Video Hummus

Well there is the Z6S which is rumored to have the same sensor as the Z6. So maybe it’s the fixed Z camera everybody wanted to begin with (10-bit, 4K60, z-log, better AF). It’s definitely on my radar. Along with GH6 and perhaps a fixed R5. I like where Sony is going. I just don’t like the A7 style bodies at all and if I’m going to spend that much on a camera I want to enjoy holding it in my hand.

Exactly

I would be surprised if EVA2 won’t be FF and L-mount. Would be good to help boost L-mount adoption. Can have adapters for EF and PL. I think the chances for a MFT style EVA2 is slim.

Not buying now. Was going to before this. We are on a camera forum. Certainly there is many things to be upset about in the world today. Doesn’t mean I have to ruin other aspects because of it.

Cool. I would be interested in the HLG for the GH5S. Your HLG S1H one is very nicely done. It’s a transform LUT correct? Moving HLG or Log to a Rec709 for further grading afterwards?

This is what is upsetting. Not the overheating but the recover timer. It’s unusable.

I think we know why the R5 weights about the same as the GH5...clearly the GH5 has a proper heatsink in it. The R5 has a bigger sensor, IBIS, bigger body, made out of the same material...I would put money down on what’s missing...

I remember reading an interview Yosuke Yamane where he basically said the S1H was the real passion for the L-mount and that the S1 and S1R were released first just so their was more cameras for L-mount and to give it a bit of starting momentum (paraphrasing). Which is a big hint maybe to their primary strategy and focus for the L-Mount. He also talks about S1H and EVA1 and the customer overlap. I’ll look through my history and see if I can find it.

Is the GH lut for HLG or VLOG-L?

I strongly believe the A7IV will have 4K60 10-bit (probably no ALL-I) and a 20+ MP sensor. It will lack the “Venice” color tweaks they did to the A7SIII but as long has it has 10-bit it doesn’t matter as much. It might be better than the S3 but just without the 4K120p and with more strict overheating conditions.

I think this is where you get into the weeds. Clearly they aren’t the same. Color is better on the FX9, thats easy to notice. But your right, the FX9 footage just looks better. It’s that little bit of sprinkling of...something...that makes it look different. That, or its confirmation bias, because we know it’s more expensive = better? I don’t know.

I thought it did do oversampled HD and thats one of the reasons I bought it. I learned later that isn’t the case. Big bummer. Oh well, I still like it and I’ve used 96fps mode with ex-teleconveter on my 50-200 at f4 and the image holds up.

I’m so hoping Fuji makes the XH2 their S1H type camera.

EVA1 has better highlight retention. Color is debatable. The 120p from the S1H is not great either. They are very close in all honesty.

Interesting. EVA1 and S1H are two years apart and I would say the EVA1 still has better footage, especially higher frame rates. You need the XLR-1 adapter to match audio. The EVA1 does have a shit screen so there is that. You are comparing a high-end mirrorless camera to a lower-end cinema camera. Of course they will overlap a little bit. I do get why FX9 owners are mad though.

Phillip Bloom said he had a heat lamp on the A7SIII at like 120F And it overheated in 100p mode and 60p modes...after around 30 mins. However, unlike the R5/6, after turning the camera off and then back on after 2 mins, he got another 20+ mins out of it. So the R5/6 recovering times are absolutely broken. He said based on his results and using it for 24 hours including filming with it for 21 hours on the beach that it was a professional tool. It will sell very, very well. Levi Allen, a filmmaker primarily using GH5 since its release, who is not a gear snob and has tried many cameras but always goes back to his GH5, has said he is moving on to the A7SIII for its image quality. Sooo, I suspect many people will be buying it and E-mount glass. I wonder if the S1H will get some firmware updates and new capabilities beyond ProRes External to keep it fresh?

Yes, and if you look at the sensor spec sheet it looks like it can do 4K60p 10-bit just as the Zcam E2 M4 offers. Probably a lack of processing or heat concerns in the GH5S body. Also, looking at the bit depth and 2K readouts I never go above 120p either as the noise is unacceptable in almost anything that isn’t perfect conditions. So I would recommend shooting max 100p PAL or 96fps NTSC. Anything higher and you drop into 10-bit sensor output.

That is true. I’m not sure Gerald is the typical consumer. It’s a cinema camera. The image is still much better than what the SIII can do. Im sure they are going to improve the fX9. It kinda seemed half-baked when they released it. They still haven’t delivered the RAW output for it. I think Sony were thinking of the bigger picture here and going for the jugular to capture the mirrorless pro market, travel films, weddings, YouTube, special events, possible news shooters with the A7SIII. Mindshare is everything. The AP deal was an extremely smart move.

I think the next L-mount camera released from Panasonic will make it or break it for them in the FF market. They are in a bit of a pickle. The Sigma fp is competing with them on the artistry side. People that like or want a MF camera with ALL-I, RAW, to tinker with and shoot passion projects with. Their FF S cameras were pretty much ignored professionally by photographers. I’m not saying there aren’t people out there using and loving their S1/R, but I highly doubt it sold well.

I don’t get this idea. The person that knows they need a C200/300/500 are not going to buy an R5 in place of it! They are separate markets. Typically someone that is in the market for a R5 isn’t going to be like, shit, I’ll spring and spend an extra $10,000 for the C500. If anything they will buy what they need, C200/300/500 and get a couple of R5/6 in addition not in replacement.

At the end of the LUMIX Live YouTube streams they have been joking about it. I’m sure they have something but I’m not sure the market is there. World is on fire right now. Some more then others unfortunately 🙁 (not an R5 joke; Incase anybody shits their pants in anger).

No one claimed this, so stop being an ass. You asked for evidence. He gave you some. No one is claiming they should shoot their next Netflix documentary special on an S1H. They shouldn’t if they have access to something better. But it is a fact, based on what NETFLIX has said, that sure...you can and we will accept it because X, Y, Z. So what is your whole point of this argument? Almost everything you have posted is to incite some kind of argument. No wonder people don’t stick around on this forum.

You have a strong opinion of what camera should and shouldn’t be used on a Netflix set and at what capacity. So how did you form that opinion?

Do you own or shoot with an ARRI or other Netflix approved camera?

I mean what do you expect? The camera is designed for lowlight sensitivity. It’s right there in the name and literature about it. All cameras have their faults. I do recall the S1H had horrible temporal noise issues. They are fixed now. Give Sony a break. My god. Csnt wait for the release hysteria to die so we can talk calmly and objectively about it all.