currensheldon

The S1 lenses I’ve used (24-105 and 50mm) are both great for manual focus. The S1 has the option to change focus pulling into a linear style (rather than by wire/speed) so it works great. 

I agree with Andrew on this. VLog on the S1 is friggin' spectacular. It destroys the A7S, A7S-II, GH5, GH5-S and beats the FS7 with no trouble. Showdows are clean in VLog, even with noise reduction turned down to zero, there is so little noise even at 2000 ISO...even in pitch black night!  (Thank you Panny for giving us actual noise reduction control!!!...I doubt Sony will ever allow that)
My A7S-II used to be my "go to" low light camera but this S1 destroys it. The A7S-II's 8bit readout was always "splotchy" as Hell in the shadows and would clip the blue channel WAY to easily in SLog-3. The S1? No way,...its shadows are smooth as silk. Just super clean and highly  detailed in VLog. V-Gamut protects each RGB channel beautifully too!
Tell me: WHO'S SENSOR IS IN THIS THING???
CT
P.s......4k raw over HDMI is coming. I have a good source on this.

Agree that camera companies have gotten pretty stale. Panasonic excites me with the S1H and what else may be in that camera.
I would say the Sigma FP is one of the more exciting cameras to be announced recently - at least it is different, interesting, super modular, and can be built out to your liking. Excited for the S1H + FP combo that I'll have soon enough. 

Agree that camera companies have gotten pretty stale. Panasonic excites me with the S1H and what else may be in that camera.
I would say the Sigma FP is one of the more exciting cameras to be announced recently - at least it is different, interesting, super modular, and can be built out to your liking. Excited for the S1H + FP combo that I'll have soon enough. 

This is why ALL videographers should have decent manual focusing skills regardless of what camera system they use. 

I used to be a champion for AF and was looking at buying an A7III because of its AF until I discovered that I actually like the aesthetic of MF.  This lead me down the path of GH5 with manual lenses and I've never looked back.
I particularly like the very human and analog feel of MF, and its imperfections (which are especially prevalent when I do it!).  I am completely in love with the aesthetic I get from the GH5 and I think the imperfect MF is a real contributor to that, as I think it suits the emotional/nostalgic feeling I want for the home videos that I make.  
The fact that I stopped being frustrated by poor AF is also a bonus, the number of times I was just standing there holding the camera watching the moment go by while silently screaming "focus you @#[email protected]#$" probably had a measurable impact on my average blood pressure...

With the overall positive reception of the S1 firmware update and the very pleasing image coming out of Panasonic’s new full frame camera, I’m thinking the S1H is going to be something special. The L-mount is building a lot of momentum with Sigmas fp and forthcoming glass and Panasonic’s usual firmware feature bonanza.
Really quite impressed with Panasonic’s push here in a crowded full frame market and grim camera industry outlook.

Have both and yep! They work great together. The S1 has an ASP-C crop mode and when the Sigma 18-35mm f1.8 or 50-100mm f1.8 are attached, the S1 automatically detects them and punches into the 1.5x crop. 
The nice thing about this setup is that the field of view is the same on 24fps and 60fps (since the 4K 60fps has the same crop). Plus the Sigma 18-35mm is still just one of the best lenses ever. And with the S1's stabilization, it's a very versatile lens. 
 
 

OK, sorry, I couldn't resist anymore ...
 
300€ immediately off, 1 free battery (90€ worth), and the 200€ worth offered VLOG upgrade finished my efforts to resist...
OK, now I have to sell a lot of stuff ahah !

The EOS-r is the most expensive here in the UK - the S1 is £150 cheaper than the EOS-r, seems much better value to me. Z6 you can get for £720 less than the Eos-r - also great value
The S1 to me is the benchmark right now for image quality, colour, DR, IBIS, lowlight and with great 10 bit internal 

Have both and yep! They work great together. The S1 has an ASP-C crop mode and when the Sigma 18-35mm f1.8 or 50-100mm f1.8 are attached, the S1 automatically detects them and punches into the 1.5x crop. 
The nice thing about this setup is that the field of view is the same on 24fps and 60fps (since the 4K 60fps has the same crop). Plus the Sigma 18-35mm is still just one of the best lenses ever. And with the S1's stabilization, it's a very versatile lens. 
 
