newfoundmass

$5999? No thanks. I can't justify paying that for something that I can't easily upgrade myself.

It came out almost 2 years before the Pocket 4K and uses a more compressed codec. So yeah, the Pocket 4K should look better. It's still very good on the GH5; I'm certainly happy with it. $2000 is quite different than $3500. And mentioning the "horrible AF" immediately after mentioning BMD is pretty funny. The GH5 is a capable stills camera, far from horrible, but you seem to love hyperbole so... They're almost completely different markets. Most of us M43 shooters don't want a full frame camera and the heavy lenses that come with it. There is some overlap, but it's not significant. It's ridiculous to say Panasonic lost the M43 market to BMD and ZCam. The GH5 likely sold more than the Pocket 4K and every ZCam camera combined. Your perspective is terribly skewed. The bottom line, the GH5 gives me the versatility I need. It can do the entire range of work I do, and do it well, whether it's a run and gun scenario, doing green screen work, or shooting interviews. There's a damn good reason why those of us shooting with it are incredibly happy with it. It will remain a relevant camera for years to come. I expect, for those wanting a full frame camera, the same will be said about the S1H. There are always going to be those people that, no matter how happy you are with something, will insist you're wrong!

I feel like he's trolling. "If the GH5 has such good 4K 60p why did Panasonic even bother with the S1 and S1H?" ???

While not beaten, Fuji has come close (and to me holds the most promise and interest), BMD gave the world 4K 60p for an even lower price point, and Nikon has shown a lot of promise in video. The gap has definitely closed significantly. But yeah, in 2019, it's still a world class camera. Feature for feature there still isn't anyone that matches it outside of Panasonic itself. I think $1499 is a fair price for it new today. I know I've been looking at selling my G85 to pick up another one, though probably used since you can get an even better value there (often with v-log unlocked.) That people are saying it was overpriced on release is just nutty to me.

What? I'm not sure what you're even trying to say? You said the GH5 was overpriced on release. That is just silly. It's $2000 price tag for what you got was a bargain two years ago. It wasn't overpriced at all on release. That it's $1500 now is a sign that the gap between it and the cameras that have come out since has narrowed, not that it was overpriced on release. It's a much more competitive market now than it was then, and things are moving faster than ever. It's also probably a sign that the GH6 is coming sooner rather than later. They've raised the bar with the S1H, for sure. Whether it's successful or not, everyone else is going to need to come close to matching it. That might not be an easy task for Sony.

$2000 for a camera that shot 4K 60p, 4K 4:2:2 and had class leading stabilization in 2017 was overpriced? We're literally only now seeing cameras that come close to the capabilities of the GH5. The price decrease is because of how much competition has shown up in the 2 years since release.

Obviously I'd like as many options as possible when it comes to codec and bit rate, but I also don't absolutely NEED more than that for a lot of my work. Being able to shoot an entire event on one or two SD cards in 4K on my GH5 is wonderful. And when I have shot in log I've been happy with the results. Would raw, ProRes, etc be nice though? Absolutely!

That's uncalled for. If you're going to behave like that take it elsewhere.

I think the price really hurt it. For $1,000 less I think it'd have gotten a much warmer welcome, especially given how good the footage I've seen looks. I'm jealous of the people that could afford it! Color science is very important, especially for things that need quick turnaround. I used to shoot in log/flat picture profiles, but I've been pleased overall with Panasonic's color. I usually will tweak it slightly in post, especially when I am using different cameras, but having good color straight out of camera is really nice.

Not sure how you can weather seal something that has vents.

Check this out if you're a M43 shooter. I bought one and it works great, though I've been just using a regular adapter for a lot of stuff! https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F182232037366 I imagine there's similar for other mounts!

Indeed! The 12-35 works great for event shooting, I rarely miss a shot because it's out of focus. And this is fast moving professional wrestling, relatively low light performances, etc. For other stuff I use manual focus, in part because I usually am using a manual prime lens, either vintage or one of my Rokinons (85mm T2.2 ❤️), or an adapted Sigma 18-35mm. Even if I had the AF of a Canon or Sony my work wouldn't change. My favorite lenses are all manual focus lenses; I kinda feel bad for people that aren't using beautiful vintage glass because they don't want to shoot without auto focus. I love my Minolta lenses! They're affordable, well made, and sharp!

I shoot events with my GH5, which supposedly has unusable auto focus, using single point auto focus with no problem. It's all relative, really.

That's why I said ALMOST. Y'all are just beating a dead horse at this point.

Holy shit at you and PDAF. ??? I ALMOST hope Panasonic never does PDAF just to spite the people that never shut up about it.

"If Sony doesn't announce the A7Siii by the fall I might switch to Panasonic." I don't think he's the only one that feels this way either.

That's the really interesting thing about all of this, honestly. This, at the very least, puts pressure on Sony and Canon in both their mirrorless AND cinema lines. The A7Siii will need to bring specs that are at least in the ball park, if not equal, to the S1H. Because even if they manage to do everything this camera can do in 4K, Panasonic upped the stakes by adding full frame 6K. And while I'm one of those people that is pretty vocal about not needing anything above 4K, I do realize that having 5.9K/6K is a selling point to some and ultimately puts them ahead in what feels like a race to higher and higher resolutions. If the A7Siii doesn't match the capabilities of the S1H and doesn't have an attractive price, it isn't gonna be a good look for Sony. It also puts pressure on Sony and Canon's cinema lines. The C200, C300, FS5 MK II, FS7 MK II, etc. have their strengths, obviously, but all of them are substantially more expensive than the SH1 and don't have a full frame sensor. And will anyone be shocked if Panasonic goes the Nikon route and works with Atomos to get raw via HDMI working? That's a pretty compelling alternative for users at that level. Also how does all this affect the GH6, both in terms of specs and price? Unless I missed something, there's no crop. It's full frame. I think that's why people were saying it was a game changer; it really shakes things up.

????? Legitimately laughed out loud at there being a flip out screen.

Good for them for doing that.

It should also be noted that nothing has been announced, as far as I know, about codecs.

Camera Conspiracies is hilarious! C'mon, lighten up.

I'm in agreement overall. I don't think full frame is necessary at all! The GH5 was worth every penny at $2000. It was literally 2 years ahead of its time. It's still a great deal at the $1300 or whatever price point it's currently at.

Sony and Canon are doing it but with S35 sensors and more expensive.

Because it's full frame? I'm in the camp that thinks full frame is overrated. I'm happy with my micro four thirds loser sensor (™Camera Conspiracies)!

Panasonic clearly isn't targeting people that are shooting on a $2000 full frame hybrid and trying to get them to switch. There's literally nothing on the market that can do what the S1H does in its price range. To get something that can you're heading into RED, Arri, Canon C700, or Sony Venice territory. I am not sure what part of any of that you don't understand.