KnightsFan

Seems like it. I'll watch this with interest, more as a concept than something I would buy since it may be rather expensive. We've seen a couple attempts like this in recent years. The Axiom project is the prominent one, featuring a modular concept and a global shutter. The Craft camera (which was never more than a couple 3D renders for marketing), also championing modular design and a global shutter. The Fran, which was a Windows computer with a global shutter sensor. The nice thing about a camera like this is that, with a powerful enough computer, there are really no limits to what can be done. I've mentioned it before, but with a setup like this you could for example use a Zoom F4 as a USB audio interface and record synced, multitrack audio directly in the video files. With a sufficiently open API you would have a lot of control over how files are recorded. They seem to be using ffmpeg, and basically said that only the hardware speed limits the codecs and formats that you use. Depending on how open their software is, you could potentially do a lot of file management assistant editor'-type jobs on set as you shoot as well. I really hope they expose the software as a proper OS that you can use as a normal desktop computer if you wanted to. My pipe dream here is for an all-in-one pre-to-post computer. Write a script, storyboard, shoot, and edit all on the same device, with software that keeps it organized from start to finish. How awesome would it be to be able to have a PIP or overlay between the live view from the camera, and the storyboards? Hit record, and the camera knows which shots you're doing based on the storyboard, records video and "external" audio directly into the same file. At the end of the day you plug it into an eGPU and you can edit with almost the full power of a decent consumer PC. I can think of so many ways to streamline my productions if there were an ergonomic way to attach a WIndows or Linux PC on my camera on set.

To take a step back, what the MFT proponents here want is an APS-C sensor they can adapt or speed boost. MFT and Sony E were the only two real mirrorless mounts up until recently, and Sony E was out because of patents. I don't think many people genuinely want MFT over, say, RF, L, or Z mounts if the legalities worked out and the corresponding adapters and speed boosters existed, which they don't--yet. I would personally love to see more companies join in with the L mount alliance. A standard mount across different brands would benefit consumers. Another option is if JVC made it EF mount, but had an optional focal reducer fitted inside the mount, like what Luca does for Blackmagic cameras. There would be a couple disappointed people who really wanted to use FD or other short flange vintage glass, but overall that's a good solution, since EF is still widely popular. JVC already makes fixed lens cameras, so they have the capability/partners to make their own focal reducer. And of course a FF sensor with EF is an option as well, if it doesn't balloon the cost. But hey, if Z Cam can make a $5k FF cinema camera, maybe JVC can? Just brainstorming any viable solutions that don't include MFT. But none of them are likely to happen, so MFT really is the most likely mount that JVC would choose to allow speed boosting an APS-C sensor.

I agree with @webrunner5, it's too dark and doesn't look good. Kind of like that Game of Thrones episode we had a topic about recently. I'm also watching on a color calibrated monitor. I even turned the lights off to give them an extra benefit. Subjectively, I think it was poorly done, the the fact that they had an extensive, professional team and used such amazing gear makes me sad. The thing about darkness is you always need a point of reference. Like that image @Anaconda_ posted from 12 years a slave. That lantern blows out, showing just how dark it really is in the environment, and you get that wonderful, insane lowlit glimmer on the eye from the lantern. You still see the characters standing out against the background, giving your eyes a focal point. What it does do is give you outlines that your imagination works with. The almost pitch black background closes in around the protagonist. The two faces show expressions, but your mind puts in the details. A lot of the frames from the Fuji video were just normal images, but dark. Instead of using darkness to occlude something that your mind fills in, it's just an ordinary shot, darker. Like the two shot at 1:22. It's not just dark, it's flat. No highlights, no eyes, no backlighting, really just a completely ordinary two shot where you can't quite see it comfortably. And again at 2:28 the guy with the bat. No contrast to pull the character out of the scene, or to give your eyes a place to go. There's no sense of the lighting drawing your eye to a person in a dark world, it's just an ordinary shot of a guy in a garage that's underexposed.

