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currensheldon

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  1. Yes, I'd say it's pretty significant. 12-bit Raw on the C300 just gives an added depth and richness to the image that 10-bit can't achieve. I was always amazed by the C200's raw and found it pretty stunning, but the DGO sensor adds a whole extra level of usability. This update makes the C70 probably the finest cinema camera under $9k. I also love that it's an even lighter version of raw (645mbps), which will make it way more useful in a variety of situations. Time and tests will tell, but I would think the 12-bit image should be a pretty big jump in IQ - and that's saying something coming from that sensor.
  2. I CAN'T WAIT. Genius. Hope it lives up to my giant expectations.
  3. I have an S1H and love it. Amazing IQ. starting from scratch, I’d probably go for the box for modularity and adaptability on gimbals and for looooong run times on cinema batteries. As well as easier mounting and rigging for external monitors/recorders. but, it is weird that Panasonic just didn’t call this the S2H or EVA-2 and go full on update - internal NDs, new sensor to give us 4k 120fps, better RS, full-frame slow-mo in 4K or 6k, whatever their new AF will be, etc. same specs as two years ago while Sony and Canon have been pumping out all the latest tech and numerous bodies in the same time frame is a bit frustrating. This camera will still have a better image than anything those companies put out under $15k, but there are other considerations too (frame rates, no crop, internal raw, etc). I’m guessing that camera will come in a mirrorless body in the next year, but I really would like to have it in this box form factor or something like an FX6.
  4. Some interesting tidbits here. I don't think you'll see any of the usual three (Sony, Canon, Panasonic) doing things like SSD recording (like Sigma and BM), but I hope I'm wrong. For things like that and internal NDs, I do think Panasonic would be the first to do it in a mirrorless form factor, just like they were the first to do 10-bit 422 (GH5) and timecode (S1H). I think Panasonic has to come out with something big for their next cinema line. They have a dedicated fanbase for people who put IQ, functionality, video features (pros) above hype and specs (Sony). BUT, they still need to deliver high-end specs in order to stay alive. For the GH6 and S2H (or whatever), I think that means timecode, internal NDs of some sort, and some form of low-profile raw recording (like an SSD or some sort of attachment as @Andrew Reid mentioned to technically make it "external"). Even including CinemaDNG Raw internal would be fine because SlimRaw with the Sigma FP is actually a pretty amazing combo. But the FP just lacks so many professional and usability features that it's not quite worth the hassle. For the EVA-2, has to be full-frame, L-Mount, some form of 12-bit 444 or raw internally, high frame rates, and, stylistically, more than an FS5/FX6-copy. I'd still vote for a full-frame BGH1-style and surpass the Komodo where it falls short (full-frame sensor, high frame rates without a crop, dual XLRs). The screens on most cinema cameras are crap anyway (outside of C300/C500, which is at least usable), so just forego it altogether.
  5. Agree with all of this. A new $10-15k Varicam LT should compete with FX9/C300/C500, but they really should put out a $5-7k box style camera unlike anything else right now (what the S1H should have been, frankly). Agreed, They should also ditch the external recording monitors and just do it through USB-C like the Sigma FP. That’s a huuuuge difference to recording raw. definitely a space for a 6k full frame model with all the bells and whistles (NDs, XLR) in that space. Let’s hope they fill it.
  6. With the EVA-1 thread popping up, I thought it would be a good time to revisit this thread since I would think Panasonic would have some cinema cameras coming out this fall. All of the above comments remain true about needing a feature-packed EVA-2, but, as I mentioned in the other thread, I think Panasonic now should completely change their approach from a "more professional FS5" like they did with the EVA-1 and instead do something that none of the other major manufacturers are doing. They should replicate what they did with the BGH-1 but with a full-frame sensor and cutting edge tech and give us a full-frame modular camera. Z Cam and the Komodo have proved that people like this approach as it's easy to rig up, great for flying on gimbals and drones, and very, very versatile. But it has to include internal NDs and XLRs, which the other brands don't include. I've almost bought a BGH1 a few times because I just love the concept. But all my lenses are full-frame. Come on Panny.
