currensheldon

Google "Nikon z9 8k RAW"

The lack of being able to dial Z-cams ND off is a bummer but at least there is an option. Otherwise you'll have to get a vari ND and deal with the color issues that those provide. The Zcam F6 is the competitor against the BS1H in my opinion. The BS1H is $3500 while the F6 is $4000. The S6 is only $2500 and is also S35. The S6 does 4k 100fps though and crushes all the VFR modes on the S1H and BS1H which are pretty crap IMO. 

The option for SDI out is great but if you are going solo with this camera and shooting prores RAW, pulling focus is a bitch off the slow latency HDMI. Prores internal would be a nice feature to have. 

The BS1H is cool but its more of a specialty rig cam. I am waiting on a full frame EVA1 with hopefully a less chinsey body and 10 stop NDs. 

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.

I forgot the Sony…
There was an A7iii at FNAC. Awful thing 😬

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. 

My body is ready for a BS1H like, YESTERDAY. I 110% would not complain if the “S2H” ditched hybrid form-factor entirely and went full cube-cam. For crying out loud, the S1H is already a significantly different chassis versus the S1/S1R/S5. ONE of the four could totally be a cube-cam, and it could still remain a hybrid in function (if not in form). Heck, plenty of stills cameras have historically been cubes anyway. 

While this would be nice, it would be a fairly niche approach. 
The low/mid end of the professional market wants something that has similar (or more!) power than a FS7 but is compact like a FS5. (for instance: FX6 & C70. Both of which are already compact enough for gimbals/drones)

That is where the bulk of the sales are, and where it makes sense to target. 

Komoda makes sense because "modular" is RED's entire DNA, that's what they do! (although even RED realizes this isn't necessarily what the market wants, thus they've for instance brought out the various flavors of RED Ranger)

Z Cam is taking this approach themselves because: 1) it is lower cost than making a more fully featured camera & 2) they're very small time players thus need to try targeting a different niche to get a toehold initially

Panasonic has the reputation, history, size, experience, and brand name to be able to take on directly FX6/C70/C300mk3. But they need to do it now, not in four years time. 
Feel that Varicam LT mk2 should aim for half that price, or at least a good 25% less. Needs to be undercutting C300mk3/FX9, and not be priced up at the C500mk2 end. Because that price bracket between FX9 and ARRI Mini is "no mans land", it's tough for a camera to survive there. 

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.
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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. 
 
 

I agree. It doesn't need to be as small as the BGH1 but I agree no need to make it bigger than it needs to be. I think full frame is a must, its definitely the preferred sensor size for the market the EVA1 falls into. A raw module made for the camera to capture prores RAW would be nice. I wouldn't mind if they went with an easily mountable V mount battery module too. 

Right now there is a spot to fill for a $6,000 full frame 6k camera. The FX6 takes the 4k spot, the RED Komodo is 6k but S35 and no ND's, the C70 is 4k and S35. The Z-cam F6 is 6k but its not as run and gun friendly as an EVA2 could be. The EVA1 just feels overpriced now considering you can get a full frame S1 or S5 for under 2k. 

I hope they don't go the 8k route, I just don't see the point outside of hype. 

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. 
 
 

Maybe not most underrated but the Panasonic S1 is definately underrated outside of this forum. It's giving an FX9 quality image for peanuts. I would say it could compete with the C500 MK2 and C300 MK3 as well. The C500 can see into the shadows better by 2 stops or so, but it doesn't have dual native ISO. The Panasonic S1 can do 4000 iso with 4 stops of headroom in the highlights and a couple in the shadows. That punches the C500 dynamic range in the gut at the same ISO. 

Yeah I am pretty mad at Canon for not offering a RAW output on the C70. Pretty much every other camera company is offering a RAW output or internal RAW these days. I'd rather shoot on my S1 with an external recorder for half the price of the C70. The C300 is a nice option but they should have went with an RF mount. 

I guess its nice that they used the same sensor as the C300 MK3 in the C70 at a much lower price point. Product segmentation is just such a ridiculous idea when the customers are aware of it. 

The Sigma fp series of cameras are very capable. I’m actually thrilled that I’m able to produce expensive images on a budget. This allows me to build out the accessories needed to run a smoother production. Here are some unprocessed screen grabs of a project I’m working on. I’ll be also using these cameras to film a series based on a popular subject within the Hip Hop industry. 
 
Also here’s a link of a comedy skit I filmed for an extremely known TikTok personality who is trying to build up her YouTube channel. 
 
I don’t  follow the popular camera trends and what’s hot, hence my name here AltShoo which is an abbreviated form of Alternative Shooter. This is why I use the JVC-GYLS300 and even though the next camera I’m mentioning  is the most “popular” camera in my arsenal, it’s still not a trendy tool, I own an EVA1. 
 
 

Rented this for the weekend. I am really enjoying this lens. I'll post some frames soon!

I think whoever integrates BRaw in body outside of Blackmagic will see big time adoption. 
 
BMD I think might be prohibiting it to protect the Pocket line, but honestly they will see Resolve Studio/Pocket sales on the tail end as folks buy B-cams and full versions of Resolve. Heck, they could limit “third party” BRaw files to Studio version only. 
 
I can’t stress how much better Resolve is versus FCPX, ergo how much better BRaw also is versus ProResRaw. I really want BRaw as the “new ProRes” industry standard, and I think BMD could do it easily if they let other parties put it in-camera. They claim to hate Atmos with a passion, yet they compete in the same space with monitor recorders... they need to one-up everyone else by putting BRaw into third party bodies.
 
Panasonic seems perfectly positioned for such a move, and it’s exactly the kind of thing that would sell truckloads of MFT cameras.

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.

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.

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. 

Oh yea and the fan! Of course. I’m sure it will be even louder in 8k. 

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. 

I've not noticed any rolling shutter on line, in video or photo. However, I don't really like the photos that come out of it. Something is off with them, and I can't put my finger on it. I get nicer pictures with my XT3 99% of the time, and as you might expect, it's 200x more fun to take a photo with the Fuji.
That said, which ever camera is in my hand will capture a moment better than the one in my bag.

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.

Maybe one day Atomos will take the hint about doing a 4K Ninja Star.
Of course with the fp being able to record to an external SSD itself you would imagine it might be unecessary to use a full on external system anyway but I'm guessing this might be the only way to currently deal with RED's patent.

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.

I have nothing against him as a person, in fact has done some very informative stuff, and I've praised him for it in the past... just think he is part of the same machine, and that in the case of the Fp series he hasn't given it a fair crack of the whip. It is a direction for the internet overall that I'm just not too glad about. It is becoming just all powerful brands paraded on TV, brands influencing the influencer, and the incredibly anodyne nature of the personalities bores me to death... to the point of provoking them even, just to see if there is a real person there.
I also don't get the same filmmaking inspiration I do from tech guys as I do from an actual Dp. It's what makes Bloom so persuasive - the pretty pictures - makes people overlook the person he actually is in my opinion, but we won't get into that again.

I believe this is Japanese but even without understanding anything I can tell it was a way better "review" or hands-on than DPReview did.
 
Yes, I have nothing against information style videos like Gerald did. I quite enjoy CVP much more as they actually use the camera and offer feedback. Gerald's videos are kinda like technical launch promo videos. I find the deep dives of the technical bits useful and I throw the rest away, including any buying advice. Infinitely more useful than anything from Peter McKinnon or Matti. They are now purely lifestyle channels with a camera fetish slant. When people say influencer those guys are the textbook definition. When they want something they ask or e-mail companies to send them free shit and then tell you to stay humble.