 

At this point, any camera that can do internal/external raw and have variable NDs inside will be worth the money. 
Yes, a lot of people use mirrorless cameras because they are cheaper and more affordable (and there are a ton of options for those users). But I also think there are plenty of people who would buy an S1H-sized camera for $6k+ if it included internal raw, internal NDs, timecode out, and all the nice EVA-1 codecs.
No need to cannibalize other cameras - just charge more and they both make money no matter which one people buy. I'm guessing you would see a lot of independent doc filmmakers, journalists, traveling cinematographers, etc picking up the mirrorless-sized version. I know I would personally love this. 
 

So true. If Sony lays an egg with the a7s3 I’m picking up a S1. If the s3 really drops with a quad bayer sensor and competitive video specs that’s another story. But I don’t believe Sony will ever spec a hybrid body like the S1, that treads too far into FS5 territory. As long as people keep gobbling up 8-bit bodies, Sony will keep producing them. Look at how long it took them to drop AVCHD or unlock true uncompressed raw stills.
IMO, like every Sony release, they will wow with a new sensor and show off the amazing AF because that’s what will get them tons of coverage and blogger love from the shills. But the crowd here will be disappointed by the gotchas. I’d love to be wrong, but I’m keeping expectations low.
chris

We're not comparing the same thing here anymore. The Z7 and S1H are not in the same range because they are targeted to very different consumers. The S1H, as of now, has no Nikon counterpart.
S1 = A7III, Z6, EOS R (but is vastly superior to all of those IMO, so is really playing in a field by itself).
S1r = A7rIV, Nikon Z7. No Canon equivalent yet, but seemingly soon. 
S1H = A7sIII (if it is ever released). No Nikon and Canon equivalent. 
The S1H, when released, will really be one of a kind. It sits somewhere between the best mirrorless video cameras (S1, XT3) and the smaller cinema cameras (EVA-1, C200). Depending on what it has inside (things like raw or NDs), will dictate how much closer it is to a really inexpensive cinema camera or a more expensive mirrorless camera.
From the looks of it, it looks like Panasonic is going for a (relatively) inexpensive cinema camera. 
 

The A7S-III is already here. It has;
Sony BSI Exmor full frame sensor (highly likely)
10bit color sampling, internal and HDMI.
4:2:2 150mbp/s 4k internal.
6k full pixel readout (6k to 4k oversampling)
4k 60p in "Hollywood cine" super35 sensor size.
Full size HDMI port.
No recording limit in 4k 30p
No overheating whatsoever.
14+ stops of VLog
Wave form scopes.
LUT support
Fantastic color science.
4k raw over HDMI is on the way.
See?...the A7S-III is here today! But its Panasonic that made it, not Sony. Its called S1.

I bought into the numbers and spec game that Sony played for a couple of years (2015-2017). Used the A7s, A7rII, and FS5. 4K! 40+ megapixels! 240fps!
I call these the dead years. 
Yes, I got some good stuff with them and thanks to a great colorist, was able to grade some films so that it looked great. But the day to day shoots, the general travel photos, the one-man band work, the portfolio of work that doesn't have professional colorist attached to it just isn't even in the same ballpark image quality wise as something from a Canon or Panasonic. 
While you use a Sony, you don't really realize that there is something off - you just get used to it. My wake up call is when I looked at old, 8-bit HD footage from my Canon 60D that I shot in 2012/2013. It just looked so much nicer, natural, and beautiful. Quickly tested out some new systems, felt the same about the footage I was capturing on those, and dropped Sony as quick as I could.
Still love Canon and think they have the best CS and best image right out of the box, but Panasonic is very close and also give you the specs that Sony does. So, it's Panasonic for me right now. Maybe if Canon give us a 10-bit C100III with RF mount and a pro-body EOS R with 2020 video specs, they could come out ahead. But feels like Panasonic is the company that will give us what we want spec-wise while also giving us high image quality and color. 
 

