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currensheldon

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currensheldon last won the day on May 21

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  1. Agreed that this may not be any type of photo camera (or at least not any different than the way something like the BMPCC4K is (it can take a still). So a camera that is slightly bigger than the S1 and is built like a tank. My hope is that that means it will have more room and heat dissipation for: - Internal NDs (PLEASE) - Internal robust codecs (compressed raw or H265/4 ALL-I) - 120fps 4K (maybe in burst mode?) - Dual ISO - 10-12 megapixels The lowlight, image, and just generally everything of the S1 is so impressive even before the V-Log/10-bit update, that this camera really must have some tricks up its sleeve to be worth even making it. Being slightly better at 25,600 ISO doesn't mean anything when I rarely go above 6400 (where the S1 is already super clean)...
  2. Not sure how much I'll use this feature, but now that I've used the S1 on a couple of professional shoots, I am very very very impressed with this camera. The V-Log/10-bit update will only make it even more incredible. The image, in my opinion, is leaps and bounds ahead of the A7III and EOS R (haven't used the Nikon...). And now there is an even more capable video camera coming out from Panasonic? They seem to be on a roll. Also, for all the talk on autofocus, if someone is paying me for a job, there isn't a camera out there that I would trust for video AF - even the EOS R and C200 failed or pulsated or focused on the background too many times. -- I'll also note that in photo mode with native glass, the AF is lightning fast. Just as fast (if not faster) than anything else I've used.
  3. True. I love MFT and if they had a EVA-1 style video camera, I probably would be using MFT fully, especially once the 10-25mm f1.7 lands. But, without really knowing what's ahead for MFT and Panasonic, hard to justify buying what will probably be a $2k+ lens.
  4. Loving Fuji right now - they are doing some amazing things. I think this camera will sell really well - especially in the advertising world. Medium format that seems way easier to use than previous medium format cameras - with IBIS and PDAF. Impressive.
  5. To justify something more expensive, it just has to have all the intangibles and workflow features that hybrid cameras just don't have: internal NDs, great audio, timecode, ProRes or compressed raw, etc - that's the only thing I can think of. Image quality is pretty amazing on so many cameras from $1000+, that it is no longer the determining factor - though, the S1 image is quite a bit nicer than the A7III, EOS R, and GH5, so that helps.
  6. One rumor says it is "built like a tank," so I would think they are following their S1 mode of creating true professional tools. I'm all for that. But definitely a fan of small-ish form factors (FS5/EVA) over something like Ursa Mini Pro or FS7. It is difficult to figure out where and how this will fit in the Panasonic lineup without hurting the EVA-1 or Varicam LT. Maybe Panasonic has decided it is better to have one massive hit and cannibalize yourself rather than wait for someone else to do it...
  7. I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup. If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. -- Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months).
  8. Panasonic has definitely been known to make bold moves compared to Canon, so maybe they will really go for it, so to speak. I think the L-Mount needs a GREAT camera, a game-changing camera, to really push it forward. The E-Mount was very slow to take off as well with the VG900, original A7 line, and FS100/700 - some adopters but not a ton... but the A7s' low light abilities really made people take notice. And then the second generation cameras improved dramatically. The FS7 launch was also HUGE for Sony (4 years into the E-Mount's life). Consider, in 2014 (5 YEARS AGO), the FS7 had 4K 10-bit 422, 60fps in 4K, 180fps in HD, and external raw. Canon still doesn't have much of that unless you're shooting raw on the C200 and Panasonic matched it with the EVA-1 just 2 years ago. The FS7 + A7s combo really pushed the E-Mount forward. We have been recycling the specs of the FS7 for 5-years in the under $10k field. So Panasonic does need that game-changing, 2019 L-Mount camera to push their new mount and direction forward. The S1 is amazing and will get even better with the coming firmware. But this cinema camera needs to be packed full at a price that is attainable (like the FS7 was). -- Then, Sigma needs to deliver a collection of f2 primes that aren't HUMONGOUS and expensive, like every L-Mount lens right now. -- EDIT: Woah! So I guess it is an official LUMIX event: https://www.eoshd.com/2019/05/cine-gear-expo-reveals-new-cinema-lumix-camera-announcement-on-may-31/ So maybe we are looking at something more affordable and not from the high-end Panasonic cinema team (unless they are going to start branding everything LUMIX).
