Jimmy G

Andrew, etal,
It's a fine, fine thing you've created here, kind sir. Many thanks to you and fellow forum folks, from this lone shooter, for the continuing experiential perspectives, insights and education...a welcoming place for me to have shared whatever "small change" I've had to offer in return. Gladdened to hear it shall live on, and with renewed breath...'tis a fine, fine thing, indeed!
🙂
Jimmy G

Just grabbed a used SVMX on eBay. It’s in pretty rough shape cosmetically but I got a decent price (£290) and doubt I’ll ever be looking to sell it on so as long as it works perfectly I’m happy. 
 
Thanks for all the advice everyone!

Welcome back and Merry Christmas, I was a bit worried about you after the last couple of posts and I've seen the effect social media can have on some other people I follow.  there is a photographer in the Lakes (Rob Parson: Just a walker with a camera) who I follow and who almost gave up last year after criticism online but he "pulled through" after realizing his words and pictures actually matter to more people than those who don't agree with him (and if you don't agree with somebody just don't follow them... simple).  so keep it going, speak your mind and don't let the bastards grind you down.

Merry Christmas, Andrew.
I'm stoked that you've decided to continue to put your valuable time and energy in to this site. I've been here since 2015 and have really enjoyed the interaction. Can't wait to see what you have in store. Thank you for all your past hard work.

Hey nice to hear you have seen the light, no pun, and saved us from the common horseshit reviews and such on the old innerweb. There is just so much good stuff to look forward to not to be involved in it. And Merry Christmas from across the pond. Now I won't be bored to death this winter. Thank you thank you.

Ahh, my bad, I just reread your original post...you want to add ambience via 3.5mm stereo mic to your XLR mics, got it! That so, I've enjoyed my RØDE VideoMicro and Audio-Technica Pro24-CM very much as ambient mics going back to my 5D MarkII/7D days though I was not a fan of either mic's shock mounts (the former is front heavy with the furry requiring delicate balance on the single lyre, and the latter allowed too much handling noise through, though if one could/would work with/around those limitations the mics both sounded and worked great for my needs at the time).
Since moving to Panasonic I am in love with their own DMW-MS2 mid-side mic for my S1's (I have one for each body plus a backup unit!), have you considered (or added to your list) Canon's own DM-E1 offering either directional shotgun or switchable 90° and 120° stereo fields (methinks with those abilities this might very well be a mid-side mic though they don't specifically state such)?
To me, mics are like shoes, ya gotta try a lot on to see which fit best! 😉 Keep us posted on your decision!

^^LOL^^
Big fan of zooms for my nature/wildlife documentation, my 2xS1 setups contain the 24-105 kit and a EF-adapted Sigma 150-600 Contemporary (soon to be replaced by a native L-mount 150-600 Sport) and my low-light setups are the EF-adapted f/1.8 Sigma's 18-35 and 50-100 Arts and f/2.8 120-300 Sport. My primes (EF-adapted f/1.4 Sigma 20, 50 and 85) are specialized for night scenarios and see the least amount of usage. None of these lenses are slouches and I could care less if any suffered from vignetting, lack of corner sharpness or focus breathing, my subjects are always middle-thirds. Zooms all the way for this shooter (well, mostly! Ha!).

Hi Matt,
I am curious as to what type of sound environments (i.e. do/have you take/taken to taking SPL measurements of your locations?) you'll be looking to record in, it should help better inform community response.
I bring the matter of "better understanding one's sound environment" up as it helped me decide on how to move forward with a mic choice for my nature/wildlife recording adventures for the upcoming year. I recently resurrected my Roland R-26 (which had found light usage due to noisy handling issues when trying to use the internal mics) for use with an XLR stereo mic. That choice was the Audio-Technica BP4029 mid-side mic...which, quite literally, just arrived yesterday!
Spec-wise, at...
Mid: 72dBSPL,1kHzat1Pa;
Side: 68 dB SPL, 1 kHz at 1 Pa;
LR stereo: 70 dB SPL, 1 kHz at 1 Pa
...it's not the quietest mic on the market (i.e.~23dB self-noise) but my mostly suburban/exburban/rural recording locations are ambiently noisy enough that I'm not too concerned (based on scouring the internet for audio samples) with its expected satisfactory performance.
I cannot, as yet, comment on the performance of this combo as first tests await the arrival of a 10.5' RØDE RT4-DXLR 5-pin-to-dual-3-pin stereo splitter cable to supplant the (inadequately too-short for handheld use) supplied ~30" splitter cable that came with the 4029. Ha!
As the BP4029 can send signal as either mid-side or separate mid and side channels, and since the R-26 can either accept the mid-side stereo signal from the mic or decode the separate mid and side mic signals internally or record the separate mid and side channels as-is (which then can be manipulated in a DAW), there's a lot of versatility to be had and I will be running a bunch of tests to see if there are preferable setups for my usage.
Anyhoo, just sharing some information on what decision worked for me, I hope it's of some help for you.
Best, 🙂 Jimmy G
 

