Jimmy G

Don't forget to take the speedbooster into account. What you see might not be the lens.

From my own results, I ended up picking the only three samples that were shot in 4k.  Based on my test observations, I discarded samples that had line skipping or aliasing artifacts that were either apparent on the floating platform or in the fine hairs on the end of Gunpowder's nose.  There were also a few samples that seemed excessively soft.
All in all my take is that these camera makers use a fairly rough form of downsampling to achieve HD.  At least on the cameras used in this test.  From what I've seen on the S1 in other tests, it shots amazing HD.
A few of the tests had some pretty muddy looking colors.  I wonder if that was due to the variable NDs.  Not really sure.  The colors presented were a secondary concern in my judgement because I personally feel that as long as there is decent color separation, a final look can be achieved with some quick tweaks in post.
I really appreciate the test.  And I know they take a lot of time.  My own take away though is that the hardware and what format you shoot a camera in to squeeze the best quality out of it does have real impact on the final results.

Interesting results! I certainly disagree with the majority here haha.
Though, I suppose in an uncontrolled test, people are going to be judging different things. I tried to ignore DOF, compression, and focus, and really just looked at colors to the best of my ability. It would be interesting to know why people voted the way they did.

Counting up all the blind tests and shootout videos I've made we must be talking at least 50 cameras, probably closer to 100. 
The results are always the same. It doesn't matter..
If you can get hold of an R to try it out it could very well be worth the time. Personally I enjoy it. I don't own it but when buying new gear for my employer it was an easy choice.
There are always "ifs" and "buts" to tests. And conclusions are about as subjective as color

Yeah.  I hit that VP9 / Safari / Chrome thing when I bought my 4k display and wanted to watch 4K content and went down that rabbit hole.  Safari also used to restrict going full-screen on an external display because of DRM issues, so I read up about it and it turns out that the other browsers are fine.  Now the DRM issue is gone but the 4K one seems to have replaced it.
In terms of the colour grading, I did really like the colour from the EOS-R.  Somehow Canon manage to make the colours very saturated without them being so in any negative artificial way, which when I grade log footage is deceptively difficult to do.  One of the reasons I've kept my 700D is to use as a reference.  I haven't done it yet with my GH5 but at some point I should probably setup a test scene and shoot it with both setups, then colour match the GH5 to the 700D and save that as a reference grade.  Even if I don't end up using all of the steps (the 700D is likely to be far too contrasty for my tastes, for example) there will be elements of the grade that are desirable, and will translate across other lighting setups and subject matters.

It certainly shows the importance of watching it in the right browser.
And people seem to pay a lot of attention to colour grading and lenses, as far as the mood goes.

i went with j and j.  In the gunpowder shot, i just like the moodiness or darker frame.  I have a  natural preference for a low key image i think. The lake scene because i had already gone for j kinda predetermined  a vote except i did a goldilocks thing and decided i was too little and k was too much j was just right. i didnt  do a 2nd or third place.
from a newbies perspective i think that perhaps a lot of people from this forum probably made a science experiment out of it and literally tore those images apart. however i suspect a lot of people that watch mattias's channel are a bit like me and picked images they like without too much analysis which is why j and j won.
it is a bit embarrassing i have the bmp4k camera and i like it. but it didn't pick it in the contest. Don't worry i'm not that distressed, that theres going to be a bmp4k on ebay anytime soon  ? I also watched it in 1080 on a laptop. With a pretty average internet connection and download plan 4k seems a little excessive too me. So i get by on hd when i can. not sure if watching it in 4k would have made a difference and going back to do it again maybe camera choice would change but then i know more now than i did before so its not that relevant and the results biased. thanks for the test matthias and the others for their input i learned a couple of things which i guess is what its all about 

Hi Emanuel,
Making no pretense in being familiar with Deleuze my take on (what I'll refer to as) the "grand philosophers" is that, in my experience, there has been an absence of conciliation with (what I'll describe as) the philosophies of the individual person. "Grand philosophy", in my opinion, is itself an art form that can be best appreciated and explored when there exists an abundance of leisure time and where there is interest for the individual. Lengthy tomes and their critiques require the time to consume. Wherein, most persons are engaged in the daily basics of survival (maintaining food and shelter) it has been my observation that in what small snippets exist of leisure time throughout their days each individual creates and adopts their own personal philosophies based on their life's experiences (whether they are cognizant of this fact, or not).
Tying this into filmmaking I am hard-pressed to think of many films that have dealt with the subject matter of the, um, grander philosophies of human existence. Stanley Kubrick's Dr. Stranglove comes immediately to mind as a "dark comedy" narrative dealing with the then-new existential threat of global self-annihilation on a sunny afternoon...
Dr Strangelove - Official Trailer [1964] HD Remaster - YouTube:
 
