Mmmbeats

Did you just say fam? ? ?
 
eta: Just seen your location, which makes it less likely you meant to say fam.  Pity.

nah a lot of us younger US boi's say fam. But I believe its mostly a UK thing iirc

Did you just say fam? ? ?
 
eta: Just seen your location, which makes it less likely you meant to say fam.  Pity.

I think that smartphones are a huge part of the changing market. People are certainly switching to smartphones from other types of cameras. The question is from what?? 
So, I had an idea to investigate further. Keep in mind that this is *purely* anecdotal and may not apply to the overall market. I pulled this list of most commonly used cameras from flickr.com and sorted them by the average number of daily users.
NINE of the top ten cameras were Apple iPhones. The Canon 5D MIII comes in at #7, with the Nikon D750 close behind at #11. Eleven of the top 20 were smartphones. The first point/shoot camera is #68. So, the P&S cams have been completely killed by phones. The DSLRs? Not so much. But, mirrorless is a blip on the radar so far.
Here are the top 15. I attached the entire list as a PDF.
What do you guys think?

 
  
 
Camera usage on Flickr - 2019-07.pdf

The idea of M43 being the testing ground for these kinds of things is kinda exciting and confirms what I, and others, thought about Panasonic using the system to lead the way when it comes to features. 
For some Full Frame will always be king, but if they can keep M43 small and innovative my interest in the system will remain. Give me the benefits of the smaller sensor, please! 

What does him being Mexican have anything to do with it? Perhaps "Physicist Solves Spherical Aberration" is a better headline.

Contrast -1
Sharpness -5
Noise Reduction -1
Saturation -1
Hue 0
You can turn noise reduction to -5 too if you want to handle that in post or you don't want the camera to do it.

Having chosen the virtues of the GH5S over the IBIS of the GH5, I did use IBIS (on my GX80) for a run-around shoot the other day.  It was an absolute delight. 
I used a Zacuto loupe off the screen, and added a small video head for weight.  There was some sensor panning going on, but it was smooth and appropriate for the subject (a fast-moving cultural event).  The footage was more stable than had I used a monopod.
In short I'd be excited to have IBIS as an option on a camera like this.  I wonder if the killer combo would be a fully grown cinema camera (for built in everything) + a little mobile number like the SH1?

Matthew Libatique is the director and the DOP of this short. I’m not sure is a great director but a great DOP, yes.
Serious team for grading .
Fuji says about this short : « A Different Beyond” was lensed with FUJIFILM/FUJINON MKX cinema zoom lenses, FUJINON Premiere PL Cabrio zooms, and Zeiss Super Speed PL-mount primes in order to show the feasibility of using varied professional optics with the new FUJIFILM X-Trans 4 sensor. Most of the movie was recorded into the Fujifilm Log (“F-Log”) Rec2020 color space, both to internal SD cards and Atomos Ninja Inferno devices, and then professionally color graded. However, several of the scenes were recorded using FUJIFILM Film Simulations directly (ETERNA, Velvia and CLASSIC CHROME) to show their suitability for projects that don’t have time or budget for color grading. « 
You can dislike the grad but I think it is a serious work. 
 

This is a pretty ludicrous response.  First off, grading is, beyond anything else, a subjective matter.  So you didn't like the way they used shadows and concealment to draw the viewer in.  I happened to love it.  In no universe is there a definitive 'too dark' in these matters.  Not to your taste?  Fine.  Simply wrong?  That I don't accept.
That character's first scene, which is the one I imagine you have most objection too, uses concealment to draw the viewer in, and does a pretty good job of it imo.  There are highlights that flash up here and there that give glimpses of the pressure the character is under, and then they use motivated light for a great reveal (when the headlight splashes through the window and you finally get a full glimpse of his fear).   It's not the most devastatingly amazing cinematography I've even seen, but it does a very good job.
Secondly, the image you've posted up as a comparison is so different in tone and feel it's more or less irrelevant.  It's not going for anywhere near the same kind of atmospheric sense of dread.  It's shot in a completely different set of lighting conditions, so of course the exposure looks different.  Added to that, it's not even technically that accomplished of an image (though it may work perfectly well in the context it was intended). 

I genuinely wonder if the gamma is a bit off on whatever screen you're viewing on, cos that can make moody stuff look impenetrable.  
 

This is a pretty ludicrous response.  First off, grading is, beyond anything else, a subjective matter.  So you didn't like the way they used shadows and concealment to draw the viewer in.  I happened to love it.  In no universe is there a definitive 'too dark' in these matters.  Not to your taste?  Fine.  Simply wrong?  That I don't accept.
That character's first scene, which is the one I imagine you have most objection too, uses concealment to draw the viewer in, and does a pretty good job of it imo.  There are highlights that flash up here and there that give glimpses of the pressure the character is under, and then they use motivated light for a great reveal (when the headlight splashes through the window and you finally get a full glimpse of his fear).   It's not the most devastatingly amazing cinematography I've even seen, but it does a very good job.
Secondly, the image you've posted up as a comparison is so different in tone and feel it's more or less irrelevant.  It's not going for anywhere near the same kind of atmospheric sense of dread.  It's shot in a completely different set of lighting conditions, so of course the exposure looks different.  Added to that, it's not even technically that accomplished of an image (though it may work perfectly well in the context it was intended). 