  7. Panasonic is easily my favorite consumer video brand. They have my favorite image, favorite tools, and the best approach for video-creators, in my opinion. The EVA-1 had a beautiful image and I did own it for some time. I agree that it really needed an MFT mount. The FS7 was so successful not just because of its specs, but because almost EVERYONE loved being able to use a speedbooster and their EF lenses on it. Same with the FS5. I knew a lot of owners of these cameras and only recently have people really started using native glass on them. With an MFT mount and the same sensor, users could have done the exact same thing on the EVA-1, while also having the option of using a 1.5x (give or take) MFT crop to use their MFT lenses and keep it small and light. And it did have a 5.7k sensor, so that would have been plenty for pixel-to-pixel 4k with an MFT lens. -- At this point, I think Panasonic should really avoid going after the C300s and FS7/FX9s of the world and give us something completely different with the EVA-2 (don't even call it that). If they put out an EVA-2 with the normal "new" specs (120fps in 4k, HDMI raw, maaybe 8k in h265), then I don't think they'll pull many FX6/C300/C70 owners away. Instead, give us a full-frame BGH-2 with all of those great specs, internal NDs, XLRs, and shake it up a bit. Z-Cam and the Komodo has shown that people really like this form factor.
  8. Totally. I'm about to ditch Premiere for Resolve and want to use B-Raw for fluidity's sake. I can get that out of the S1H and recorder or BM Cameras (which I do not like), so hoping the next generation of Panasonic cameras have BRaw built in. that would be huge for them. If they add BRaw and internral NDs in the GH6 and S2H, they might just gain quite a few more adopters.
  9. If they are sticking with 4k (which is fine if it is downsampled from 6k), then they really need to soup it up in other ways: - Raw to SSD (hopefully BRaw or ProRes Raw) - Internal electronic ND (this would be huge) - Some nice internal codecs like ProRes - 180-240fps in 10-bit 4k - Best IBIS in the business (which the GH5 had) - Full V-Log, 13-14 stops of dynamic range - Timecode! (which I assume it will have like S1H) - Great video AF - either ToF or PDAF. Too many (not that much more expensive) full frame cameras can do 120fps in 4k, 8k, raw over HDMI, etc to just put out a solid update. Needs to be include some BIG upgrades (Raw and NDs would be very attention-grabbing). The GH5 was pretty revolutionary in its specs, but it faced no competition in the 10-bit, 4k, IBIS, XLR capture arenas when it was released. Now, not so much.
  10. Oh yea and the fan! Of course. I’m sure it will be even louder in 8k.
  11. Very strange they didn’t update the design a bit. The off centered battery causes tons of mounting problems, the screen isn’t that bright for $1600, and no SDI is very strange since these are basically raw recorders now (which wasn’t entirely the case when the first Ninja V came out). Pretty lazy upgrade.
  12. Being only electronic shutter, that's been my main concern with buying the FP (or FP-L) as a hybrid. The rolling shutter on the FP-L does look pretty awful and, since it doesn't have a mechanical shutter, that would translate to photos as well. Maybe not a big deal for landscapes or real estate, but definitely a problem for anything that is slightly moving - which is a lot of things. And I've always had bad luck with electronic shutter in mixed lighting or artificial lighting with banding and other issues. Any original FP users that can comment on RS performance? I love the concept of these cameras and would love to snag an FP sometime. Love that they are different, modular, industrial, and have features no other cameras have, but the 2-3 quirks (mainly RS, line-skipped HDMI raw, and ES in photo mode), makes me hesitant.
  13. Woah. I would sell a lot of things for something like this.
  14. Would love to hear your thoughts. I love the FP concept, body, design, internal raw, L-mount, etc, and have almost bought the FP a dozen times. Just looks like it would be fun to own and use with my Zeiss Contax lenses. But both the FP and now FP-L seem to have some strange quirks. Is the rolling shutter really as bad as some reviews have stated?
  15. Yes, the Youtube influencer machine is awful, but Gerald is the least offensive offender. He does all technical reviews, true, but at least he does a thorough and honest job. Only CVP is anywhere close to the usefulness of his reviews from a pure tech standpoint.
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