BRAW is amazing... not gonna lie. It's hard to work without RAW... I'm on B&H right now eyeballing the GH7.

I imagine you’ll be very impressed with the image from the GH7.

I used two GH5 cameras extensively and loved them. Now I've got the S5IIX, and there's no way I could go back to Micro 4/3 just because the stills performance of full frame is so much better. So I guess all I can do is look forward to some of these features making it to the next S5 series camera. Because I probably shouldn't buy a GH7 exclusively for video.

The GH5S had RAW output

@@CNC-Time-Lapsejust do it man we need some new soil on YT

I work for LUMIX- To be fair, we kept that secret until the June 5th 2pm California time. They didn’t know.

@@PANAFRAZER I figured that was something they weren’t aware of. That’s awesome though. Probably why we never get any leaks for anything!

I wasn’t told about it! I’ll be looking into it though

It’s cool but is it that big of a deal? You can easily convert any log format into another gamma curve. I frequently use CineMatch to convert to over camera log profiles. I guess it’s good for simplicity on set handing over footage though

@@PANAFRAZER was hoping you would be on the launch stream!

Its been a busy week!

And you weren't subscribed before? * rings bells * "shame, shame, shame,shame, shame..."

Excellent, great to hear. Thanks for watching.

Same!

My predictions for the S1H mkII / S2H: Pro Res 4444 internal. 4K 120P no crop. At least 15 true stops of dynamic range - not marketing hype like Sony does, but actual true 15 stops of DR at least. A stacked BSI sensor offering massively improved rolling shutter, as that's a weakness on the current S1H, as well as improved low light. Improved colour science. Improved battery performance. Massively improved 240 FPS slo-mo with audio recording. 32-bit float internal audio recording. SDI ports as opposed to HDMI. (EDIT) Forgot to mention internal ND up to 10 stops. And then of course the usual PDAF, at least 7.5 stops of IBIS, 6.2k open gate and all of the other features that are now standard in the S5II & X and the GH7. And maybe Arri Log C3 in the S2H? Maybe. Price tag at around $5,000 Feel free to add anything I may have missed out 😎

The 6K pro only managed it because of that very long EF mount turret. Can’t do that with a mirrorless mount.

And no ibis

@@carlyates2487 We can see that from the c70, c400, fx6 and fx9 that the mount and flange isn't the issue. The issue is, where do the ND's go when not in use? and if you want ibis along with it then the ND'S themselves need to cover the full ibis area, not only be the size of the sensor. I'm not sure anyone is after a mirrorless camera that is as large as the c70? Well, I guess maybe if it was the true do it all hybrid camera. However if anyone was to pull it off I could see it being Lumix on the smaller MFT sensor. P.S, Love the work Carl, keep it up!

@@carlyates2487 If Sony can make E-mount cinema cameras like the FX6 with built-in ND filters, then it's not the mount, it's the form factor. It might be time to rethink the photo camera form factor a bit. You could say the same thing about the Canon C400 with the RF mount, etc.

Yes, this feels like a much more complete and easier camera to recommend than the gh6.

@@carlyates2487 Easy to recommend and I am betting plenty of people will be asking for it. It is like when the GH4 hit the market with the new 4K. Instant hit. This new audio and Arri log are going to drive many people to Lumix once again, at least until the others catch up. For me, the Panasonic stabilization plus anamorphic support keep me in the GH and G9 line. For many others it will be the new audio plus stabe that will bring them to the GH7. Definite game changer, and once you discover how much better Lumix stabe is, it is hard to give that up.

It'll be interesting to see this side by side with the GH6. Theres definitely lots here that is a big improvement, but lots that is very similar.

32-bit float doesn't erase all other issues with audio. But it does make a huge difference

It was only a matter of time before someone managed it. Well done Lumix for being the first!

@@carlyates2487 I know right, glad to see them still innovating, I hope an S5III gets it too down the line 👏

Same 4.4k mode yea

can the DMW XLR 1 be used on the GH7? It seems possible.. *

@@victorcarrera7335 Yes, but I am disappointed about the DMW XLR2 not being able to use 32bit float audio on GH5s etc.

@@Filmmaker809 the 32 bits is internal camera setting , th XLR2 is mainly the receiver of the signal! YET, since I own a DMW XLR! and usually cover almost all with 1or 2 mics I am happy that I do not need to invest th 500$ for 32bites on the GH7. GREAT! Thanks for the replay and the connection! And HAPPY THAT PANASONIC PEOPLE DID NOOT BLOCK THE FEATURE.... OT AT LEAST NOT YET.... ;)

No, you can choose which audio channels go into the video. The xlr unit can’t send all 3 at once.

Yes it can. 4 channels 2x xlr, 1x left and right 3.5mm can be recorded into the video file, but not 4ch in full 32bit 96khz.