I genuinely wonder if the gamma is a bit off on whatever screen you're viewing on, cos that can make moody stuff look impenetrable.  
 

A matter of taste I guess.  No part of any frame was too dark for me.  Lovely looking and well worked.  One of the better showcase films I've seen.
I know you need a fair bit of production budget to get results like these, but what times we live in for entry level cameras, eh?

I agree. Just like with the S1, Panasonic has built a body that can and will be able to handle heavier loads in the future. So while Sony will surely have to start from scratch to match even the 10-bit, 60fps S1 specs with the A7sIII body, Panasonic has already built a larger body with a vent and cooling system for even more intensive work loads than the S1 - the S1H. 
Which means we'll see at least 10-bit 4K All-I 400mbps, probably in 60p as well, plus the 6K already announced (hopefully in 10-bit H265 or compressed raw) and any other firmware updates they want to throw in there as competitors release their own high-end video hybrids - their system is already built for future processing loads. 
 

From all the interviews I'v watched, definitely seems there are some big features not  yet announced. 6K and Anamorphic are not the only BIG features the S1H has over the S1. Every Panasonic rep has said this and done a bit of "wink wink," wonder what that vent is for, etc etc - it's going to have some other big features (IBIS, internal raw, compressed raw, NDs, something...) and they are just holding back so that when they fully announce the specs (probably early September or so), they have some more headline-grabbing features. Especially since that will be around the time the Sony A7sIII is announced. 
But we definitely don't know yet what this camera can fully do, but we can be sure it will have quite a few more powerful features to differentiate it from the competition and warrant its $4000 price tag. 
I will say that if there is one place Panasonic always delivers, it's in value for money - from Varicam LT vs Sony F5/F55/C700 to EVA-1 vs C200/FS7/C300 and, even though everyone says it's too expensive, the S1 (with free firmware forthcoming) vs any other mirrorless/DLSR camera out there. 

Well I think it depends how much control you're able to exert.  Often on a low budget shoot, access, time, personel or resources will prevent you from being able to apply the solution you'd like to have.  That's when windows start to blow, skies start to pop, and other undesirable things start to happen.  At the sharpest end of low-budget you just can't always fight all the fires.
Of course there are ways around this with meticulous planning and imaginative framing, but having a camera with superb colours and high DR sure would be a helping hand.  

I am aware that features have been made with all sorts of cameras, including phones.   But huge compromises have to be made.  I shot on a GH4 for years - absolutely love the camera.  But the DR alone would have me pulling out my teeth if I had to shoot a feature with it. 

There are intangibles that set aside the image from proper cinema cameras over prosumer cameras that go way beyond the spec sheet. 
If Panasonic really are putting all of their highly-regarded Varicam / EVA science into a $4K tool, then that is a remarkable facility to have available.
Perhaps looking at the incremental steps up from GH5 and S1 is the wrong way to look at this camera, and it is better to measure the incremental step down from the existing cinema lines.
As an example, if it lives up to the way Panasonic are selling it, this could be an option for micro-budget feature films, could it not?  £4K for an image you could potentially put up on a movie screen? 

You're disappointed in what? The DP, defocusing or geee how the camera performed. I love when industry people can't form a complete sentence to back up "why' they don't like something or are disappointed. 
You seem disappointed in a lot of you post and this seems like a meds issue.

Using 'girl' or femaleness as an insult in this day and age really is quite pathetic.  Learn to 2019.

Using 'girl' or femaleness as an insult in this day and age really is quite pathetic.  Learn to 2019.

The footage is well shot, lit, and graded, but am I the only one surprised at how soft it looks generally?  I know clinically sharp is not an ideal to chase anyway, but the majority of the footage on that compilation looks soft and mushy to my taste.

Using 'girl' or femaleness as an insult in this day and age really is quite pathetic.  Learn to 2019.

I’d bet that is due to the lenses. They shot this on Atlas anamorphic primes. Which imo are far from sharp. Indeed, Atlas states they were trying to achieve a vintage aesthetic with these lenses.

You absolutely come off as the girl in your comments about "2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip. Retail total $7123. My total $5044!" or you come off as a braggart.  
I never mentioned the EOS R in a positive light ever. I also never said one negative thing about the S1 or S1H, ever.  I'm all for progressing technology that helps everyone. 
I've never understood braggers that have to post about how much they spent on gear, good for you but no one cares about braggers. What's the crow I'm suppose to be eating? 
And again, how long have you worked for Panasonic ?

I don't know, I feel like the 1DX MK2 did well enough with solo operators. Granted it has and still has the best auto focus one can get. That said the Panasonic punches ahead in terms of low light, dynamic range, resolution, bit depth and codec.

I think people are also underestimating the value of a flippy screen. Some vloggers have been using Pana G85's or GH5's almost solely for the flip screen. A full frame flippy screen camera that isn't a handicapped Canon has been long awaited. Probably a pretty niche market though.

We'll see how well it does at $4000.