Sharathc47

It looks like there will be an S5ii and S5iiX along with a 14-28 Macro lens. No details on what the X body brings. Announcement should be in next 2 weeks based on prevalence of leaks
https://digicame-info.com/2022/12/lumix-dc-s5m2-dc-s5m2xlumix-s-.html

The X body looks the same except without the red dials.  The poster also mentions that both bodies will have a Phase Hybrid AF. 
 
 

https://drive.google.com/file/d/1Fth2fgJZVCivr61XP4oW4bf4e-0fku9I/view
 
DC-S5M2
24.2 megapixel CMOS sensor
AR coating
Sensor shift type dust extraction unit
14+ stops in V-log
JPEG / RAW / MOV / MP4
H.264 / H.265
6K 30p 200Mbps LGOP
3.68M dots OLED viewfinder 0.78x 120fps
Free-angle monitor 3.0", 1.84M dots
Image phase detection AF / Contrast AF
DFD Technology
AF -6EV - 18EV
ISO 100-51200
Extended ISO 50-204800
Dual Native
Normal ISO 100/640
V-Log ISO 640/4000
HLG 400/2500
Mechanical shutter 1/8000 - 60 sec.
Electronic shutter 1/8000 - 60 sec.
Continuous shooting speed
Mechanical: max. 9 frames sec.
Electronic SH 30fps H 9fps
USB-C 3.2 Gen 2
HDMI A
3.5mm microphone Headphone
SD Card Dual Slot
5GHz Wi-Fi
Bluetooth 5.0
2200mAh battery
Battery grip DMW-BGS5
Dustproof and drip-proof
Size 134 x 102 x 90 mm
Weight 740g
DC-S5M2X
Full-size sensor with 24.2 effective megapixels
6K30P video (full size)/4K60P video (APS-C size)
Supports Apple ProRes recording
IP streaming function support (Wi-Fi, USB, wired LAN)
LUMIX S 14-28mm F4-5.6 MACRO
Lens construction: 14 elements in 10 groups (1 aspherical ED lens, 1 aspherical lens, 3 ED lenses, 1 UHR lens)
Minimum focusing distance：0.15m
Maximum magnification: 0.5x (at 28mm)/0.25x (at 14mm)
Filter size: 77mm
Size：φ84 x 89.8mm
Weight: 345g
Dustproof, drip-proof, and low-temperature resistant specifications
 
 

Recently purchased the X-H2s, and you know me, the first thing I look at is chroma resolution. Just dropping this in, on the left side you see the Cr channel of an EOS R 4K C-Log 8bit 4:2:0 recording (about 420 Mbps), on the right side it's X-H2s 4K F-Log 10bit 4:2:2 (about 615Mbps):

Don't get me wrong it's better than the X-T3, but this smoothing can still lead to loss of color. I really wish we could turn it off and deal with color noise in post.
ProRes RAW helps but it's a mystery to me. RAW on the X-H2s has the X-Trans pattern, obviously. However, it gets magically converted into Bayer in the ProRes RAW file. I had discussions with people who are involved in ProRes RAW->DNG conversion, also did my own test with Raw convertor (resulting DNG has Bayer pattern) and it seems that the data that arrives to a Ninja V recorder is already Bayer, even though the sensor is X-Trans. I'm still trying to confirm all this but if the body demosaics the X-Trans pattern and remosaics it into Bayer, then it's kind of a hack which in some cases can lead to artifacts.

https://canon.jp/business/solution/indtech/cmos/lineup
LI7080SA Super 35mm 4K: 14Bit 120fps, DGO support and 16+ stops of dynamic range. Double the readout speed compared to C300M3's 6.4μm 4K/60fps DGO and stable power consumption. A professional high-performance Super 35mm 4K 120fps high dynamic range sensor that can take on full frame.
LI5030SA Global shutter FF 5.7K: 170Ke- large FWC (equivalent to ISO54), 1.8e-rms at 18dB gain (equivalent to ISO160), 15EV dynamic range, stable power consumption, with RGB/monochrome/RGB-IR/CFA-free versions. One of the top performing global shutter sensor, no image quality compromise compared to regular sensors, however readout speed is on the slower side -  5.7K 1.9:1 12bit 64fps.

If the XH2/S had kept the tilt screen a la XH1/XT3, I would have bought 3 of the things after using them professionally for 8 years from Pro1 to XT3.
Moved to L Mount for ‘21 and ‘22 and WOULD without question have gone fully back to Fuji for ‘23 but for the straw that broke the camel’s back for me, - the flip out screen.
XT5. Yep, perfect…except for the reduced video spec, no battery grip option and worst of all, no fan option.
Loved the XH1 at the time. XT3 topped it in several ways except lack of IBIS and all Fuji had to do was put the XT3 spec in the XH1 body.
🤪

These are my top 3, and in this order 

I don’t think LIDAR with panasonic will happen! Yesterday on lumix live, someone asked about LIDAR for AF. 
@42:03 min 

I couldn't find it. However its always possible to get moire with 8k resolution. Modern lenses out resolve sensors, even at 100 megapixels. If you want zero occurrence of moire you have to stay in aperture range that diffraction happens, or simply use a softer lens.

