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Panasonic FF L-mount Cine camera coming

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Well, Panasonic delivered some beasts and a lot of the internet are still complaining. Then there’s a guy on here saying the GH5 is outdated. What a strange world. 

As a Panasonic shooter, the S1 is looking tasty - too early to call on the S1H. 

Wish all these brand new lenses were more affordable though - the premium has certainly increased over the last few years. 

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11 minutes ago, Oliver Daniel said:

Well, Panasonic delivered some beasts and a lot of the internet are still complaining. Then there’s a guy on here saying the GH5 is outdated. What a strange world. 

As a Panasonic shooter, the S1 is looking tasty - too early to call on the S1H. 

Wish all these brand new lenses were more affordable though - the premium has certainly increased over the last few years. 

If I'm asked, you'd already have S1 not just to look at its tasty look, but to make tasty things with it :) And S1H also.

Actually, keeping looseness of this thread in spirit of looseness of its announced hero, maybe it could be idea for mr Read, taking in account all goods that eoshd made for Panasonic: to form voting thread with goal to elect most skillful contributor based on here published work, and suggest that one as promoter for, say, namely Panasonic newcoming cameras.

Creativity vote from user base, for its own ambassador of reputation and reliance that will test cameras for all of us. (Needless to say I'd vote for O.D. :) (Although I'd also like to read picturesque descriptions, remarks and comments from mr webrunner55.)  

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51 minutes ago, Oliver Daniel said:

Well, Panasonic delivered some beasts and a lot of the internet are still complaining. Then there’s a guy on here saying the GH5 is outdated. What a strange world. 

As a Panasonic shooter, the S1 is looking tasty - too early to call on the S1H. 

Wish all these brand new lenses were more affordable though - the premium has certainly increased over the last few years. 

The GH5 is not outdated if we didn't have the S1H.  The S1H is the GH6 in FF and the GH5 users are the biggest complainers. 

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I have enjoyed these "discussions", but I do not see the Panasonic S1H as a replacement for any camera currently on the market.  There are too many differences (and unknowns) to compare it to other cameras.  The S1H WILL be a great camera for those who it is marketed towards.  That being said, it may not be for me or anyone else who has contributed to this thread.

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There are intangibles that set aside the image from proper cinema cameras over prosumer cameras that go way beyond the spec sheet. 
If Panasonic really are putting all of their highly-regarded Varicam / EVA science into a $4K tool, then that is a remarkable facility to have available.

Perhaps looking at the incremental steps up from GH5 and S1 is the wrong way to look at this camera, and it is better to measure the incremental step down from the existing cinema lines.

As an example, if it lives up to the way Panasonic are selling it, this could be an option for micro-budget feature films, could it not?  £4K for an image you could potentially put up on a movie screen? 

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I am aware that features have been made with all sorts of cameras, including phones.   But huge compromises have to be made.  I shot on a GH4 for years - absolutely love the camera.  But the DR alone would have me pulling out my teeth if I had to shoot a feature with it. 

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19 minutes ago, Mmmbeats said:

I am aware that features have been made with all sorts of cameras, including phones.   But huge compromises have to be made.  I shot on a GH4 for years - absolutely love the camera.  But the DR alone would have me pulling out my teeth if I had to shoot a feature with it. 

I understand. But, from the other side, chasing and waiting for more and more just incrementally-important better specs, we often make the worst of bad compromises (apart of falling to addictiveness of network knitted by logical task of market-industry to burn aquisition-lust in us) - that one with ourselves, with our laziness and conformism versus ability and self-sharpening in finding solution. Which are, as you know I'm sure better than me, the most important parts of creative process and indeed outstanding achievement. 

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One thing that I wouldn't mind see in the S1H (well any panasonic camera for that matter) - is some kind of burst slow motion mode in 4k/6k.

Like being able to get a 4 second burst of 4k in 120fps/96fps. I think burst modes in general are quite underrated, but I love them.

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The released footage with it's seemingly vintage styling does make it a little hard to evaluate the camera at this stage.  I get that it looks good, but it strikes me as odd to promote a camera whose headline spec is 6K with footage, some of which looks like it resolved at around 720p.  

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1 hour ago, andjo said:

One thing that I wouldn't mind see in the S1H (well any panasonic camera for that matter) - is some kind of burst slow motion mode in 4k/6k.

Like being able to get a 4 second burst of 4k in 120fps/96fps. I think burst modes in general are quite underrated, but I love them.

Agreed! With pre-record or post-record functionalities, that function is actually pretty great. Having 120fps in 4K would be great, but I don't need it for continuous recording. But, they would have to figure out how to write it quickly because the only camera I've used this one (Sony FS5) was slowwwwww. But I'm guessing that had more to do with old processors and slow SD cards. With an XQD card, I'm guessing you could write 4-8 seconds in 120fps 4K pretty darn quickly. Or even allow it to write to the XQD while you keep shooting normal speed on the SD Card.

 

 

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4 hours ago, Mmmbeats said:

I am aware that features have been made with all sorts of cameras, including phones.   But huge compromises have to be made.  I shot on a GH4 for years - absolutely love the camera.  But the DR alone would have me pulling out my teeth if I had to shoot a feature with it. 

It's really documentary where the crazy high DR becomes a major feature, no? In the early days of cinema feature filmmakers were lighting to film that held significantly less DR than any recent hybrid.

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22 minutes ago, Chrad said:

It's really documentary where the crazy high DR becomes a major feature, no? In the early days of cinema feature filmmakers were lighting to film that held significantly less DR than any recent hybrid.

For more hollywood productions yeah dynamic range doesn't usually matter that much as they are so well lit. 

Though with modern filmmaking I feel like natural lighting is becoming a much bigger thing. 

Its surprised me sometimes but there aren't too many situations where my GH5 or XT3's dynamic range wasn't up to the task. Some pretty minimal lighting can take care of any issues usually.
 

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53 minutes ago, Chrad said:

It's really documentary where the crazy high DR becomes a major feature, no? In the early days of cinema feature filmmakers were lighting to film that held significantly less DR than any recent hybrid.

Well I think it depends how much control you're able to exert.  Often on a low budget shoot, access, time, personel or resources will prevent you from being able to apply the solution you'd like to have.  That's when windows start to blow, skies start to pop, and other undesirable things start to happen.  At the sharpest end of low-budget you just can't always fight all the fires.
Of course there are ways around this with meticulous planning and imaginative framing, but having a camera with superb colours and high DR sure would be a helping hand.  

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