That's true, but on the other hand, it would be trivial to hide hobbyists' responses from the response database as they peruse the results.

@Kisaha I'd like to see a shorter body for sure. But 99% of my shots are on a tripod or glidecam, so the handheld-friendly grip and form factor of a C100/XC15 is not that important to me. If it has a handgrip, I'd like it to be removable. AFAIK the XC15 grip is fixed, and has the battery inside? I haven't actually used one. A big heavy grip to one side makes it that much more difficult to balance on a glidecam. I did like the ability to strip down the C100 somewhat, though it was still a little top heavy in my opinion. A lower center of gravity is easier for balance. And thought I haven't used a C100 much, and perhaps there is a way to customize the buttons, one thing I hated was that I had to press the ISO button and THEN use the wheel to change the value. I like DSLR style dedicated wheels for each function, so that you can change ISO or shutter speed in one press instead of two. I'm not big into anamorphic either, but it is nice to have different aspect ratios in general. It's always nice to frame and record in the native project format. I've been requested to frame for 4:3, and even 1:1 (for social media).

Yeah, basically XT3 image quality and recording formats inside a GY-LS300 body would be ideal. Adding ProRes in addition to HEVC would make it very flexible and scalable.

I was split 50/50. I found it very easy to guess which was which, especially on the faces, but the Fuji was a little overexposed for my taste. Exactly.

I grew up shooting with film cameras as a young child, before my family ever bought a digital camera. I used old Kodak disposable cameras a lot, and occasionally an old Voigtlander Bessamatic. I still use the Voigtlander 50mm for special shots these days. I've recently shot a tiny bit on 16mm with a Bolex. I guess for me I always try to be sparing with shooting, both photos and video, so film isn't much different. I'd rather rehearse 5 times and shoot one take. Shooting on film never feels any different to me, to be honest.

So if it is FF is it 6k or does it line skip? I assumed it must crop for 4k.

Ah ok. I was thinking the S6 with the preorder discount for some reason. $2500 for the S6 vs $2700 for the Z6+ninja, though it seems the Z6 is $200 off so it is roughly the same, give or take. Certainly cheaper than either of z cam's full frame cameras.

Do we know yet whether it is FF or a 4k crop?

Not if you include the cost of the recorder. But they are pretty close, depending on which media you use or if you find used prices. I am heartbroken! But they said they are looking into an interchangeable mount and that its possible a 3rd party could make a MFT option so there is still hope! When i saw the price drop i was so excited, but if you can't speed boost to FF it makes more financial sense to me to get the original E2 and speed boost that.

@kye very important! All i mean is if you use software that is labelled as incomplete, you have no right to complain about bugs, either report then to the devs or wait for the actual release. (Of course discussing bugs and crashes with the community is valuable as well, i just get annoyed with people smugly saying the resolve beta isn't ready for production use... Of course it isn't)

Have you reported your problems to blackmagic? It defeats the purpose of a beta if you don't report the issues. It's not finished software, and you shouldn't use a beta for anything other than lookinh for issues, and certainly not for anything important.

I said at the beginning that the S6 was overpriced compared to the normal E2 and the F6. This makes much more sense, and makes it really appealing. The available frame rates and resolutions that they have been posting on FB are confusing at best. I believe that every 6k option will also be available in 4k downsamples from a 6k readout, as well as some 4k crop options. I don't know that I would ever shoot in 6k, but I guess it's a case of "if the camera can handle it, why not have the feature."

Most of my projects have been been involved in one way or another with local colleges. There are no Sony mirrorless cameras at the university equipment rooms I've frequented, just Canon DSLRs, C100's, and Blackmagics. Students, however, seem to primarily own Sony mirrorless cameras. A6500, A7, etc. FWIW, I also shot some whitewater sports for fun last year and saw primarily Nikon DSLRs among the pros there. No one had mirrorless cameras except me. So the assessment that Sony is primarily used by the "Youtube crowd" is largely accurate in my limited experience.

