thebrothersthre3

Crazy you can get one of these for around $1500. Tempting

5 hours ago, Mmmbeats said:

I think this is going to be priced out of reach for most indie filmmakers and jobbing one-man-bands.  Where I can see this being really popular is as a b-cam, tricky-corner cam, backup body, etc. on professional crewed shoots.  If I was DPing on something critical with a top end cinema camera, I'd really love to have something like this sitting in a bag on standby.  It looks like it's capable of being tuned to deliver footage that could live alongside top level stuff quite convincingly (based on how the S1 is shaping up).

I can't think of a better combo for that particular usage (which is big money if it really catches on).

Also, small productions (web series', multi-cam doc, etc.) might be interested.  There's a lot of money to be saved over full-blown cinema cameras, especially if you're buying several units.

I just can't see solo operator / owners coming in in large numbers.  So far, there's not enough to suggest value over the other fantastic cameras in the sector.  Plus, if you really need to step up in quality the fully-featured cinema cameras start to come into range for just a bit more.  Also, the inbetweeny market is starting to come to life a bit (Z Cam), so there's that temptation too.

I'm not so fixated on either FF or 6K as selling points.  Of course, I'm happy to take them if on offer, but give me a really super-functioning S35 camera at 4K and my money's yours.  The market as a whole may feel differently!

So far Panansonic's L-Mount offerings all seem perfectly interesting, but from a selling POV, a bit niche.  I hope they know what they're doing.

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.
 

38 minutes ago, kye said:

Am I right in assuming you mean that you shoot 1080p120 by default and only 4K24 for specific shots?

I've just done some tests of different modes and now have an understanding of the tradeoffs involved.  In my case I'm struggling to reach the action with a long enough lens, so I don't want to shoot 1080 because I can't crop into it in post, which leaves me shooting 4k50.  Maybe I should switch to 1080p100 when the action is closer and I won't need to crop in post.

EdIt: Or I simply live with the fact that I can't do 20% speed slow-motion but are limited to 50% speed slow-motion.  It's not as epic, but...

Damn the size of our playing fields!

Time to get a Zcam or FS5 with atomos recorder ?

I feel like the GH6 needs to be perfect. I mean I guess if its priced right thats also a big selling point. If it costs $1500 it doesn't exactly need to match a $4000 camera. 

19 minutes ago, Mako Sports said:

Yeah this makes things VERY interesting, Sony might have to convert its current line up from 4K to 6K capabilities sooner they than wanted. Also maybe this will make Fuji go back to the drawing board for the XH2. 

I doubt Canon will have any response to this though... Lets not forget their response to the A7iii was the EOS R 

Not sure about Fuji as they are already doing really well in the APSC camp, at a very low price point. 

But it will definitely give Sony something to think about and hopefully Canon. 

I have a feeling both Sony and Canon have something in the works though.

They have no excuse at this point. The S1H isn't a photo oriented camera, the S1 is. 

If this camera has good highlight retention I am probably down. 

4 hours ago, anonim said:

That last claim is, of course, exaggerating... furthermore, cinema (dream) go always with proper light, and non-debayered ISO3200 is great. "Superior" image doesn't mean anything anymore, especially today - somebody search for "filmic", somebody for "sharp" and, actually, UMP4.6 is criticized for being to detailed. (What superior is for me is - RAW, maybe USB recording.)

But comparing proper modern cinema camera with xlr outputs, ND filter etc. with this "learn-how-to-dream-again-and-proper-in-6k" camera is, I think, wrong, at least in term  of filmmaking. Without doubt, Panasonic is indeed nice achievement, but question, after all hype, will be - really, for whom.

 

There of course are big advantages to shooting with an URSA. If the Panasonic delivers similar dynamic range though for most projects the S1H will deliver a cleaner, more detailed image. With 10 bit 422 you'll be able to do more with color than most people need. 

Even with my Fuji XT3 I am finding when I go to edit I am rarely ever thinking I wish I had more dynamic range or that there isn't enough color information. Low light is the one area where the Fuji does suffer compared to full frame. 

Something really satisfying about seeing Panasonic really deliver the goods. If they put internal ND's in it will truly be revolutionary. We'll see how Sony responds. 

 

13 minutes ago, anonim said:

Probably because of longer reputation? Anyhow, what's interested (and amuze) me the most, is introduction of brave new marketing vocabulary... First I was quite skeptical about targeted users with this camera+lens combination, but now I understand that Panasonic bring innovation in marketing, calling hearts with first touch of poetry.

(I can't imagine cinema maker that will buy this niche dream and than rigged it instead of UMP4.6.)

True though in terms of image quality the S1H will probably be superior in many ways. Probably little to no moire, 6k retaining more detail than the URSA's 4.6k. The lowlight performance will make the URSA look like a GH1. 

If I were to do documentary's this camera would be hard to beat. 