@@carlyates2487 incorrect, it can send all four channels (3/4 are a stereo pair)

@@PhotoVideoTechOz also incorrect from the reporting, it can do all four channels in 32bit float, they just need to be coming in from the XLR module and not using the in body 3.5mm jack which is an option.

We don't have one here to test, but believe it will work.

@@carlyates2487 and it will record 32 bits+? It seems possible... check check...

I hear you, but I think this is a great sign for the S1hii. Because they're taking their time with it. Remember the Gh6 was the first camera they forced too soon and was made to be forgotten essentially. Anytime panasonic pushes a camera back, usually it ends up being totally worth it. Similar to how the G9ii ended up being superior to the gh6. My hope is the S1h is actually a panasonic made sensor, or at least unique to them.

@@CanditoTrainingHQ fair enough

Those who wanted to go L-mount have already done so. A lot of us (probably the majority) stayed with MFT because of the smaller lenses, but have been neglected in the L-mount push. It is now time for Panasonic to get back to looking after its core user base, and bring us some real MFT compacts instead of the stupidity of a so-called compact S9 that uses great big full frame lenses. A MFT S9 equivalent makes sense, The full frame S9 does not.

@@artistjohagreed. A m43 version of the s9 with this sensor would be great.

That’s a good question! I’ll try and find out.

I use m43 cameras in low light, it can handle some of those applications.

The S5 II was their first camera to have the new phase detect AF system though

Yeah, I can't see this add-on selling, so expensive and will be redundant in 6 months

It's coming.

@@Aviciizreally?

@@ConatyP Yes. A few weeks ago there was a patent leaked about a new fullframe box camera from Panasonic. It’s looked different than the current BSH1 as it had a side handle and a flip screen.

@@Aviciiz at long last 👍

Autofocus needs native lenses, not adapters for the most part.

I think the 32bit is a hardware feature of the new XLR audio accessory so there is a good chance it could come to the S5II with firmware.

@@edjefferson9175 I wondered the same thing. That would be a great move if so. It would be fantastic on the S5 II X

The 5.8K Prores Raw is very large, you aren't wrong.

Theres definitely some truth in that. But a smaller sensor platform will always be able to do more as the processor needs to do less work on the sensor.

The DJI mic has 32bit float in it. But the Pocket 3 has 48Khz 16-bit ACC ?

It’s a good point about the lenses. If this camera does well though that’s bound to spark some more releases.

@@carlyates2487 To be fair, the Leica lenses are excellent....and I'm not sure about the smartphone comment - unless we start getting smartphones with built in fans for cooling!

Sure, looks great

@@carlyates2487 There have been several of these kinds of things uploaded by Lumix, and the footage looks fantastic from this camera, but most interesting to me is a behind the scenes of a director using the GH7 as B cam to an Arri Alexa and editing the footage together. It is a fight scene, and the GH7 gets accidentally kicked out of his hand twice and he says that he loves how he can put the GH7 into risky situations and get POV shots that he either wouldn't risk with the more expensive camera, or cannot get because of the size of the Arri. And while he thought he must have killed the GH7 from it hitting a brick wall, the camera kept working. kzfaq.info/get/bejne/f6xkbJBokrfZeJ8.htmlsi=QCYXmYUcK8dNoyl7 Seems to me you are going to have plenty of clients wanting this camera, both those who work with Arri cameras, and the rest of us not able to afford Arri production, but wanting that level of footage. Looks like Panasonic was very clever about how they planned this camera. They knew that it would fail if it was simply a GH6 with just a couple of gimmick extra features. People react badly to that sort of thing, and they knew the couple of new things had better be very special indeed. Well, they knocked it out of the park. They hit it for a six :)

The S5 II X is a fantastic camera. I agree.

Having 32-bit float audio recording in camera and inside the video files is a really big deal. I could see this coming to most cameras in time and being a huge change for the industry.

@@carlyates2487 Yes, I can already taste the meat. I'll personally transition from wedding videography to cattle farming.

Which bit?

Take your meds bro.

It's really strange isn't it

I'd love to see them make both this and the S5 II X into a box style camera like the BGH1 but more aimed around cinema production than live multicamera which the BGH1 was.

That is definitely not what I was telling people. I said "you never have to worry about setting your record levels while filming ever again". Thats purely how loud you have recorded it. Apart from that, your sound is still your sound. The type of microphone you use, background noise, wind, clothing rustles, EQ, compression... all of that is still relevant.

@@carlyates2487 Fair enough, sorry for being a bit harsh. There is a massive proliferation out there of the "32 bit float fixes everything, and you don't even need to wear headphones!" That message is just very misleading. My apologies for taking you to task on that. On a different note, how did Panasonic get ProRes RAW and 32 bit in the same camera for $2,000? Panasonic absolutely leads the way in value on their cameras. Cost for features is unmatched with Panasonic.