I bought into the numbers and spec game that Sony played for a couple of years (2015-2017). Used the A7s, A7rII, and FS5. 4K! 40+ megapixels! 240fps!
I call these the dead years. 
Yes, I got some good stuff with them and thanks to a great colorist, was able to grade some films so that it looked great. But the day to day shoots, the general travel photos, the one-man band work, the portfolio of work that doesn't have professional colorist attached to it just isn't even in the same ballpark image quality wise as something from a Canon or Panasonic. 
While you use a Sony, you don't really realize that there is something off - you just get used to it. My wake up call is when I looked at old, 8-bit HD footage from my Canon 60D that I shot in 2012/2013. It just looked so much nicer, natural, and beautiful. Quickly tested out some new systems, felt the same about the footage I was capturing on those, and dropped Sony as quick as I could.
Still love Canon and think they have the best CS and best image right out of the box, but Panasonic is very close and also give you the specs that Sony does. So, it's Panasonic for me right now. Maybe if Canon give us a 10-bit C100III with RF mount and a pro-body EOS R with 2020 video specs, they could come out ahead. But feels like Panasonic is the company that will give us what we want spec-wise while also giving us high image quality and color. 
 

I bought into the numbers and spec game that Sony played for a couple of years (2015-2017). Used the A7s, A7rII, and FS5. 4K! 40+ megapixels! 240fps!
I call these the dead years. 
Yes, I got some good stuff with them and thanks to a great colorist, was able to grade some films so that it looked great. But the day to day shoots, the general travel photos, the one-man band work, the portfolio of work that doesn't have professional colorist attached to it just isn't even in the same ballpark image quality wise as something from a Canon or Panasonic. 
While you use a Sony, you don't really realize that there is something off - you just get used to it. My wake up call is when I looked at old, 8-bit HD footage from my Canon 60D that I shot in 2012/2013. It just looked so much nicer, natural, and beautiful. Quickly tested out some new systems, felt the same about the footage I was capturing on those, and dropped Sony as quick as I could.
Still love Canon and think they have the best CS and best image right out of the box, but Panasonic is very close and also give you the specs that Sony does. So, it's Panasonic for me right now. Maybe if Canon give us a 10-bit C100III with RF mount and a pro-body EOS R with 2020 video specs, they could come out ahead. But feels like Panasonic is the company that will give us what we want spec-wise while also giving us high image quality and color. 
 

I bought into the numbers and spec game that Sony played for a couple of years (2015-2017). Used the A7s, A7rII, and FS5. 4K! 40+ megapixels! 240fps!
I call these the dead years. 
Yes, I got some good stuff with them and thanks to a great colorist, was able to grade some films so that it looked great. But the day to day shoots, the general travel photos, the one-man band work, the portfolio of work that doesn't have professional colorist attached to it just isn't even in the same ballpark image quality wise as something from a Canon or Panasonic. 
While you use a Sony, you don't really realize that there is something off - you just get used to it. My wake up call is when I looked at old, 8-bit HD footage from my Canon 60D that I shot in 2012/2013. It just looked so much nicer, natural, and beautiful. Quickly tested out some new systems, felt the same about the footage I was capturing on those, and dropped Sony as quick as I could.
Still love Canon and think they have the best CS and best image right out of the box, but Panasonic is very close and also give you the specs that Sony does. So, it's Panasonic for me right now. Maybe if Canon give us a 10-bit C100III with RF mount and a pro-body EOS R with 2020 video specs, they could come out ahead. But feels like Panasonic is the company that will give us what we want spec-wise while also giving us high image quality and color. 
 