People make the mistake of shooting wide open all the time and getting soft spots. The cool thing about cameras like the S1H is that even low light you can shoot with a higher aperture by just bumping up the iso to 12,800 or even 24,000. 

This thread is pretty hot right now. For whatever reason Panasonic cameras tend to create a lot of buzz, or maybe there is just a big fan base around them. 

You look at the long ass threads surrounding cameras like the GH2, GH4, GH5 but something like the Fuji XT3 didn't get much attention, outside of maybe a bit on this board. 

Wonder how well adapted glass works. If I was going for the S1 I'd probably go the speedbooster route to get that medium format look. 

Not going to lie if it had built in ND's it would go right to the top of my going to buy list. Even without it though the S1 is attractive and the S1H even more so. 

12 minutes ago, MrSMW said:

I use a freestanding mono for speed most of the time but for longer stuff (ceremonies & speeches) break out the tripod.

The mono of course has that advantage of just the one leg to height adjust!

The only issue I had this last weekend with my current set up however is that it was too top heavy for the mono, so for next weekend I have ditched:

The 5" monitor and it's clamp.

The Anker battery pack and it's clamp.

The Sigma 18-35 f1.8 and swapping it out for Fujis 18-55 f2.8-4 (so sacrificing shallow DOF for OIS and size/weight).

Much better handling!

That is very true. The 18-55 is wonderful. The speed of setting up a monopod is really nice sometimes. 

I am counting on the Sony being a game changer but who knows. You may think they want to protect their cine line, but Pana has a cinema line too. I think people who want a Cine camera aren't just looking at picture quality. The form factor and outputs are important. 

I think Fuji MF is catering to a different crowd than the full frame cameras anyways. Not that they couldn't bridge a gap. 

Throw on a Ninja V and you got a good setup. I am currently holding off on buying a cinema camera as the prices just keep dropping on everything. 

For me its to the point where cameras are so good and affordable its simply tough to make something that's attractive anymore. You can get a S35 camera that shoots 4k 10 bit up to 60p with good auto focus for 1k. 

This new Panasonic camera is very significant though. Full frame 10 bit 422(assuming) 4k 60p is huge. 6k recording full frame is also huge, I think people will love that. 
The question is of course will Sony put out something that beats it and with their own affordable lens line up and amazing auto focus. 

The next fuji camera could be even more killer as well. 

The lens issue is the real killer for those who don't have 8k to spend on new gear. Though for those adapting glass that will be a non issue.

The new Panasonic S1H with Sage's LUT should be a real winner.

It kind of makes sense to me.

If it had a low MP sensor I'd be more interested. Right now it just is too much like an XT3. The external recording options are very nice though. 

Still it'll have really good IBIS and and a classic tough built Panasonic body. 

Different camera than being discussed but interesting. I might buy it depending on the price, considering I love panasonic. The lack of 120p 10 bit internal is a bit disappointing. Would be nice to see internal 14bit 1080p and 10 bit 120p 1080.

Still pretty content with my Fuji.

5 hours ago, MrSMW said:

Also have both.

For me, it comes down to IBIS vs better AF.

One has it, the other doesn't but is better at it.

My 'solution' to how I shoot (photo & stills) is the XH1 gets the stills role with primes and the XT3 the video role with choice of 2 primes on monopod or zoom with OIS if handheld.

So IMO, both are great, but neither the complete unit.

I've found a tripod ends up getting me a better image for most uses, that is compared to my GH5's IBIS. I do miss IBIS for vacation stuff where I don't want to bring any gear though. 

8 hours ago, Adam Kuźniar said:

Honestly the best pocket rig is a GX80 with a pancake lens. Easily fits in the pocket, has IBIS so the footage is perfectly smooth, shoots great 4k video.

That is a great setup. Only thing that might push me towards Sony is the better lowlight and AF. That said I like the Panasonic image better though Sony kills it in Dynamic range. 

10 hours ago, heart0less said:

The fact that XT-30 didn't get more attention is beyond my understanding. 

It's a great body. 

Yeah its the best you can get in that price bracket IMHO. The only thing they should have also done was give it that flip up screen like the A6400. The sony auto focus is amazing though to me the benefits of Fuji out weigh it. 

Measuring exposure is easy enough where you don't really need to know the exact f-stop. Not being able to control through an app is definitely a loss if  you do that sort of thing though. 

Interesting turn of events. 

Lens Turbo seemed to be the closest to Metabones in terms of quality. You can control the aperture manually with a Lens Turbo. No need for electronics if you don't need AF.

My XT30 with 18-55 packs a big punch in a really small package. The in camera audio is pretty nice as well. Probably would be my go to for traveling light. 

That said an A6300(or any of that line) with a Sony 16-50 is much more pocketable. The 18-55 blows the Sony 16-50 away but its at least twice as long and heavy.