Looks like Nikon is gunning to retake back the throne as top dog of the DSLR/Mirrorless Cameras for filmmaking with. That is a killer list of features they're adding for the Z9 Firmware 2.0

Nikon is even bringing out a Remote Grip for shooting with!
Having access to all those features at your fingertips will be super useful for people who are shooting with the camera mounted on their shoulder (such as you'd do with a Sony FS7/FX9, and the Nikon MC-N10 Remote Grip is kinda-ish like the FS7 removable grip)
https://www.newsshooter.com/2022/04/14/nikon-mc-n10-remote-grip/ 
Now all we need is for Nikon to develop a Nikon F to Z adapter with an integrated eND filter!

ticoraw can support non-bayer CFA sensors too (X-trans too?) unlike prores raw
compression ratios offered @12bit are 6:1 and 12:1.
Intopix has nothing to lose unlike RED, rather they will gain more if they expand their services to all other camera companies.
My prediction is the days of ATOMOS and RED willl be over soon. Cinema cameras will be less enthusiastic and more hybrid versions will pop up from every camera company. RED trying auto-focus, and partnering with canon for RF mount seems like they understood they are losing their checkpoint (compressed raw codec).
i feel there are 2 bottlenecks for a camera to be more cinema /video oriented -
1)Electronic nd filter- the patent of forza silicon which has expired recently. 
2) Compressed raw codec- novel compression techniques like jpeg-xs tico raw are circumventing around RED's patents.
seems like clear path for the future for hybrid photo- cinema cameras.
If brands like Kinefinity, blackmagic, Zcam don't focus on auto-focus, an already shrinking camera market can hit them hard.
 
 
 

ticoraw can support non-bayer CFA sensors too (X-trans too?) unlike prores raw
compression ratios offered @12bit are 6:1 and 12:1.
Intopix has nothing to lose unlike RED, rather they will gain more if they expand their services to all other camera companies.
My prediction is the days of ATOMOS and RED willl be over soon. Cinema cameras will be less enthusiastic and more hybrid versions will pop up from every camera company. RED trying auto-focus, and partnering with canon for RF mount seems like they understood they are losing their checkpoint (compressed raw codec).
i feel there are 2 bottlenecks for a camera to be more cinema /video oriented -
1)Electronic nd filter- the patent of forza silicon which has expired recently. 
2) Compressed raw codec- novel compression techniques like jpeg-xs tico raw are circumventing around RED's patents.
seems like clear path for the future for hybrid photo- cinema cameras.
If brands like Kinefinity, blackmagic, Zcam don't focus on auto-focus, an already shrinking camera market can hit them hard.
 
 
 

Into pix Tico raw is based on mezzenine compression technique based on Jpeg-XS.
Redcode raw is based on Jpeg-2000. 
Intopix has patented this technology. 
https://patents.google.com/patent/WO2019011944A1/en
 

 
 

Kinefinity has an E-ND in their latest camera. I am hoping to see that from other companies soon.

ticoraw can support non-bayer CFA sensors too (X-trans too?) unlike prores raw
compression ratios offered @12bit are 6:1 and 12:1.
Intopix has nothing to lose unlike RED, rather they will gain more if they expand their services to all other camera companies.
My prediction is the days of ATOMOS and RED willl be over soon. Cinema cameras will be less enthusiastic and more hybrid versions will pop up from every camera company. RED trying auto-focus, and partnering with canon for RF mount seems like they understood they are losing their checkpoint (compressed raw codec).
i feel there are 2 bottlenecks for a camera to be more cinema /video oriented -
1)Electronic nd filter- the patent of forza silicon which has expired recently. 
2) Compressed raw codec- novel compression techniques like jpeg-xs tico raw are circumventing around RED's patents.
seems like clear path for the future for hybrid photo- cinema cameras.
If brands like Kinefinity, blackmagic, Zcam don't focus on auto-focus, an already shrinking camera market can hit them hard.
 