Whereas, again in my own observations, most folks are interested and concerned with (and put aside the time for) the enjoyment of films which deal with the more-immediately-relatable-situations-to-their-own-lives philosophical and emotional interactions between individuals. "Shooting a fish in a barrel" for an example here, Shawn Levy's This is Where I Leave You provides a comedic take on the philosophical and emotional intricacies surrounding the lives of various family members while sitting Shiva for their late father/husband using an ensemble cast...
This is Where I Leave You - Trailer - Official Warner Bros. UK - YouTube:
 
To use your above quote...
<<
It seems to me that what follows is the increasing complexification of the world, as more people are born (than those who die), and as more ontological levels of multiplicity emerge, which necessarily interact with others. Think of everything that one encounters in “virtual reality” or “cyberspace”, and the impact that these phenomena have on concrete social reality. Since the advent of the internet, the complexification of the world through increased multiplicity has accelerated."
>>
...I take the contrarian view (>cough<, critique) that we humans (globally) are, due to these very technological "complexifications", engaged in a grand distillation of philosophies (both grand and personal) with this global dialogue. It's not just a philosophical conversation about one's own daily struggles to maintain food and shelter just to survive,, it's also the philosophical discussion about how everyone can survive, and, ultimately, the philosophical discourse about how all creatures sharing the ecosphere this planet provides can survive. I find these to be both perilous and very exciting times, indeed.
My own imaging interests are mainly to document the lifeforms and environment I encounter, I am not a storyteller as my intention, so my lurkings here on this forum are mostly as a gearhead. My attendance in your thread (this) is merely as a lover of the conversations that surround this medium...and, well, as a life-long observer of personal philosophies. Thanks for putting Deleuze under my nose, I'll return the favor with my favorite philosopher...
<<
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion.
Excerpt from Henry David Thoreau's Walden.
>>
Best, :)
Jimmy G

The ball is in Sony's court?  What?  I don't understand the Sony reverence.  Panasonic, Olympus, Samsung, and even Canon have introduced cameras with Cinema 4k and actual 24fps.  Sony hasn't.  Moreover, Sony can't even create a camera without overheating issues. 
Sony needs to play catch up in so many ways they shouldn't even be mentioned as a viable option for anyone but masochists. 

+1 on 1.5x APS-C/Super35 sensors for the M4/3-mount, truly the solution, using established film-stock language, that would provide for smaller and lighter camera/lens systems vs FF, IMHO. M4/3-sensors (aka: ~110-film-size) can then be the "crop" version for that mount system. And, finally, some manufacturer, please...an FZ2000(2500)/RX10-style (read: all-in-one, non-interchangeable wide-to-zoom lens, fully sealed body/lens, body+lens IS) with an M4/3 (or, yes, even an APS-C!) sensor for us run-and-gun nature/wildlife shooters for whom changing lenses in the field is a recipe for disaster! (Sooo close, Panasonic, with the GH5/G9/100-400...sooo close to perfection...too bad about that GH5S omitting IBIS, though, Ha!)
But, hey, I'm just some "lowly" enthusiast who, so far, only volunteers his retiree's time and resources with posts to the eBird/Macaulay Library...
Macaulay Library – A scientific archive for research, education, and conservation, powered by you:
https://www.macaulaylibrary.org/
...so it's unfortunate to read about JVC's (and/or any other manufacturer's) decision to not solicit or investigate (or even filter-out) non-pro/non-paid voices for their imaging/video needs and interests.
Edit: So, how about it, JVC? An MILC M4/3-mount APS-C camera to shake up the marketplace segments?! ...with a global shutter, of course! :D

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! 
Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount  JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many.
JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. 
With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market.
Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU.
There’s  more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me! 
 

IMO, no better place to start learning about "making something out of something" with no more than a camera and a mic for outdoors sport activities than Warren Miller's work...
warren miller - YouTube:
https://www.youtube.com/results?search_query=warren+miller
...first hit there (this morning) brings up...
. . . Like There's No Tomorrow Official Trailer - YouTube:
...and ought to get anyone's juices (creative, and otherwise) flowing!
As for travelogues, a personal fave of mine (again, just camera and mic and whatever nature gave them on any given day for light and adventure) and a personal "repeat go to"...
180 South HD Trailer Official - YouTube:
 
...great reminders for me that there's a world of personal adventures to be had and that I need to get up off my ass and go do something!
Hope that helps. :)

I think one of the key benefits of going to film school is that they force you to look at films and analyse them, force you to make films of different kinds, force you to use each type of shot, each type of lighting setup, each type of whatever.  In this sense, if you can overcome the laziness and also push yourself out of your comfort zone and try new things then this is the answer.  I'm a big fan of just making lots of videos, and also of making different types of videos.  However, this is only half of the picture.
The analysis of what other people did is the issue for me, thus the idea of just watching something over and over again.
I make videos of my family, so in terms of genres, its: travel docos (when we travel), nature docos (when we visit zoos and wildlife sanctuaries), action/hype videos (when we swim, or when we attend sports events like bull riding), and sports videos (when the kids play sport).
What are the finest examples of those genres I should be watching 100 times over?
 