Now I haven't watched the review itself, but aren't we being a bit harsh here?
I find this a useful - if basic - demonstration of the DR and a quick and dirty grade. It's an ugly shot, sure. It's not a Hollywood level production, but if I'm being honest this is the kind of shot I end up with in my edits frequently, and the kind of shot you want to know you can salvage something 'usable'. Not spectacular or perfect, but usable, and in that case this is a good demonstration.
If you're expecting world-class images from both a technical and artistic standpoint then go see Dune in the cinema or watch any number of big-budget movies. This is a low/no budget camera review.
As a content maker myself I can see what he was trying to do, and it was adequate in my view. I don't like this attitude of piling on on somebody for one shot that you personally might have done different.
Or perhaps all of our work is beyond reproach with every shot a masterpiece?

DuckDuckGo translates...
<<
The GH6 currently under development aims to achieve both mobility unique to micro Four Threes machines and a variety of video expression capabilities. Newly developed with sensors and engines, it supports 4:2:2 10-bit Cinema4K60p video recording, and plans to achieve unlimited video recording time within the recommended operating temperature. It is a pity that I can not tell you in detail, but please look forward to what kind of camera the GH6 that engineers are still developing with all their heart and soul.
>>
Glad to read that Panasonic is keeping us in the loop regarding delays, very much looking forward to putting the pandemic's impact on global manufacturing in the rear-view mirror at some point and getting to see what this camera eventually will be! :)

Press Text Translated via Google:
 
As Panasonic Japan had launched a special 20th anniversary website: http://panasonic.jp/dc/20th_anniversary/column.html 

£2500 (+ specs, etc.) on CVP

To the OP...Methinks the whole camera-manufacturer crowd are missing the mark on what the consumer market wants and needs right now, internal RAW recording. Having just traveled down the path you're on looking for the same RAW recording solutions for my Panasonic S1's I've walked away from the whole idea for the time-being as the market choices for recording RAW are extremely limited at this moment in time...as you yourself have discovered, Ninja V or VideoAssist 12G and, then, all the attachment/mounting gadgetry and compatible SSDs and cables, ad nauseam. Wish I had better news to report.
Ideally, if internal RAW is just too difficult a problem for the camera manufacturers to solve, then I'd like to see an outright ditching of the current HDMI mindset and an embracing of USB-C/TB4 ports on cameras which would allow external recording of RAW directly to smartphones and tablets and directly into one's mobile NLE...screw all of this extraneous gear and drives and doodads just to accommodate the unnecessarily-expensive and overly-complicated HDMI workflow! One could be shooting and streaming on-the-fly or immediately editing on-scene with a Camera>USB-C/TB4>smartdevice setup.
I'd be wet-my-pants-giddy and love to record ProRes RAW straight to a new 2TB XDR iPad Pro (or upcoming 1TB XDR iPhone 13)...heck, someone could market a camera cage with a swivel screen apparatus for mounting the smartphone-or-tablet/recorder for use as a fully-articulated display! (Patent pending, ;) ...Haw!) Stoopid easy and stoopid smart.
Anyhoo, best of luck on your search for answers, sorry I couldn't have been more helpful.

No imaginary control is more real than when Apple can't out lawyer it and China can't ignore it.

Full Disclosure: Besides being a camera enthusiast and working camera dude (I get paid weekly by my corporate clients in the photo and video realms), my day job is as a Sr. Software Engineer.
To put things simply, a patent usually has a particular claim that is novel. The spell out in excruciating detail exactly how their technology achieves that claim. They also try and make the claim as broad as possible, to try and cover any and all possible uses and implementations.  A quick look here will make you utterly sick with how broad and catch all many of the RED patents seem to be. But a quick look at this patent in particular, and you can see the claim, and how they accomplish what they do, and why it is novel, and that being visually lossless compression of a RAW motion video RAW of at least 23 frames per second.
Of course there may be some ways to get around this. Just know that if you do try, you will most definitely have REDs lawyers knocking at your door. If they shut down Apple, they probably can shut down any company.
As an aside, legal at my company really dissuades us from even looking at patents, as their is stiffer penalties if a company knowingly infringes on a patent, as opposed to creating a technology naturally that may violate a patent. 

