Jimmy G

Firmware 1.3 seems to have solved both problems as seen here in Nick Driftwood's tests...
Panasonic Lumix S1 Firmware 1.3 Beta Test - after images Improvements - YouTube:
https://www.youtube.com/watch?v=__FtAEkMrLo
Lumix S1 Blue / Yellow Light Improvements: FW 1.3 Beta = Better colour matching to Varicam & EVA-1 - YouTube:
https://www.youtube.com/watch?v=iifX5bP46Tg

I'm grateful for the abundance of cheap equipment and software.
But I'm also grateful to the thousands of people who spend their time freely sharing knowledge on sites like this, from the retired pros with decades of industry experience, to experimental newcomers with more ideas than experience, and everyone in between.

Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)

Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)

Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)

Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)

You have to be careful in how you state things, in business, not to sound differently from what you intend.  I'm not saying whatever was intended here.  People could reinterpret things as they like, even potentially misinterpret and ask about the definition of collusion.  You see, it's very difficult in business and you have to be careful in how things are stated.
So, has there ever been a challenge to this patent that gets to actual re-examination of the terms and context we are interested in.  There is no real victory without that happening on all contexts of relevant objections.
Here, the panel criticised the submission for not enough, and Apple had an professor expert in Bayer lined up, I thought I read.  Sony settled put of court too, didn't they?  This process should also include an examination for likely problems with a whole patent upon submission of objection independent of the submission but before and after it has been examined, a close check to be sure, then all the notes and conclusions be passed onto the examiner if successful.
 

Hrm, it's looking like things are being conveyed as being rather warm-and-cozy between the two parties here...
<<
According to RED’s president, Jarred Land, this was a part of a standard due diligence process performed by the two companies so they can proceed further with development. As stated by RED: “We are pleased to see our REDCODE patents withstand another challenge. RED integration with Apple’s METAL framework for realtime R3D playback is coming along well, and the work that the two teams are doing together is exceeding expectations. We are very excited about the new Mac Pro and the new XDR pro display and the power they bring to the entire RED workflow. To be clear, as I mentioned before, this never really was Apple vs. RED. It has always been APPLE + RED, and this was all part of the process defining how we work together in the future”.
>>
...from here...
RED REDCODE Patents Withstand Apple’s Petition - Y.M.Cinema - News & Insights on Digital Cinema:
https://ymcinema.com/2019/11/10/red-redcode-patents-withstand-apples-petition/
:)

New S1 fixes, which I imagine will be rolled into the next S1H firmware update...
Nick Driftwood : S1 Firmware 1.3 Beta - Ghosting Fix Test
Nick Driftwood : S1 Blue Light / Yellow Light Fix Test: Firmware 1.3 Beta

Looks like Apple has moved FCPX over to Metal 2 with some nifty new functionality (read: Multiple GPU usage, HSL color mask adjustments) and overall performance boost...
Final Cut Pro X — What's New in Final Cut Pro X 10.4.7? Speed, HDR improvements and much more! - YouTube:
 
 

Latest video from Kraig Adams is shot on S1H...  very nice.
 

Instead of getting advice from other people about what would be useful for other people to buy, think about what would be useful for you by thinking about what you could have used in shooting past projects... They say that yesterday is the biggest predictor of tomorrow.  Things change, but they don't change that fast.
So, think about previous projects and what problems you had when actually shooting things, then think about what would be the best way to address those issues, and once you've done that for each of the problems, look at the ones where the best solution is equipment and only then think about buying something to solve those problems for you.
I think everyone has bought something to solve a problem they think they will have, and they've ended up never using that thing they bought.  If you buy something that will help a problem you've actually had in real life, then you've got half-a-chance of actually using it.

What kind of stuff are ya shooting? Lights and sound are definitely what I'd invest in, regardless, but getting the right lights and mics for what you'll be using them for is key. 
For a mic the RODE Video Micro is a good choice for $60ish dollars, though the Movo VXR 10 is I think $40 and there's not much difference between the two. They can both be used on camera or boomed with good results. 
YONGNUO has some pretty good LED light panels starting at around $25. Aputure has some better ones too for a little more money. You can also go the clamp light route, with either CFL or LED bulbs, you'll just want to get higher quality bulbs so you don't have to worry about flicker.
I just picked up two Godox SL-60W lights for $200 total on eBay that are arriving tomorrow. You can get one of those for around $120, and it's comparable to the 120d from Aputure. 