  9. Me as well. Though, I do think that if you can put internal NDs into a GH6 and add in 4K 120fps and the low light capabilities of the GH5s, that would satisfy my MFT video needs - which I would use mainly for traveling jobs and times when I need to go super lightweight. Full V-Log and internal/external raw would be nice as well.
  10. I was more hoping for a small, $4k-ish MFT cinema camera, but this is the next best thing if it is actually a LUMIX product (and not the cinema department of Panasonic). My main goal is to have the same mounts across what are usually my three main cameras (a EVA/C200-like video camera, a mirrorless camera for gimbals and travel gigs, and a small little camera for taking photos out and about) - so I'd be super happy with the L-Mount doing this. Seems hard to believe this will be something as simple as an S1s (an S1 with better video specs). The S1 is about to have 10-bit 4K, V-Log, rumored external raw, and already has incredible video image quality. I guess they could add 120fps in 4K, internal raw, internal NDs, but why would you buy an EVA-1 then? My guess (though I hope not) is a Venice/C700 competitor: a full frame Varicam. And it will be $30k+. Probably with 8K capability in the future. Just ahead of the C300 Mark III and Sony's 8K move (which may also be May 31st). -- But my HOPE is: A full-frame L-Mount camcorder in the spirit of the Sony VG-900 or Canon XC-15 - just a bit more set up for video use, 120fps in 4K, internal NDs (PLEEEAAASE), 12 megapixels, solid 10-bit codecs throughout, and some form of compressed raw either internal or external. $4-$6k. We'll see!
  11. All of the new full-frame L-Mount cameras (S1, S1R) are LUMIX.
  12. Yea I would say I generally shoot at f2.8 - f4 full frame equivalent DOF for most of my work. So, for MFT that means either F1.2 - f1.8 primes or speedboosted zooms. Though, if the GH6 or a new MFT video camera delivers, I'll have that Panasonic 10-25mm f1.7 lens on that camera most of the time (and then maybe snag a 50-200mm to complement). The Olympus 12-100mm might be the best documentary b-roll lens ever made. It's fantastic for such work.
  13. AGREED. Hoping this is it. Seems silly for the big names (Panasonic and Canon) to allow the Black Magic Design and Z-Cams of the world to take a really big user base (single operators who grew up on 5Ds and GH4/5s) - people who make a living on their video work but don't have the need or funds for larger cinema cameras. Canon could do it with a Super35/APS-C XC-style camera with RF mount (a mini C100). Fuji could do it as well with their lens lineup and XT3 video specs. But Panasonic makes the most sense. And I do love the MFT mount for the possibility to go super lightweight with MFT lenses or throw on the 0.64x speedbooster for a FOV greater than Super35mm. As long as they can deliver the same low light ability as the GH5s, they negate a big advantage of larger sensors while being much smaller and more compact (depth of field isn't a huge deal if you snag a f1.2 lens for interviews and the new f1.7 zoom for everything else).
  14. Since it's Lumix, I don't think it will be the EVA/Varicam line (since that's a different branch of Panasonic). The fact that they are calling it "Cine LUMIX" is also very intriguing, because even with the GH5 and GH5s launches, it was always hybrid this and hybrid that (same with S1). They wanted to make sure that photographers knew these cameras were made for them. But I would think the GH5 and GH5s were largely adopted by the filmmaker crowd. Panasonic should really lean in hard to their reputation as a video company, rather than trying to woo photographers away from Canon, Nikon, Fuji, and Sony. Start putting out cameras that are strictly for video and compete head on with the BMPCC4K, Z Cam, etc and are more useful for video than all of the full frame video cameras out there. What this means is internal NDs, XLRs, timecode, compact size, 120fps+ in 4K, 10-bit throughout, internal or external raw, etc. - the GH6 should go all out in the video department.
  15. There S1 L-Mount line is also Lumix, so it could be that. But I find that hard to believe since those cameras have only been out for 6 weeks. Surely we’ll get the V-Log update details, but this is sounding like a new camera.
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