Al Dolega

Maybe the Arri/Panasonic relationship is more than just the LogC thing, maybe they're sharing costs/tech at OnSemi.

I try to limit my social-media/vertical-video viewing, but even so I do end up still seeing a fair amount of slo-mo being used, especially obnoxious ramped slo-mo. So I can definitely see there being demand. I don't doubt you're not seeing it, though- the algorithm gives us all different things. There's also anamorphic shooters and those who just want to shoot in a square-er format, too. And even those never touching slo-mo benefit from the demand for slo-mo as it generally brings down the rolling shutter in regular-speed modes, too. Yup, bought my S1 a little less than two years after launch, with the 24-105 and V-Log upgrade, in minty condition for $2200. Kinda hoping that S1H prices drop under $1K sometime soon, not sure if the tariff stuff will delay that though.

Could just be a simple capacity thing, maybe Towerjazz or other non-Sony suppliers just can't pump out as many finished sensors? Maybe their yield rate from each wafer is lower than Sony's, so it makes more sense to do smaller formats as you lose less from each wafer when there's defects? Who knows. Maybe BlackMagic using FPGA processors instead of ASICs, which I believe is cheaper, is part of their low pricing? Also why their cameras are so power-hungry compared to a mirrorless or Sony Canon etc cinema cams processing similar amounts of info (actually, way less processing for BM cams, as they're not compressing down to h264/265 etc). Anyway, my prediction with pricing is that we're going to see prices rise across the board from here forward due to the tariff issues. Pannyboi just had the bad luck to be the first to launch a post-tariff camera so right now they look bad/dumb/greedy, I bet in a year everyone else will have caught right up.

And for the GH6/G9ii/GH7 sensor too, I believe.

There are dozens of us!

It's relevant to the pricing strategy Panasonic is using, which is what Andrew and others are critiquing and I was responding to. Of course from an end-user POV you would want to compare against relevant used or discounted-new offerings. I waited almost two years for the first S1 to depreciate enough that I could afford it- got a minty one with the 24-105 for $2200.

While I agree with most of the criticisms of Panasonic's marketing, as far as pricing goes I feel they may be getting treated a bit harshly. The S1 launched at $2500 in 2019; with inflation that's about $3150 in today's money. So not really much of a price increase, although of course overall wages have not kept up with inflation, rates on video jobs are always being squeezed, etc. Then there's the US tariff fiasco to take into account, that has to be affecting the pricing somewhat. I bet in a year's time when the counterpart models from the other brands are out that their pricing will be similar because they're dealing with the same fees and uncertainty. Not entirely fair to compare the pricing of one of the first cameras to come out post-tariff-ridiculousness with that of models from before. The S1ii is in at least one way very similar to its predecessor, which was also using a newish Sony sensor that had debuted the year before (IMX410 in the A7iii), but did an arguably better job with it than Sony did.

Yes the 18-105 works on the FS5, that was the kit lens for the FS5 as I remember.

You sure? The S1 and S1R were identical bodies from what I remember. Looking at them on CameraSize they're pretty much indistinguishable other than the badge, same dimensions and everything.

That's a great find! Really cool that it draws power from the HDMI. The compromises sound workable. I just wish the cord wasn't attached.

Looks to still be mirrorless/photo form factor. That would be fine with me if the EVF tilted and there were NDs. Having the grip rotate would be nice too.

I have the Ace L, two of them actually, am very happy with them for the price I paid used. Only change I would wish for is drop-in loading instead of having to slide in from the end. Not sure what the differences are with the mkII but the mkI's were one of the best choices for a "cheap" fluid head.

I have been delivering in 14x9 (1.55:1) for a few years. With my new rig I will be narrowing that up a bit more, even, to 1.5:1 or 1.43:1 or maybe just 1.5:1. I'm liking the way 1.43:1 looks the most so far. Plus, Imax! The Panasonic frame masks are going to be really useful for this, particularly for my fisheye, where I will actually be cropping width and height. I just wish I could use the masks when reviewing footage.

To me the idea that an armed uprising/protest would cause any real impediment to Trump's plans is just wishful thinking. Even if you could somehow get a substantial number of gun owners to act violently against their beloved leader's government (which you couldn't), their effectiveness against our military, or hell even most of our police departments, would be laughable. Would there be property destruction, deaths on both sides, suffering? Of course. But there would be no real threat to Trump's agenda. Reminds me of this Neal Brennan bit:

I remember Grant saying the same thing in these presentations in years previous. And I remember looking for anything that explicitly stated "free upgrades for life included" and could never find it. People just assume this because that's how it's been so far. I would hate a subscription model. Paying per major version would be fine, I would most likely skip a generation or two before feeling a need to upgrade. Same as I did with Adobe before their switch to subscription. Assuming the AI stuff is the major cost driver that would cause a switch to a different model, it would seem fairer to attach the cost more to the AI stuff- you get basic models/capabilities with the regular Studio purchase, then can pay to add-on better models or faster processing etc.