That I could tell a visual story a mere tenth as good as the one you linked I'd think I'd suffered some brain dysfunction requiring medical attention! Ha! Knowing how to plan, compose and weave shots together into something vaguely resembling a story I admit freely is not in my wheelhouse.
Which speaks to what I've been appreciating most on this forum...that we're all coming at this from our own talents, interests and desires. Reading what you (and others) need and look for in your equipment, and why, has been of immense value to me in broadening my perspectives with motion (versus stills) imaging.
For my needs, that I can come home after a day of shooting either with or without some still images or short video clips that help me further educate myself of my randomly encountered wildlife subject matter that I might have encountered, I had a good day...nay, great day! So I suppose (recognize) that it's the photographer in me...as it's all about the image quality and how far I can push and use the medium at hand to take home what I can using only the ambient light of the environment. (Yeah, I'd be one of those folks posting 3-minute snoozefest footage of ladybugs and leaves drying. Haw!)
"...internal FF 4K Raw, for $2500 or less...", heck, for what I just laid out for my S1 kit I'm miffed that Panasonic couldn't provide internal FF 4K 10-Bit 4:2:2 and that I am forced to purchase extra external equipment that is totally impractical to my outdoor shooting needs just to be able to use the camera to its full imaging potential...what they hey?! But if Canon (or someone else) were able to provide for all that (along with perhaps a chocolate on my pillow), all might be forgiven and I'd be sniffing around their wares. Ha!
Still rainin', still dreamin', :)

It’s just a camera... no war necessary. 
I went down the 4K path with Samsung, Panasonic, Sony, and Canon and didn’t like my images until I started shooting 1080p Raw on the Micro. And then I preferred the ML Raw from the 50D I bought for the hell of it.
I was all set to preorder a GH5 until I stumbled upon some 5D3 ML Raw videos and I never looked back.
I thought the P4K would be my upgrade but I haven’t seen enough, knowing my skill set, to convince me.
I recently ended up buying another Micro for pretty cheap but I find myself reaching for my 5D3 every time I do a test, or plan to shoot something, so I may sell it to fund a short film.
As I said earlier in the thread... when one of the major manufacturers offer internal FF 4K Raw, for $2500 or less, I’ll upgrade. Until then, I’ll stick with my 5D3. If I can’t make a decent film on 14bit FF 1080p Raw... no amount of resolution or sharpness, will help me.

It seems that Sandisk is showing off their new CFExpress memory cards with emphasis on raw video. In their prom they clearly show the back of a Nikon Z6 in which they insert their new CFExpress card. So for those that hate external raw capture, Nikon has you covered.
 

Interestingly, I just received a "product pre-order" email notice for these SanDisk ExtremePRO CF Express cards from one of the major NY retailers this morning and noticed in one of the linked ads...
<<
XQD COMPATIBILITY
The card is backwards-compatible with select XQD® cameras that adopt firmware enabling CFexpress®,2 the CFexpress Card Type B bridges existing devices with the future of technology.
>>
...so I went to Sandisk's own product page for more details and found...
<<
Compatibility:     Backwards-compatible with select current XQD® host devices ^2
2. Backwards compatibility with select XQD® cameras subject to the availability and installation of a camera firmware update provided by the camera manufacturer enabling CFexpress® compatibility.
>>
...from here...
Extreme PRO^® CFexpress^® Card Type B | SanDisk:
https://www.sandisk.com/home/memory-cards/cfast/extremepro-cfexpress-card
 
Sooo, a CFexpress Card (with 1700MB/s read and 1400MB/s write speeds) will fit into an XQD slot and would work if the camera-maker provides the firmware to do so?! Hrmm, interesting development.
So, in the Panasonic world their S1/S1R 1x SDXC + 1x XQD card slot cameras could conceivably accommodate in-camera RAW recording to one of these XQD-compatible cards but their S1H with its 2x SDXC UHS-II (with their 300MB/s read and 260MB/s write speed) slots would be locked out of this internal RAW recording potential?!
Unless I'm missing something obvious, it seems like an odd card strategy on Panasonic's part (well, if internal RAW was ever in their strategy, ha!)...but its potentially great news for all you 1x QXD Z6 users! :D