I will simply leave it at sometimes available light is preferred!
Same gig

I didn't see anyone saying that lights don't have a place (and a pretty big place) in many situations.
I did see someone saying
"Whoever believes that a camera that shoots in high iso saves them a proper lighting setup and/or a crew, haven't really understand what is going on.
Photography, is "writing of light", not the lack of it."
So when you shot live events you ONLY used lights/flash?
I have used many cameras for live music for years back to film SLRs and I have always hated using flash on the band.      I am fine with using flash to shoot the people who come up to me for their photo at these gigs.     
Flash/video lights kill the stage light/atmosphere and sometimes, it used to be that the lighting was simply too low for my gear.     Now it isn't regardless of how low the light.       A7s just means I can shoot at lower light levels.    
As for IBIS, though I love it (have had five cameras with it), I don't think it has ever been of use for live music for me and neither has IS/OSS/VR.
There is a big place for lights/flash and there is a big place for not using it too for me anyway.
 
But I am not lighting it and that same stage varies greatly from very very bright walls of light to extremely dark.
My ISOs vary from one extreme to the other in an instant there.
It is the best stage I know for bands. 
 
 

Excuse me band, excuse me pub, excuse me patrons but would you mind if I used video lights throughout your song?
From time to time someone does bring in a video camera/camcorder with light and it is REALLY annoying (just like using flash every shot).
Some venues have great stage lighting too and that is what I would prefer.        My ISOs can range from something like ISO 400 to 80,000 with variable stage lighting so it isn't just high ISO.
Living in Paradise

It has already been provided in this thread, Fritz. Check out the DigirectTV video. I'm referring to that.
Also, the Panasonic ambassador video of Griffith Hammond shows significant skew when panning.
 
Hey E. I lived the video transition from tape then to digital tape and then to digital cards, so I became accustomed to having very little RS and jello effect in my work.
And yes, this was back in the CCD era. In the last decade resolution has improved exponentially at the expense of RS and jello. 
Guess it's and either/or proposition.
Unless I leave the camera static on a tripod, skew and jello affect every kind of shooting I do. It's not aesthetic and I detest it. 
But deep down I'm an optimist. I'll just have to wait a bit more until a camera maker solves that problem and gives us both a moderate price.
Cheers from Latin America

Folks here sharing experiences with all sorts of recording gear...
Taperssection.com - Index:
http://taperssection.com/
:)

I found this chart (originally posted in 2016, but which has apparently been updated with newer 2018-19 HDR TV models) with tests comparing DCI-P3 and Rec. 2020 capabilities of various TV displays available in the U.S. market (sorry, that means no Panasonic HDR TVs listed)...
Wide Color Gamut Coverage of TVs: Rec.709, DCI-P3, Rec.2020 - RTINGS.com:
https://www.rtings.com/tv/tests/picture-quality/wide-color-gamut-rec-709-dci-p3-rec-2020
...so it's looking like that if one's target is to correct for Rec.2020 then the TV-as-editing-monitor market is not-quite-there, yet.
Which then raise the question in my (new-to-HDR) mind, is there any sense to just correcting to DCI-P3 for now (if one's NLE allows), since that's all anyone's target audience can maximally enjoy here in early-2019?

Well, if the following information from Sound&Vision is correct...
<<
Virtually all films are currently mastered for video on monitors having P3 color primaries. Those primaries are converted to Rec.2020 based coordinates, but the color values are identical, leaving the consumer with Rec.2020 color that only extends as far as the P3 color gamut within it.
>>
...from...
Colors in Space | Sound & Vision:
https://www.soundandvision.com/content/colors-space
...then it sounds like one could actually use a DCI-P3-capable HDR TV as a monitor to grade their HDR content for DCI-P3 delivery? ...or am I missing something both obvious and important here?

