, with a 35mm Distagon on the RED for the wide shot and an 85mm Planar ZE on on the S1. 

@TomTheDP Honestly not nearly as much of a DR difference between the RED and S1 as I would expect, at least in the limited comparisons I have made between the two cameras.  I'm sure in a very high DR situation, especially with the red raw, that it would win out, but I have always been really impressed with the DR of the S1. 

@Robert Patts I know that "motion cadence" is a big thing for some people, I mean for me personally, the S1 more than suits my needs and is a whole lot of bang for the buck, and with it I have gotten some of the most pleasing images of my career. 

 In my experience, I think the  biggest factors that contribute to a "video" look vs a more cinematic, filmic one -- and not just on the S1, but on any camera -- is usually a combination of not respecting the 180 degree shutter rule, and using glass without character.

Super sharp, clinical, modern glass, such as Sigma's art series or Panny's L-mount glass is always crazy detailed edge-to-edge, but throw something with more character and imperfections like a helios 44-2 or something like that, adding diffusion filters, etc. and keeping. a nice, filmic shutter speed, for me that gross video feeling goes away really fast. Purely subjective, of course. For me the S1 delivers cinematic mojo in spades. 

Whoops, looks like I missed the edit-window of my post, here's some S1/RED comparison stills, as promised, close-ups are the S1, wide shots are the RED

Whoops, looks like I missed the edit-window of my post, here's some S1/RED comparison stills, as promised, close-ups are the S1, wide shots are the RED

Sure thing, tons of examples on my vimeo, https://vimeo.com/user16941419/videos 

Pretty much anything two-camera is S1 A-cam and wide, GH5 b-cam, close-up angles. 


But here are a couple random ones if you don't feel like digging. I'm not a pro colorist by any means, most of my projects have very fast turn around so I get them "good enough" and don't always go for a 100% perfect match between cameras, but I don't they look glaringly different or anything, even in higher DR-situations. 
 
 

I have been using an S1/GH5 combo for probably close to two years now, it's a very winning combo, primarily for your same use case, mostly talking head/interviews and corporate work. No need to over think it, I shoot both in V-Log pretty much all the time and they are quite easy to match, typically I use the GHAlex LUT and it looks awesome. 

I purchased the S1 set, and I see what you mean about the colour deviation between the GHa and S1a Luts. I was quite happy with GHa on my S1 footage, but the S1 High Scale Lut looks more vibrant and cleaner to me compared to the GHa Linear conversion. Better colour separation and fidelity. 
Thanks for your hard work, this is a really valuable tool and a pleasure to use!
Footage is 1080p 10 bit from the S1, basic corrections with the luts applied on top, ungraded. Top is S1a, bottom is GHa.

Three days to go.
The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse.
Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

 

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday.
I'm absolutely not going to give the game away before then and say that it also supports manual lenses.
Absolutely not going to spoil that surprise.

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery.  We are ostensibly through the worst of it.
Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core)
Third, I've completed the S1/S1H/S5 conversion, as of yesterday.
It is the most recent LogC (SUP 11.1.1)
Fortunately the S series seems to have a better internal codec. The GH5 was uniquely problematic with its red/green macroblock splitting. To test gradient motion, film a white wall in darkness. Then, move a spotlight back and forth to see If there is banding revealed as the spotlight falls into darkness. Better codecs will handle this smoothly, while more compressed codecs may have some visible bands moving in the gradient. This is the kind of thing that can crop up in lens flares, or panning across gradients.

Wow, no love for IBIS today?
I couldn't go back to a non-IBIS camera. I shoot lots of B roll of people who've never been on camera before and will be gone away in a minute, doing things. IBIS means I can shoot handheld and get three different steady shots from different angles while directing the person(s) in the same amount of time it would take me to get one shot on a tripod.
I don't use it as a substitute for a dolly, slider or gimbal. I still remember my horror at the shaky jello of my first handheld shots on the 5D Mk 2!

No need to wish! Last year a Panasonic rep I met (you'd recognize him from YouTube interviews on some pretty popular channels) legit told me, while showing off a then still in pre-production S1h at a local camera store, that panny employees do in fact frequently read EOSHD and other industry sites, not just for fun but actually as a part of their job, in order to follow discussion on their products and gauge consumer reaction. 
I even made a joke that I wanted his job, since I browse camera forums all day anyway, I'd love to get paid for it. 

No need to wish! Last year a Panasonic rep I met (you'd recognize him from YouTube interviews on some pretty popular channels) legit told me, while showing off a then still in pre-production S1h at a local camera store, that panny employees do in fact frequently read EOSHD and other industry sites, not just for fun but actually as a part of their job, in order to follow discussion on their products and gauge consumer reaction. 
I even made a joke that I wanted his job, since I browse camera forums all day anyway, I'd love to get paid for it. 

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now?  The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. 

Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5. 

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now?  The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. 

Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5. 

As an S1 owner, I'm still perfectly happy with my camera. The addition of 10-bit 60p is just not that big of a deal for me -- an incremental update, at best. The 8-bit holds up just fine, I use it on every shoot. I wouldn't be surprised if the S1 does get a firmware update to bring features into parity, but even if it doesn't, I don't think we should be encouraging Panasonic to cripple their lower-tiered new releases in order to protect further on up the product line-up, because isn't that exactly the kind of corporate BS everyone is pissed at Canon for right now?  The S5's reported anamorphic modes sound cool, I wish I was able to take advantage of them anyway, but let's be honest, I'm not going to be shooting with real anamorphics anytime soon anyway. 

Technology always moves onward and upward, and better tech and features trickles down to newer, lower models, that's just the way it is. And, despite the addition of the S5, the S1 is still going to have a much more robust, abuse-proof body, and that big, beautiful, detailed EVF, and still have class-leading DR. I am looking forward to hopefully picking up an S5 for for a smaller, lighter b-cam, perhaps to replace my GH5. 

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. 
 

Personally I'm a fan of Tiffen's warm black pro mist filters, I alternate between 1/8 and 1/4 depending on whether I'm using vintage or modern lenses, I love the warmth and I feel like it helps me nail skin tones better, and of course the soft, subtly blooming highlights are lovely.