From the OP link, "How can Canon ignore such a large amount of interest from filmmakers in smaller, affordable, 4K shooting cameras?"
I first became aware of 4K video back in 2010 while attending Canon's gear Expo at the Javits Center in NYC...it was my first time seeing 4K camera prototypes, first time seeing 4K monitors outputting 4K footage, first time seeing 4K sensors on display. I was immediately blown away by the clarity and detail possible at that resolution and I was convinced on-the-spot that Canon was clearly the brand to "hitch my wagon to" going forward.
I had been shooting my 7D and 5D Mark II for both stills and video up to that point and I was feeling a bit cocky that I had chosen wisely "going with Canon" leading into that expo. I thought, "Ooh boy, I can't wait for their 5D Mark III and Canon 7D Mark II, whenever they get announced! I've got to get my hands on some 4K gear, pronto!" And with the arrival of the 4K-capable 1Dc in late 2013, I was eagerly anticipating my "impending good fortunes soon-to-come"! Ahahahah!
The 2012 no-4K announcement for the 5D3 was a true "WTF?" moments for me, as was the 2014 7D2 announcement. "Really Canon?! What's the hold up?!" I was dismayed. Plans were dashed, my future shooting goals, postponed seemingly indefinitely, I was not a happy camper. Who, if anyone, was going to bring 4K DSLR-style camera gear to the masses?
The subsequent arrivals of the 4K-capable GH4, FZ1000 and the Sony Alpha lines began to offer a glimmer of hope for me and my "4K Canon master plan", "surely they'll come through now!". But, as we all know now, I was "hoping against all hopes". "What a shame and disappointment, Canon." I thought...and still do.
I began to jump ship from Canon with the FZ1000...and it was a revelation in "what the competition was up to"...sensible menus, fabulous in-the-field ergonomics, great video output quality (for me, at the time). I opened myself up to see what other manufacturers were offering and soon ended up with a Sony a6300 and a7SII...not as user-friendly as the Panasonic and more than a few-notches-below on image stabilization and rolling shutter, but usable, not a fan of their color vs Canon and Panasonic.
In the past year+ I've been a razor-thin phone call away from grabbing either a GH5 or GH5S after getting some 2017 PhotoPlus Expo hands-on time with Panasonic's G9/100-400mm combo...now here was Image Stabilization realized! A small piece of kit that can effectively do what my Canon/Sony FF camera + Sigma 300-800mm lens can do, but handheld with IS?! I was absolutely floored and that kit was under the holiday tree for my sweetie two months later!
I'm onto the S1, now...as I roll my fingers daily still waiting for that mythical V-Log upgrade to make that long boat trip to North America...thank goodness for Cine-D to sort-of hold me over in the meantime.
And, "whither goes Canon?" I know not and, truthfully, do not truly care any more. And I do not write this with malice or from "sour grapes", it's just that they are no longer innovators and pioneers in my eyes. Based on what I saw and experienced back at that 2010 expo, Canon could have and should have owned the 4K DSLR/M market today...how they managed to "snatch defeat from the jaws of victory" is beyond me. Haw! And should they ever decide to produce a DSLR/DSLM camera worthy of my attention and shooting needs and desires, I'll surely give it a look-see. But, to the OP's question, yeah, they lost me as a customer a while ago.

