 Welcome to the Crimson Engine, my name is Rubidium. Today we are looking at all the cool gear that I saw at Cinegear 2019. The big camera news from the show was the Panasonic S1H. This is a 6K full-frame DSLR designed to shoot video, designed to shoot cinema, and it retails around $4,000. The specs on this are pretty impressive, but once I actually got to see the show reel and the camera used, I was a little less impressed. In fact, kind of mystified. I don't know why in 2019 you would want to buy a DSLR to shoot video. I think it's great to have a DSLR to shoot photos with and use as a big camera or to shoot documentaries with. I guess Panasonic is going after all their upgrading GH4, GH5 people, but I think if this camera was $2,000, it'd be slammed down to $2,500. But at $4,000, you're only maybe $1,000, $1,500 less than the Avalon, which Panasonic make, which has all the things that you actually need to shoot a film. It has XLR, proper audio controls, real form factor, you know, top handle, something that you actually use rather than a tiny little DSLR in your hand that gets all kinds of microjitters and you have to, you know, spend another couple of thousand dollars on rigging out with all the shoulder attachments and battery attachments and all the issues that we had when we shot DSLR that digital video cameras, digital cinema cameras were invented to overcome and to go back to DSLR now seems really weird. The reason people shoot so much on the GH5 is it's a really great image for only $1,500. I don't think those people want to drop $4,000 on a slightly better full frame DSLR. I think those people want a better GH5. The show reel for this, which I can't remember who shot it looked terrible. It looked like a 5D Mark II show reel. You know, it was really underexposed a lot of the time and it was just really like every cliche camera show reel from the early 2000s, it just looked, looked bad. I mean, and that's saying something because most camera show rows look pretty terrible, but this one, I just don't think Panasonic get it. Every year at Cinegear, there are the things you kind of expect. There are things that you have finally arrived that you've been waiting for for years and then things that just kind of come out of the blue that you're like, wow, they can do that. That's amazing. So portable, a company called Portable Electric have generators that aren't generators. They are giant batteries on wheels that you would tow into your location film set to run your lights and your whole facilities. None of the annoying engines that mess up all your sound and cause fumes. Yeah, you can even charge them while you're using them with solar. I didn't really get into how much they cost. I'm sure it's a rental thing, just like no one's going to go out and buy their own generator. But if I was shooting something tomorrow in a remote location and I wanted to power the entire film set, this is definitely the way I go. Because like I said, no fuel issues, no sound issues. And yeah, it just makes it a lot easier to work. Behemoths of the on set monitor world, Adam Olson, small HD, both had whole new ranges of displays. But interestingly, they're starting to diverge. Small HD brought out two new monitors, a 13 and a 17 inch, both with integrated wireless. Small HD owned by the same company as Teradek and the excellent Focus 7 bolt that I have a review coming out soon is a monitor with wireless receiver integration. So now they've stepped that up to the 13 and the 17 inch, which means that you can just open these things, put them on a stand, turn them on and start shooting, which is awesome. No wires involved. Interestingly, they the 17 and the 13 inch are both around the same price. I think they're like five and a half grand each. Atomos brought out their own range of larger on set monitors, but instead of doing the inbuilt receiver, they went with the inbuilt recorder. So these things are kind of like the sumo. They can have all sorts of bells and whistles. They are HDR. They are 4k. They come in 17, 24, 31 and 55 inch. If you really want a giant television on your set to show your clients, but they have inbuilt recorders like the sumo to solid state drive and you record, you know, pro res 422 444 and also pro res raw, which is their proprietary format with Apple, which gives you a lot of flexibility and post and these are four, you know, and they're very competitively priced. The 17 inches about four grand, the 21 inches about six it goes up from there, but they looked beautiful being 4k HDR in the booth of showroom. They looked really impressive. Quasar Science, whose gear I have and use a lot have been branching out out of their tube form factor and are going with a really interesting sort of for Fresnel's in a inbuilt array. I didn't get the name of this thing. I couldn't find it on the website afterwards, but it is super bright, apparently brighter than a SkyPanel S360. Something I was super interested to check out was a car shooting set up by a company called PMG. They make large video screens and they have this four wall car set. So it's two sides, the back and a roof that sits over the top of the car and projects video so that you can film two or three or four people in a car, pretty much live action. You don't have to do any green screening. You don't have to do any lighting. The video screens that are bright enough that they'll actually light your talent as well as put reflections in there. So you have all kinds of control how you shoot, where you shoot. It really is, you know, the latest and greatest way to do car scenes. Probably the downside is the cost. They don't have a standing set. I mean, they don't have like a facility that you can just drive a car to and shoot in. You actually have to pay for them to come out, set up, shoot and then break down. And I think the guy said that the costs around 40 to 50 K a day, which includes the set rental and all the labor, which is the biggest part of lots and lots of technicians to come in and set up the video screens and get them running. What would be great is if they had a place like that in the production hubs like New York or LA that you could just come to with a car or hire a car, shoot in for a couple hours and then get out. And if you could, if you could do that for like $5,000, you could, they could really transform the car scene industry because Pullman's process and process trailers and green screen all have downsides and this sort of technology seems to alleviate most of them if we can just get the cost to a place where it's affordable for anyone, but the biggest movies or television shows. Sydney Gear was a heap of fun. I really like going and running into all the other people that do what I do there, meeting the people that I own the email with, meeting the people that make this kind of gear and making new connections. It is a lot of fun to be on the Paramount set and, you know, hanging out in the sound stages and walking down Michael Bay Avenue. It is a real blast. I think if you get the chance to go in Atlanta or next year in LA, definitely take it. It's it's a lot of fun. That's my wrap up of Sydney Gear 2019. Thank you very much for watching. I will see you next time.