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My thoughts exactly! Although I hope Panasonic pivot to a new sensor for whatever eventual S1H successor. From what I gather it's a diff OLPF in the PYXIS than the one on the S1H - so maybe it's less aggressive? Also bare in mind I'm also shooting on the Arles which are inherently sharp lenses - so I'm gonna stick some diff glass on it in the coming weeks and see how it looks... but yes overall I think it is just a sensor that pushes a sharper image as it seems consistent with the image from the LUMIX cams as well. The Komodo, while still sharp, just seems to have a more pleasing "organic" softness to it without sacrificing detail.

Yes of course, you can connect any monitor that supports SDI. The camera also allows recording direct to SSD via USB. Separate connections. There's a front USB for EVF / Monitors and at the back you have USB for data and SDI for third party monitors.

Thanks pal!

thanks man - yeah it's a nice option and probably works out a fair bit cheaper than the Komodo - I still think the image of the Komodo is superior - but the Pyxis does offer you an LF sensor with open gate and more physical buttons etc. Pyxis also just boots up faster and is a bit more responsive.

Yeah, it's pretty crazy what it can do - I think it uses available information to guess what should be there, but it can totally save your shot!

You’re welcome 😊

I'm working on a rigging vid which will hopefully be out soon - I managed to get a decent setup using some existing bits and pieces I already have - but will also try test one of the cages available too.

Haha thank you George! Always trying to figure out what gives the best value in these camera review vids and like you say a nice mix of REC.709 and the graded potential seems to be the way to go! Looking forward to exploring more grading options in future videos.

Agree. Also, more and more movies on and made by streaming platforms look pretty digital these days.

I think that’s his wife haha

@@devinhill9514 yes that's Stef, my long-term (long suffering) partner!

Not sure what optical coma is? I quite like the flare - lot of wide angles will have flaring like this.

haha yeah I can see them releasing that. Honestly shot on my Komodo for nearly 3 years without internal ND and it hasn't really bothered me. I use good quality VNDs when I'm in a hurry and have a few mattebox solutions for when I have larger crew / more resources.

Yeah I'm assuming that's what a lot of people will be thinking - so will be doing some more tests with my LUMIX cams in coming weeks - have just shot a BRAW comparison on the S5 IIX... stay tuned!

This was meant to be a short 8-10 min "first impressions" vid - but as you can see I had a lot to say! I plan on doing a few more vids after more testing - looking at rigging, more in depth comparisons with Komodo & LUMIX cams & hopefully bring it out on a professional job - but this will give you all an intro to my initial thoughts on this camera!

@@EdProsser It would be a dream to compare it to the Ursa 12k because I hesitate between these models, but the comparison to Komodo and Lumix is ​​also very good :)

@@mariohazard821 If I can find one during the loan period I have the Pyxis - you know I'll try it!

There is a specific low light mode which you could use, I imagine I had my shutter speed locked also which forced a higher ISO which creates more noise. Shutter speed is set to DOUBLE the frame rate not half. This preserves nice motion blur and movement. If you increase too much movements look a bit jerky and rigid. 3 - it's a balance and you sort of have to decide what you want to preserve when shooting. Ideally don't clip your highlights which may mean darker shadows. Or if you want to preserve shadows, you may have to sacrifice some highlights. This is the reality of any camera with limited dynamic range.

It's pretty good on the S5 mark 2s

COB lights like the Forza tend to be a bit harder / more concentrated, all the LEDs are packed into a small area, so they're easier to shape and focus beams of light using modifiers like a reflector dish, spotlight or Fresnel. But you'll also need bulkier modifiers to soften up the light, softboxes etc.. Panels tends to be larger light sources, more diffuse / softer but sometimes harder to control, cut or shape. COB lights are also smaller and easier to transport. Panels are great if you need to evenly light larger areas, it needs too down lighting, flat lighting of objects etc. but the two kinds of light can be intermixed on most jobs.

That would be killer!

I think it’s still a great cam but you should be able to pick it up for half the price you listed!

@EdProsser Oh thanks for your quick reply ! Really? I have been looking online and the cheapest I have found it's a thousand bucks body only brand new

@@Joshueda yeah maybe that's right actually, they're about £800 new in the UK, I think you can find them for 500-700 USD, but I'm in the UK

Honestly they both look like they perform the same function!

@EdProsser Yes, I agree.

Flip a coin 👀

Wow great to hear! I've shot on Sony cameras throughout my career, and occasionally have to jump on an FX3 or FX6 for certain jobs. But for cost / features / image I think the new LUMIX S5 mark2 cams are amazing.

@EdProsser You're totally right. Love the color science of Lumix 😭❤️ (and his video capabilities.

Haha you might actually be right! Maybe we'll do a Q&A interview together one day, maybe when this channel hits 30K subs!

The new S5D just brings an update that means you can use the LiDAR, push that info into the camera to drive the camera's AF system and control electronic lenses. If you have the LiDAR and lens focus motor, you can use that on pretty much any setup as it doesn't "talk" to the camera

It's not loud at all, I've shot lots of interviews with it, often in smaller spaces. The Amaran F22c is pretty loud. I don't know anything about the Nanlite 60 but I'm guessing it's much lower output - usually when you choose bi-colour over just daylight balanced, yes you loose output, because there are fewer LEDs as you're mixing warm and white, rather than 100% white. You can look at product pages and see what the difference is in LUX.

It'll depend on the footage you're using it on - but most of the look comes from the colours which is what is provided by the LUTs! So any software that accepts LUTs should give you good results.

I can't quite remember but perhaps I do this in the main review vid?

I don't know I'm afraid. BUT you could just convert the lenses to EF mount and then they'd work with a standard EF-MFT speedbooster

@@EdProsser I submitted a question on the B&H website and they responded with this: "The Metabones Speed ​​Booster Ultra 0.71x Adapter for Select PL Lenses to Micro Four Thirds Camera is only compatible with PL lenses that have a rear protrusion of less than 14.5mm. As the rear protrusion of the DZOFilm Arles 35mm T1.4 FF/VV Prime Cine Lens (ARRI PL), as well as the entire Arles line, is only 14.3mm, it should be compatible."

They did offer to send me one but no L mount version and atm I'd rather try the Apex, I think the image looks more interesting than the Sirui Anamorphics which are a bit too clean

@EdProsser I also wanna see that apex but there are literally two videos that have test footage of them 😭 wondering if they also work well on full frame as it's those edges where you seem to get a lot of the distortion and fun particularly on the smaller crop factors

I'd probably say BRAW on the mark 2 is much niceer! Internally - the image on the Mark 1 is nicer - haha nice and confusing!

Yes I have heard that too... but then you're stuck with black and white, which is not super useful to me.

@ Yes I do get that it’s not for everyone and can be quite limiting. In a competitive crowded market I was thinking that’s how I could differentiate my self and become my unique style. I love B&W films and lately I have found myself watching many modern films and tv shows with my tv desaturated of colour only to find out I think many things look better B&W than the original colour version. Specializing in that noir look and old Hollywood style could be a fun way to be different.

Yes possibly, for your own productions for sure, but I guess it depends if you're always shooting your own productions or collaborating with others. If you're working with directors, agencies or companies to shoot stuff and rely on constant work - you might be making yourself less competitive if you can only capture in a format that has low demand.

Without speedbooster I prefer the 40mm

Thanks man! Yeah, if you've ever used one, it's a lot like the Aputure Nova 300c but with much more output, lighter and waterproof. It's a good light to have to be adaptable in diff situations.