Canon 1D C

Sony A7S II

Different opinions are fine but Alternative Facts aren't.
Even a blind person can feel very clearly what the difference is because one is positively radioactive.
And these are RAWs straight off the SD card with no colour adjustment whatsoever.
The amount of time and skill it would take to create a custom grade for that Sony RAW still so that it matches the Canon would be immense.
One preset might not work for all shots, you'd have to tailor it.
The Sony has green and yellow going on with skin, whether it is in the RAW file or the JPEG, it needs adjusting no matter what. And while it's true you have more headroom to adjust it in RAW than JPEG, it is still time and effort down the drain.

Having bought and sold quite a few different Sony’s in my life, I’m no longer tempted by their specs. Menus and ergonomics need radical improvement before I’d be tempted again.

Here's some S1 Vlog test footage I just shot on the ninja v, pro res hq, 
Shot with Zeiss 50mm zf.1
Sharpening at 0 
noise reduction at 0
Stills graded with FilmConvert fuji eterna
https://www.dropbox.com/s/can0ot1k98ogd7a/NINJAV_S001_S001_T066.MOV?dl=0

It's not about 8K
It's about all the other stuff...
2015 video specs, crap codec, crap colour, confusing menus, no 4K/60, 30p max, no 240fps, 120fps max in 1080p, no in-between resolution for 120fps despite faster sensor technology, I mean why would you want to upgrade to something which is basically the same as a 2 year old A7R III for hybrid stills/video, now that much better options exist?
For 61 megapixels alone?

For Sony images are all about numbers, not feeling.

I’ve been sold now on Blackmagic’s new RAW since updating firmware on my Pocket 4K. It’s Just. So. Good. Smoother to edit than h.264 if I’m honest.
I’m not sure how ProRes RAW intends to survive. It has a huge legacy behind it, but banking on that would ignore an industry that is not precious with such notions. Atoms external recording has always been an odd duck in my mind. Either you’re on a shoot that can afford a true cinema camera, or you’re not. Why spend thousands on a monitor to “sort of” turn your hybrid camera into a slightly better version of itself just doesn’t make sense.
I also simply refuse to be saddled to a monitor for recording purposes. It essentially gets added to the price of the camera, IMO, and makes upgrading down the road extra painful. With available drive tech, NONE of this faffing about should be at all necessary. Between Blackmagic and Sigma, it looks like there might finally be other companies willing to call these bluffs. 
Sony and Panny are now so concerned with their 1V1 cat-and-mouse, that they’re CLEARLY pulling punches in case they need them later. If they keep it up, a third party is going to catch them out.
Blackmagic has a 4K Raw-To-SSD dual native ISO camera for essentially $1K. The Sigma fp looks like it MIGHT be a similar thing, but fullframe (probably with a price bump to match)... Sony and Panny need to pull their heads out of the sand and let out all the stops, or risk being overtaken by fresh blood.
The Nikon could absolutely kill if it recorded Raw internally in some form. 
Fullframe 4K Raw is obviously well within the technical abilities of a sub-$4K camera body, and I think that’s the looming frustration over all of these cameras. Nobody wants to be first for fear of immediately being one-upped. 
My money would be on Panasonic’s S1H as most likely contender, but the Sigma might firm up some hefty specs and take everyone by surprise. I was hoping on ZCam, but good gravy those price tags go WAY too high for what they are IMO.
Blackmagic SHOULD slap a hefty heatsink into a fullframe “BlackMagic FannypackCinemaCamera4K,” sell it for $2300, and take home everyone’s money... or join L-mount alliance with an olive branch of the BMRAW codec in-camera for all involved. Panny X BMRAW would likely cripple Sony, Nikon, Atmos and ProRes Raw in one fell swoop... leaving only Canon limping along on its dual pixel autofocus. Come on everyone else! If Samsung could match Canon’s AF tech several years ago, y’all can surely do it by 2020.