From the OP link, "How can Canon ignore such a large amount of interest from filmmakers in smaller, affordable, 4K shooting cameras?"
I first became aware of 4K video back in 2010 while attending Canon's gear Expo at the Javits Center in NYC...it was my first time seeing 4K camera prototypes, first time seeing 4K monitors outputting 4K footage, first time seeing 4K sensors on display. I was immediately blown away by the clarity and detail possible at that resolution and I was convinced on-the-spot that Canon was clearly the brand to "hitch my wagon to" going forward.
I had been shooting my 7D and 5D Mark II for both stills and video up to that point and I was feeling a bit cocky that I had chosen wisely "going with Canon" leading into that expo. I thought, "Ooh boy, I can't wait for their 5D Mark III and Canon 7D Mark II, whenever they get announced! I've got to get my hands on some 4K gear, pronto!" And with the arrival of the 4K-capable 1Dc in late 2013, I was eagerly anticipating my "impending good fortunes soon-to-come"! Ahahahah!
The 2012 no-4K announcement for the 5D3 was a true "WTF?" moments for me, as was the 2014 7D2 announcement. "Really Canon?! What's the hold up?!" I was dismayed. Plans were dashed, my future shooting goals, postponed seemingly indefinitely, I was not a happy camper. Who, if anyone, was going to bring 4K DSLR-style camera gear to the masses?
The subsequent arrivals of the 4K-capable GH4, FZ1000 and the Sony Alpha lines began to offer a glimmer of hope for me and my "4K Canon master plan", "surely they'll come through now!". But, as we all know now, I was "hoping against all hopes". "What a shame and disappointment, Canon." I thought...and still do.
I began to jump ship from Canon with the FZ1000...and it was a revelation in "what the competition was up to"...sensible menus, fabulous in-the-field ergonomics, great video output quality (for me, at the time). I opened myself up to see what other manufacturers were offering and soon ended up with a Sony a6300 and a7SII...not as user-friendly as the Panasonic and more than a few-notches-below on image stabilization and rolling shutter, but usable, not a fan of their color vs Canon and Panasonic.
In the past year+ I've been a razor-thin phone call away from grabbing either a GH5 or GH5S after getting some 2017 PhotoPlus Expo hands-on time with Panasonic's G9/100-400mm combo...now here was Image Stabilization realized! A small piece of kit that can effectively do what my Canon/Sony FF camera + Sigma 300-800mm lens can do, but handheld with IS?! I was absolutely floored and that kit was under the holiday tree for my sweetie two months later!
I'm onto the S1, now...as I roll my fingers daily still waiting for that mythical V-Log upgrade to make that long boat trip to North America...thank goodness for Cine-D to sort-of hold me over in the meantime.
And, "whither goes Canon?" I know not and, truthfully, do not truly care any more. And I do not write this with malice or from "sour grapes", it's just that they are no longer innovators and pioneers in my eyes. Based on what I saw and experienced back at that 2010 expo, Canon could have and should have owned the 4K DSLR/M market today...how they managed to "snatch defeat from the jaws of victory" is beyond me. Haw! And should they ever decide to produce a DSLR/DSLM camera worthy of my attention and shooting needs and desires, I'll surely give it a look-see. But, to the OP's question, yeah, they lost me as a customer a while ago.

After receiving yet another email from B&H that they're still waiting on the DMW-SFU2 Lumix S1 Filmmaker V-Log Upgrade Software Keys from Panasonic I decided last week to take matters into my own hands and reach out to Panasonic directly to inquire as to the hold up...
Several attempts (going back to last Thursday) to get through their phone system resulted in dead-ends as I encountered "Please call back during normal business hours" messages...those call attempts made during their "normal business hours"! Haw!
Well, good fortune shone today as I just got off the phone with a Supervisor at Panasonic USA's Customer Support line (800 211 7262) who informs (after some prodding for a specific date or time estimate) that Panasonic will have their backlog of B&H Customer DMW-SFU2 codes delivered to B&H by the end of September.
I can't say where hearing that I might have to wait up to yet another month+ came as particularly happy news considering that I purchased the camera back in the Spring (early May), watched their Summer (July) V-Log release promise blow on by like a runaway train, and now, hopefully, I might be able to make some Autumn (late September/early October) shooting plans? Oofah.
Well, "shame on me" as the saying goes, lesson learned I'll not be giving Panasonic the benefit of my being an early-adopter again.
Oop, almost forgot the punchline...I'm still waiting for my 3-year Extended Warranty confirmation from them, as well, the Supervisor also informed that that takes them at least 60-days to process! Ahahahah!
:/
Jimmy G

Nice showcase reel of your team's shooting/editing/storytelling talents. Bravo! I especially enjoyed the wanton use of mixed media throughout, it truly works for (dare I say, adds to) this piece! :)

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.
 

Yeh id love if it is 4k60p 10bit internal , i can ditch atomos and just have Ronin S less hasle to carry with me 

Thanks again for taking the time for that confirmation, Lars, much appreciated!
I was a little too busy and excited yesterday at the prospect of having access to the VariCam LUTs that had I merely taken the time to RTFM on the matter I would have seen that this LUT naming scheme is actually covered in the S1 Firmware Addendum for the DC-S1 on page F-13 and confirms your "8.3" reporting "to a T"...
<<
• The following LUT data can be used:
– The “.vlt” format, which meets the requirements specified in the “VARICAM
3DLUT REFERENCE MANUAL Rev.1.0”
– File names consisting of up to 8 alphanumeric characters (excluding
extension)
• Save the LUT data with a file extension of “.vlt” in the root directory of the card
(the folder opened when the card is opened on a PC).
>>
...User Manual screenshot from that page below...

CVP may have been under the assumtion that is was 3 letters, I mean 3 characters also work, but the max is 8 as you can see in my screenshot.
More than 8 won't work.