Why does nobody write about the Panasonic S1R 6K 10bit h265 with 200mb/sec at max. 30fps? Everyone writes and tests the S1 and S1H!
Do the manufacturers think we're stupid or are we really stupid?
We should buy, purchase or even better change the system because the S1H is the best DSLM!
What does the best DSLM mean: That's not enough for me, why isn't there a leaderboard where all cameras are listed? Then there will probably be a difference between the No. 1 and the No. 22? Of course, consumers always want to see a test winner. So instead of one category, we'll have 10 categories on the same topic and we'll have 10 test winners!
The best cinema cameras have been coming from ARRI for decades. All other brands are good too: Canon c500 mark2 or Sony fx9, or Red Monstro. These are all top devices, but they are not perfect, because something is always missing.
If you were in charge of choosing the camera for a feature film and only not be dismissed if something goes wrong when you take ARRI! So what are we talking about? Of course the money shouldn't be an issue...
Back to the S1R camera.
Is 6K, 10bit H265 with max. 30fps enough for you?
Where do your films end up: YouTube, TV or cinema?
Who pays you: private individuals, companies, TV stations or cinema viewers?
No log, no RAW output, only 420 instead of 422, max. clip length 10min.
If you need more, get the SL2 camera from Leica.
About 3.000 € more, all extremely expensive, especially the batteries and lenses, but she films with log and has 422 10Bit HDMI DCI output! Everything else is pretty much the same as with the S1R.
The disadvantages with the SL2 are: Only a fixed screen, good but unique menu, the Profoto flashes do not work.
Let's talk RAW and log for mere mortals.
RAW with log is good, but leaves a huge rate tail in post production.
If you expose accurately, choose the right WB, have a good sound and perfect lut, you'll get there super fast, and above all, it's affordable for customers.
The difference to the very elaborate RAW setup on location as well as in post remains disproportionately large, and is not visible in the finished film for rental! Clearly, with 400% magnification and a calibrated monitor that can display more color than the eye can detect, we will see differences. Of course, if someone is filming for his ego and especially cool making-off's are shooting in parallel, he won't get along with my minimalist but affordable workflow at all.
What I still miss on the S1R: Define the guide line on the monitor, vectorscopes and parade, manual focus magnifier on Record, HDMI out 10bit 422, shutter speed in degrees and seconds. You can get a lot of this and much more for only 625€ with Atomos Ninja V.
What I dream of, not only for the S1R, but for all interchangeable lens cameras is an electric Vario ND filter adapter for all DSLR and DSLM.
There's something I need to get off my chest: With me, you don't have to click on Subscribe or the Like button. 😂
But I am very happy about comments or other opinions. Actually I am not a film maker, but a master photographer. My company takes care of large hotels with online marketing, especially with SEO, optimization of OTAs and Metasearch machines. So if I am completely wrong somewhere, please don't be too angry...Thanks!
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