I dont use external recorders either. I always considered them a temporary solution to crippled internal recording. I have a CPU from 2013 and I can easily edit 8 bit h265, though it struggles a little with 10 bit from the xt3. But that is in resolve, naturally premiere is much worse. Nothing beats the convenience of an entire day of shooting on a single 32 GB sd card, then comfortably editing hours of footage off of a quiet 500 gb ssd. But naturally i see the benefit of prores, both as an easy to edit format, and as an industry standard. I would rather have both, and its really a shame that there are so few cameras that can record both internally.

I'll add to that: easy buttons! I'm with @newfoundmass. I'd prefer a camera with options: H265, ProRes and Raw all at once would be ideal. However, if I only have one internally, H265 is the best option. For one, you can easily get an external recorder for ProRes and even ProRes Raw. How many external recorders have H265?

Only Z Cam does that, haha. But seriously, it may not be the technical issue of heat or processing power. We'll have to wait and see, I suppose.

"None of the above" Honestly "price" is the only really important thing for me from the list above. Compared to my NX1, the only improvements I would want are: - 10 bit HEVC. That's why I put robust codec, though Raw is not something I'm interested in so I think that option in the poll means the exact opposite of what I mean by robust codec. - EF adapter with aperture control (which is why I put lens selection--basically all I want is to be able to adapt EF lenses and control aperture). - Less rolling shutter - Better low light - FF or at least APS-C, so I can use vintage lenses properly - Timecode sync - Higher frame rates in 4k - DC power input for external batteries or tethering Pretty much everything on the list is "nice to have but don't really care." Obviously for things like "dynamic range" and "battery life" it's important, but as long as it's on par with the average DSLR/M cameras from the last few years that's sufficient. Edit: added a few things

Yeah. Maybe they wanted to beat Sony in announcing the A7s3, but wanted to be able to change specs later on in case they get outgunned. But also, development cycles are getting a lot faster. You see it especially with software. You really have to have betas these days, or the market changes before you can finish a feature.

It's not about card bandwidth (if that's what you mean), it's a heat and processing issue. A full sensor readout still has to read all the sensor pixels, even if it then downscales to 4k. So it would be reading 5.9k at 60 fps in order to get the full field of view. The camera probably does not have the capability to read the full sensor at 60 frames per second, either because the processor is too slow, or it generates too much heat. To get a FF look, they'd have to bin or line skip to avoid reading 24MP at 60fps. So it's either keep the FOV and have binning artifacts, or crop and get fewer artifacts in the image. True. However, it seems like it is still in development to some degree. Maybe they didn't show the vent because it isn't finalized? I mean if they haven't yet decided between FF or APS-C for 4k60, maybe they aren't sure how much heat it could generate as an end product either. Total speculation, really, but I guess we will have to wait for release to know for sure.

In the updated newsshooter article, Panasonic reps said they have not yet decided if 4k60 will be cropped or full frame. https://www.newsshooter.com/2019/06/01/panasonic-s1h-full-frame-mirrorless-6k-24p/

I'd return it. The first NX1 I bought had stuck pixels that looked like that right in the center of the screen and they messed up the focus peaking. But they weren't always there either. I tested the camera maybe 5 times and only saw the stuck pixels 4 of them. There's probably some remapping algorithm to compensate for bad pixels (all cameras have them) which sometimes works and sometimes doesn't. It might also be ISO dependent whether they are visible or not, I vaguely remember the bad pixels being worse at high ISO. I returned that NX1 and got a different one, which also has a bad pixel like the middle one in your 100% crops. I suppose it could be a lens problem, but it doesn't look like it, and you can easily check by trying a different lens.

I was hoping that Panasonic's new dream camera solved some of the ergonomic and logistical problems of shooting with a DSLM. Sounds like the only change from the S1 is the recording format and resolution, which is a great improvement, but not something I'm interested in paying $4k for, considering the amazing quality of cheaper cameras that are no worse ergonomically.