yes, with firmware 10.63

I've been debating whether acquiring a Ninja V to experiment with what VLOG/ProRes RAW might offer over the internal VLOG options for HDR.
I was a bit disappointed in finding out through my inquiries this past week that the only option to record ProRes RAW is with the Ninja V...is this all this much in it's infancy that there exists no other market choices?!
I was also disappointed after watching last week's LUMIX YT presentation to learn that Panasonic still had nothing to say regarding piping the RAW data packets over the internal PCIe bus to the internal CFExpress cards and will instead continue to only make that data dump available through the HDMI pipeline to external recorders. There was a fair amount of talk inferring thermal capacity of the S1 body as a limitation but what still does not add up to me is that they state (on one hand) that the heat is generated by the internal processing done before sending data to their cards for their internal codecs, but did not satisfactorily (to my viewing and listening) reconcile (as they stated on the other hand) that packet-izing the RAW data requires no internal image processing (so less heat), only sensor data transport? So, simply put, packetizing the RAW data generates less internal heat than that caused by the internal image processing that is sent to the internal cards.
Sooo, if internal codec recording times are dictated by...
1. Sensor image processing heat + writing to card heat = 15 minutes, why is it if...
2. 0 sensor image processing heat only RAW packetizing + HDMI piping = unlimited record time, and...
3. Sensor image processing heat + HDMI piping = unlimited record time, that...
4. 0 sensor image processing heat only RAW packetizing + writing to card heat ≠ at least 15 minutes?
By what the Panasonic reps stated, scenario 4 should generate less internal heat than scenario 1, so why not allow the RAW data packets (with time limits, if that needs to be so) that fit the S1's thermal design...i.e. 15-minutes, or whatever it works out to (they have the thermal numbers)?
My point, all along (and I will not tire from this), I'd prefer to be focused on shooting the bird and frog, etc. activities (that actually require my attention!) while I'm out in the field rather than fiddling around with a recorder and settings and connections and snag points and added weight whilst missing vital irreproducible action, I can fiddle with the RAW data to my heart's content in FCPX when I get home.
And I'm sure I am not alone in wishing to be able to record RAW internally (just like all the other codecs) without the fuss and muss of extraneous gear. 🙂
-Jim

I don't remember what angle the S1H was set to for that particular shot. I have long since trashed the original files as this was my second and last music video, as the only thing that pisses me off more than a bridal diva is a creative diva who can't get 10,000 free soundcloud streams  😁. It may be okay for some to make a $1000 in a day, but I make that in a few hours for corporate work with dedicated creative directors and set creators setting up the look just the way they desire. All I have to do is create pristine video and sound. With indie music videos, you need to do everything.

I think I wouldn't have a problem using ISO-10000 with H.264 with my S1 or S1H. I once pushed to ISO-16000, but that needed post noise reduction, and I wish I would have just jacked up internal noise reduction instead of having to clean up a 20 min of reception speeches in post.

The slo-mo purple fringing thing is because I pushed slo-mo in post to match the beat. It was a creative decision that was not planned in the pre-production. The video was shot with two lenses. The Panasonic 24-105 f/4 (fantastic lens!) and the Canon 50mm f/1.8. The Canon was not initially planned to be used as the night scenes were meant to be lit, but it became a safety concern with the wet snow, so we only used a battery LED Fresnel on the last shot.
If you look at the scene from 1:30, you can clearly see the image degrades at 1:36, which you have correctly noted! This is the best example of an identical scene, identical lighting, with just a change in aperture to account for the fps increase. The seemingly longer lens is mostly from the 4K 60p S35 crop.

I also forgot the the last shot of the video, which reminded me that anywhere there was a slo-mo shot, the camera is switched to 4K 60p H.265 4:2:0 S35 instead of 4K 23.976p H.264 4:2:2 FF.
Good eye Jimmy!

Link is valid for 72 hours, and the file size is 700MB. Music video has a NSFW due to language.

The other link is trash. Best to download the file instead of playing it, as my upload bandwidth is severely limited. Let's see if you can tell where the quality takes a dump, and that is where I went from shooting from H.264 to H.265.
https://www.myqnapcloud.com/smartshare/6g774717np2m262q22u220y2_6CkDTsX
Password: NOLIES
 

Just got an email from Panasonic that they're live-streaming about the upcoming firmware updates tomorrow (the 25th) at 2 p.m. EDT on their LUMIX Cameras YT channel, host Sean Robinson, guest Matt Frazer, here's the link...
LUMIX Live : The S Series Firmware - YouTube
https://www.youtube.com/watch?v=zWwMrA3ILbg
...my question will be, "Ninja V only? No love for the Atomos Shogun 7 or Sumo 19 or Neons with ProRes RAW from the S1, etc.?" (I've been chasing down rabbit holes for several days now with Atomos, Panasonic and Apple for an answer on this! I'm hard-pressed to believe that ProRes is so finicky that it will only work with specific combinations of cameras and recorders?! Oofah!)

Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera.
 
Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing.
 
The big problem there is patents.

You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents don't allow it.
 

...I'd be "in" with that, as long as it records with audio, too! :)

So now that the S1 is closer to the S1H, as a S1H user i'm wondering what kind of major update we're expecting to highlight a real difference between S1 and S1H ?
I'd go with something like: 4k@120 fps, probably only in 420 8bits internal and 422 10 bits external.