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.

I live on the Detroit River... still plenty of Prohibition-era smuggling relics in this area- secret canals and tunnels and such. Maybe I should get a little dinghy and start making midnight runs for barrels full of bodies and lenses 😄

Yes! Been saying this for years, more non-standard resolutions! TVs, NLEs and even phones are perfectly capable of scaling "weird" resolutions to an HD or UHD display resolution. For instance if the S5ii/X had a full-width 60p mode at ~2.5-3K, I think they would have been a lot more successful. Not sure if the sensor architecture is set up to do this, but it doesn't seem (from my absolute idiot's POV) like it would be too hard for four pixels from the 16:9 6K readout to be combined into one pixel, for a 3K image. Not sure how this would do with rolling shutter but it'd be an option at least.

IMX410 strikes again!

I can't find where it was presented as "cinematic storytelling", could you point that out to us? When you see a latitude or color test video on Youtube, do you take that as proof that "the next wave of cinematic storytelling" will now be models standing still holding color charts?

Just two, really. -"Main" camera- hybrid/mirrorless for photos and high-IQ video. In the process of downsizing this from S5iiX and a bunch of big/heavy native glass to a G9ii with two native zooms, three tiny native primes, and a tiny cheap Meike fisheye. Streamlined my cage/rig, dropped the rails I didn't often use. Simplified my filtration and hoods. Built up a set of the Meike mini-cine lenses and have a rail/FF/mattebox setup that can quickly swap onto the camera when I need it. Got a way smaller flash trigger and flashes for photo. Motivation is mostly to drop a ton of size and weight and most importantly investment. I'm no longer making money with my gear, so no reason to drag a Pelican with $8K of stuff with me. -"Zoomy" camera- camcorder with servo zoom to be able to follow action. Canon XF405 has filled this role for five years or so, it does have shortcomings and I would love to upgrade to have 10bit, better handling, better AF, 4K120 etc but don't want to move to a bigger cam or drop more money. If XF605's get real cheap this year or next I might bite, still bigger than I want though. The NX800/Z200 are the better buy now really, not much more than the Canon used, but are even bigger. Ideally Sony does a Z90-ish replacement that stays in that size range with the XF405, but with the Z200 specs. Even then I would be waiting for that to depreciate on the used market so not something that would happen soon. Then there's a drone, and I would like to start incorporating a bit of gimbal stuff. Debating size/IQ/complexity tradeoffs on both of these, I have a Mini2 and a Pocket 1 but not really satisfied with the IQ or focal length on either. I also have an RSC2 that probably isn't worth selling that I could just throw the main cam on, but my track record with doing that for personal stuff has been zero, a Pocket 3 is more likely to get brought and actually used. When used S1H's consistently drop below $1K I might grab one for slower, prettier shooting with the Nikkors and Minolta MDs that I've had gathering dust for years.

If this cam does replace S1R and S1H, I bet the next "surprising" camera that has been hinted at will be almost completely video-leaning, with internal NDs, maybe a more conventional video shape/layout. So then probably bulkier too, S1H size or bigger. Might be a smart strategy, if the price and performance are competitive I think there are probably a lot of people who want/need something that is small-ish like a mirrorless/hybrid, but with internal NDs. I know there are a lot of Sony shooters who want something between the FX3 and FX6, for example.

No, because neither of those give you a larger sensor, just different aspects (via cropping from the full image circle). With an oversized sensor you can do different aspects without cropping out any of the image circle. I think it was the GH2 that had a slight version of this, not as large as full APS-C but it was a few mm bigger than a typical m4/3 sensor. I wouldn't read that far into it. Panasonic has always used sensors from a few different suppliers. The S1R sensor and the newest m4/3 sensor (GH6, GH7, G9ii) are supposedly not from Sony.

I always wanted Panasonic to do an APS-C m4/3 camera, like the JVC LS300 but in photo form factor. Let us get wacky with those crop options! Squeeze every drop out of your m4/3 lenses! Similarly, they could do a "FF GX9" or "S9 deluxe", market it as an APS-C camera with bonus sensor area! It has reverse crop factor! Can your Canonykonujympuseica do that?!? Would just need some compact lenses, pancake or zoom. They could even be APS-C designs, just with an L-mount. Some APS-C zooms cover FF at certain focal lengths anyways.

Merging the S1R and S1 into a single high-ish MP body could make sense, if you assume the S5ii/X are already kinda covering that part of the market, and then there'd be room for the new camera to come in at a little more reasonable price. Maybe $3K? Might be a kind of sweet spot since Z8 A7RV R5II are all up at $4K or so.

Yes it is mostly about cost, and weight/bulk. I'm no longer shooting for money and my financial position is not nearly good enough to justify keeping ~$6-7K of kit for personal shooting, when I think I could probably be happy or at least satisfied with ~$3K worth, and put the rest into savings/retirement. A good chunk of my shooting is also in fairly risky scenarios, and I guess as I get older the idea of a ~$3-4K body with $500-1,000 of lens and rigging on it getting smashed or stolen is increasingly less appealing than risking a $1200 body with $50-500 on it. I'll definitely be happy about heading out the door with a 20lb backpack on instead of dragging a 35lb Pelican! We'll see. I've started buying the m4/3 setup, and am going to sell off the L-mount stuff I haven't really used as much first. Maybe the GAS/shiny new toy instinct will take back over, but I like to think I'll be able to continue being an adult about this 😄