-HDR-noob

Since going digital in the early mid-'00s (Canon 300D > 30D > 5D2 > 7D) my search for "the perfect fast, low light telephoto zoom" led me to the obvious (and apparently only) choice on the market, the Sigma 120-300mm f/2.8 EX DG APO HSM. This was a non-stabilized (OS, in Sigma parlance) lens that, while not quite Canon L-prime sharp, produces excellently sharp images with beautiful bokeh with smooth and swift AF...
Sigma 120-300mm f/2.8 EX DG HSM Lens Review:
https://www.the-digital-picture.com/Reviews/Sigma-120-300mm-f-2.8-EX-DG-HSM-Lens-Review.aspx
Sigma 120-300mm f/2.8 EX DG IF HSM APO Lens Sample Photos and Specifications:
https://pbase.com/cameras/sigma/120-300_28_ex_if_dg_hsm_apo
...you don't mention a budget but one can find these used in the ±$1K range. (This lens has seen optical design improvements over the past 10-years with an OS version and now the OS Sport version...I've owned all 3 and currently still have the one listed above (it still sees use!) and the Sport, the Sport now being my go-to tele on cloudy days or when I'm looking to shoot at shorter distances.) On the GH5 (by my math) one should see an effective FOV at the long end of 384mm at f/1.8 when using a MB 0.64x Speedbooster, otherwise straight-through it's an EFOV of 240—600mm at f/2.8 with the 2x crop.
To manage its 5.7lb. heft I employed (still do, actually) a Manfrotto NeoTec 685B trigger-release monopod (~30–67" working height with removable rubber foot with a retractable ball foot that reveals a spike foot) with their 322RC trigger ballhead combo with their 357 quick-release plate system that provided latch-and-twist-lock-free height and angle adjustments for quick-and-solid positioning. The combined maximum height here put(s) the EP at better than the 6-foot mark.
As for a mic selection, I've recently outfitted my sweetie's G9 with Panasonic's DMW-MS2 mid-side stereo shotgun mic that the camera can "talk to" (there are Special Mic menu settings to adjust it's field angle)...the wire for this mic can be wrapped around the front, CCW from the hot shoe, keeping it neatly out of the way from the camera's controls and away from one's forehead! (And, just to add to the mix here, her tele-zoom choice is the Panasonic Leica 100-400mm which provides Dual-IS so she doesn't need a tripod or monopod.)
Anyhoo, these choices work well on our end, I hope this was helpful. Keep us posted as to what you decide.
:)

You can shoot Super 35 in all framerates (4K/60P and 1080/180P can only be recorded in Super 35). In 1080P, your frame rate does jump from 60P to 150P. I'd love to see 120P added.
Pixel-Pixel is only available in 1080P modes, which makes sense as the Super 35 modes are 4K at the pixel-pixel level.

No problem. I think you are hard on them. The manual was out a month ago.
Here is the manual on the English website: http://eng-ca.faq.panasonic.com/app/answers/detail/a_id/55502  
The link I first send you is on the first page of Google search result "Panasonic S1 Manual". It isn't hard to find it for me.
Panasonic had extensively help guide on YouTube that was released a couple before they release the camera to go over all the features this camera: https://www.youtube.com/user/PanasonicCanadaHelp/videos
They have provide FW update in the same month they release the camera. 
I'm also in the US. 
I don't usually read manual for any camera, but decided to read it since I had some time before getting my camera and I thought the manual was extensive in providing details of all their features. There are alot of features!

Well, we've owned a number of Panasonic cameras dating back to their ZS3 and I've always maintained bookmarked links to their product pages as an easy find for their Firmware Updates, Manuals, etc., so there's never been a need to have to go searching for something when they've historically always conveniently provided all of this information and software in one expected location...ergo my point of the (again, IMHO) "poor job" in these regards with the release of their biggest flagship camera ever. FWIW, in my 32-year career in corporate telecomm experience I can tell you that if the "higher ups" in my former employers business became privy to such a level of non-performance from their web marketing team for their premier product line that that group would most assuredly be, er, "taking a meeting" with the bosses first thing tomorrow morning to explain the, um, "situation".
Me hard?! Hardly! Ha!
Anyhoo, thanks again for the link...I now have a better idea how the "Image Area of Video" menu functions (p.238-239) operate (from my earlier post)...you're my hero today!
:)

The S1 can be manually set to shoot video in either FF or APS-C crop, as seen at the 11:15 mark in this video from the kind folks at CVP...
Panasonic S1 | In Depth Review - YouTube:
...which they claim "will allow creatives to use Super35 or APS-C lenses". However it's not clear to me (nor do they explain in that video) as to which video rates (e.g. 4K 30?, FHD 60?, etc.) allow for that choice between these two frame sizes. Also, based on that same fleeting sequence there seems to be a user-selectable Pixel-by-Pixel (dimensions also user-selectable?) aspect ratio, as well.
In all of my online investigations into this camera I have only seen mention of this capability in this video. The function is located in the "Others (Video)" menu and has apparently escaped detection by other reviewers of this camera. FWIW, Panasonic, themselves, have done a fairly poor job (IMHO) up to this point (as of this writing) in not providing prospective buyers with a full, downloadable User Manual for these new S-Series cameras.
Perhaps one of our fellow EOSHD posters already using this camera can investigate the above functionality and report back here as to how and when it actually works or doesn't?!