article/more info: https://forum.level1techs.com/t/panasonic-lumix-s1-firmware-1-0-bugs-eve...
This is a companion discussion topic for the original entry at https://level1techs.com/video/everything-wrong-lumix-s1-panasonic-firmware-10-bugs
This is a companion discussion topic for the original entry at https://level1techs.com/video/everything-wrong-lumix-s1-panasonic-firmware-10-bugs
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Well done video!
Autofocus drives me mad. Why isn’t there good technology that works? We have sent a man to the moon, taken picture of a black hole. Autofocus should not be that hard.
The lens situation is also bad.
Software wierdness and terrible UX
On the risk of repeating myself, since Microsoft kicked out their QA time, it seems it became common practice to just publish whatever the monkey and drunken room service hacked together last friday night.
Went to look at prices. Did not expect that. I have seen BlackMagic URSA’s in that price range.
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I still don’t expect Panasonic to unlock Full Frame 4K 60p. It will have to come from a third party like how you hinted at the end. Maybe the old GH2 firmware hackers can come back for this camera.
The GH5s had HLG out to HDMI too, so that camera can also do high dynamic range.
In terms of narrative practice @wendell, try your hand at 35mm, 50mm and 85mm primes. A zoom lens just won’t be able to get the same subtleties as fixed focal length primes with declicked irises. You could look at Samyang or Rokinon for those lenses. Those lenses don’t need electronic control and are full manual focus.
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RED has a problem with overheating despite having a heatsink in the camera. Given, that is a 6k camera (or 8k? The one LTT have).
Highest end RED is 8K. The overheat is because the fans purposely spin down during recording, then ramp all the way up after a take is completed.
When Linus took that one apart, I wanted my friend tesla500 to CNC that waterblock he wanted for him.
Still stupid IMO. They are not size restricted so why not make it bigger and be able to operate for an hour or more?
Modularity was key for how it was so successful at it’s size. Sony Venice or the F65/F55 is still too big for some people.
Octocopters are more compatible with the RED body than any of Sony or ARRI’s offerings. Octocopter + 8K… No brainer.
Yeah, that camera is just dumb. And contrast AF is always gonna be crap. Panasonic is gonna have a really bad time if they don’t realize that. Sony is miles ahead right now and I bet they are just sitting on their A7SIII tech. Nobody seems to be able to challenge them… Kinda sad.
Except in 4K 60p support. Sony will NEVER do 4K 60p in a Alpha mirrorless because it cannibalizes the FS7.
The engineers may want to so badly, but the marketing team will say “It cannibalizes our professional line so we have to keep that feature crippled.”
You won’t ever see ProRes RAW on anything Sony either.
Yeah, I’m gonna remind you of that statement at some point. xD
Not that that matters (at all… ) but Blackmagic’s new RAW format is gonna take over anyway.
Would you actually think a marketing department that doesn’t allow 4K 60p sub $6000USD will allow a $3000USD camera body with 4K 60p? Sony have made it clear 4K 60p remains on their cameras above $6000USD. The Z150 camcorder would have been an excellent competitor to the UX180 from Panasonic, but Sony decided no 4K 60p.
The FS5 uses chips from the Alpha Mirrorless cameras, is $5000, but still has no 4K 60p OOTB.
Also, you will be extremely surprised how “ProRes” is now a industry buzz word that you MUST HAVE or you’re irrelevant. ProRes + RAW recording just gets tons of people’s attention while DNG is just another format to editors. Editors and Post Production people think APPLE ProRes is a industry standard. This is the danger with a 100% proprietary codec becoming standard practice. Same with exFAT.
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you’re trying to make me say black magic 
It’s mft tho isn’t it? Does bm have a ff 60p? The apsc 60fps is… decent. But the FF 4k/30 is soooo clean.
Yeah the BMPCC4k is mft, and definitely not a clean image like the FF from the S1 in low light.
S1 also looks miles better straight out of camera from what I’ve seen.
I misread furryjackman’s post, his reasoning was that [a company such as] SONY will likely not want to put out 4k60 on lower end cameras to prevent cannabalizing their higher end market, [dumbly thinking ALL camera companies were meant… ]
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I have been messing with the shutter stuff. So there aren’t as many settings as the gh5 but with a shutter speed of 1/200 goes a long way to eliminate the rolling shutter. It looks decent adding back motion blur in premiere.
On the gh5 you can mess with the shutter angle and that can help with some of the symptoms of motion blur but still it’s unlike a mechanical shutter.
Interestingly in high speed photo mode it’s much better.
I think so, would be the URSA Mini Pro 4.6k G2 (naming is close to monitor manufacturere levels of bad).
When FullFrame is not a requirement, the URSA Broadcast will do.
Cameras and all aside, the tech in these things is mind blowing!
That is super35 (APS-C).
But @FurryJackman, to think a specific feature would never be coming to lower end products is simply naive.
“Full frame 4k? NEVER gonna happen!” It did.
“10bit in mirrorless? Never!” Yeah, it did.
Now we have RAW and pro res inside a camera under 1500,- bucks.
Of course 4k60p is coming, why would it not? Actual filmmakers are rarely gonna use it anyway. Those higher end products don’t have to be guarded, they have lots of features clearly separating them. Like built in ND, XLR-audio, codecs, record time, formfactor… 4K60 is a consumer feature and it is coming.
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My point was SONY was never gonna do it.
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