 
 

Mmmm....
So I've been looking further into this today and its actually a complete mess.
And not just because of the app.
First off, I should have been clearer in the original post regarding the requirement to use an UltraSync Blue unit (€150 approx) for syncing multiple Zoom, Atomos and iOS apps over BLE.
Which brings us to an issue...
The Zoom units with BLE functionality can use the connectivity for the app or for wireless timecode but not both simultaneously.
This is a menu switched option (such as on my H3-VR and the new F3) but the F2-BT doesn't have an obvious mechanism to change this on the fly as it has neither a screen nor a switch to do it with.
Unbelievably, Zoom's solution to this lack of UI on the the unit is that you have to connect it via USB to a Mac or a PC running Zoom's F2 Editor application to switch its mode.
The F2BT unit has five physical buttons on it that Zoom could have used to control that switch on boot up (i.e. hold down Stop button when switching on for Control and hold down Play when booting for timecode mode) but instead have opted for an utterly ridiculous and clunky solution.
So dynamically changing it on the hoof is completely impractical.
In terms of control from the mobile app, it is inexplicable why it can't control more than one device at a time.
I've had a bit of a hack around interrogating the H3VR this morning and I can see that there are enough BLE Services and Characteristics to make it happen to address units individually within the limits of how many simultaneous BLE devices can be connected.
A more simplified app option for multi units that did basic rec start/stop and signal present leds rather than full metering and settings changes etc would be perfectly doable and adequate for at least four units.
For now, in terms of rec start/stop its doable across multiple units if you close the app and re-open it to choose a different unit on the initial scan but thats clunky as hell too.
So, as it stands, to do two timecode synced F2BTs and the F3 they would have to all be in timecode mode (and you'd have to have set the F2s up beforehand) and started manually because there is also no mechanism to do a record start/stop command for the whole group.
OK, so considering that the F2BT has a run time of about 15 hours on batteries and an entire recording for that period would take up a fairly trivial (compared to video files) of about 8gb then the solution would be to sync it to the UltraSync Blue, put it in record and use the lock mechanism to keep it there and then pressing Record on the F3 and leaving it running all day.
But you'd have to be careful with that too as what this guy shows in his video review is that it is easily possible to think the F2 is in record when it isn't due to the enormous delay after pressing the Rec button and it actually beginning the recording.
In essence, I don't think any of this is insurmountable and can be filed under first world problems considering the amount of scope on offer here by having a couple of F2-BTs, an F3 and an UltraSync Blue but its infuriating that Zoom seem to have had such a massive failure in joined up thinking on how it hangs together as a full system.
The easiest solution to fix this would be to have an option in the Zoom devices to start/stop recording on receipt/suspension of Bluetooth timecode and use the UltraSync Blue as master controller by using its start and stop run function.
Maddening how short sighted Zoom have been here.

Patent of electronic nd filter is expired in january 2022 (patent holder- Forza silicon)
Can we see more cinema cameras with electronic nd filter in the future?🤷‍♂️

I've put my dick into too many things, tbh. 
Also, an Olympus camera has been up my arse searching for polyps. 
But my nether regions have avoided SD slots thus far.  I suppose for some fan boys they could eventually be STD slots if they're not careful?

Here begins a series of blog thoughts from me on the state of the world and filmmaking in 2021, after humanity decided to go headlong into a full dystopia like you see in the movies. There will in the future be many great cinematic masterpieces about our plight as citizens in the year 2020. Anyone who has seen Black Mirror writer Charlie Brooker’s “Death to 2020” on Netflix can see for themselves the historic plot twists and sheer lunacy of what we’ve been going through the past year.
New blog post...
https://www.eoshd.com/news/andrew-reid-on-filmmaking-when-the-truth-is-so-awful-only-liars-win/

Loving the S1H viewfinder, coming from GH3, 4,5.  Am I the only one that uses monochrome live view with colored focus peaking? I find it much more practical and effective to visualize exposure in black and white than in color.  B&W has less distractions.  Bonus: focus peaking stands very nicely. I like the bright green or orange.
Just offering this out as a neat little trick. 

I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions.
Big thanks to Dave for taking the time to let me ramble and for listing to my waffling!
https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

I don't know what's going on here but it's not like they have a cinema line to protect...
Panasonic could have that excuse, but don't use it and just have the somewhat iffy AF issue.
Canon are full of controversy.
Sony have been criticised by only having 12mp for the A7S3 but it looks like when the A74 arrives, now that Sony have improved ergos, menus and colour, they are just going to walk over the whole lot.
And I am no Sony fan but the electronics giant is stomping on the more established camera companies.
It's like they all want to commit financial suicide and close their doors.
Or are we some tiny minority that sees this, but 99% of the rest of the world don't give a shit and just hand over cash to any brand they recognise the name of or the fella in the shop sells them?
I think if the answer to my question above is "no, the 4k 60p when it comes is 8 bit", then I'm on a course to see if the S5 will perform in ALL the roles I'd need it to.
More than a bit pissed off with all the camera companies right now. Every single one cripples in some degree or another everything they are putting out for no apparent reason other than they can. It's just fucking weird! 🙄

No N-log internal
No 10bit internal 
No 6k raw (full sensor readout)
Paid raw update that too line skipped 4k
DISAPPOINTING😔
I don't think they have taken any feedback from video users.
 
 

No N-log internal
No 10bit internal 
No 6k raw (full sensor readout)
Paid raw update that too line skipped 4k
DISAPPOINTING😔
I don't think they have taken any feedback from video users.