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Makes me want to get a Panasonic LX15 and do a parody TikTok channel. By the way a quick look at the shots on this page... https://www.gsmarena.com/xiaomi_14_ultra-review-2683p5.php Should give people pause for thought spending a grand on a compact! That 3.2x lens in particular at close focus distances is a gem.

Nice!

Surely the gymfluencers will be flocking to the S1Rii after that recent magnum opus ?

Allison Johnson (ex-DPReview) has written this for the Verge... https://www.theverge.com/tech/649145/canon-powershot-g7x-iii-tiktok-how-to-buy Suppose you are an alien. You've grown up with a smartphone all your life, never touched a DSLR or mirrorless camera before and had no desire to as they were all £5000 and too big. Then you're bombarded by attractive people in beautiful places taking photos with a flash. Canon is the default choice as the Powershot series have always had the highest sales, some might say nicest colour and definitely the most brand recognition. The G10 is old but popular with CCD lovers and Gen Z, but the G7 X II takes it too a new level - modern 1" sensor, proper video, flip out screen and RAW. And importantly it was always a lot smaller than a Fuji X100 and has a zoom. So for the alien, it becomes the best camera choice bar none. I had the G7 X II and the III but didn't stick with 'em. Of course we know there are far better choices for compacts and flash photography. The Sony RX1, the Fuji X-T30, Panasonic LX100 and numerous others. Yet the appeal of the G7 X series stays purely due to the massive traction it's gained in explainer videos on TikTok from really attractive influencers. There must be a lesson somewhere here for the camera manufacturers. Gerald No-shots doesn't sell cameras. Models do.

I don't see how Blackmagic or anyone else can trust the US enough to make decisions a few months from now. Trump's handling of tariffs where they come on and off at random intervals, means the required level of stability in economics and tax just isn't there for companies like Blackmagic to be making major decisions like relocating production. Added to that the Trump government's blatant undermining of the law, undermining judges, illegal deportations and arrest of European tourists at the border, just shows that the USA is now officially a lawless country or on the way to being one. Investors hate chaos. Lawless behaviour from the government is a recipe for total chaos and if I were Blackmagic or any other camera company right now I wouldn't be waiting a few months to see how it all pans out, I'd be waiting for 5 years and a new government. Which means the US is probably going to have a recession and a massive downturn in foreign investment.

I agree it's all bonkers, added to which the fact that America leads the entire world in services, especially tech and financial services, which more than make up any so-called trade deficit in terms of physical goods production, and a lot of these services are highly subsidised by cheap manufacturing of products abroad. Take the iPhone for example. The hardware is imported, but the services are an export to the entire world, in terms of the App Store, iCloud, Apple Studios and so on. So if the hardware is no longer to be made affordably thanks to Chinese wages and factories the size of cities, the revenue goes down for ALL of Apple's services. The US is 90% a services economy, so it stands to lose an incredible amount of money and high quality jobs if such products are undermined. Apple is only one example, there's also Microsoft, Google, Amazon who have highly profitable service exports built off the back of Chinese made hardware. And the geo-political side of this is very dangerous for the US. Europe especially and the rest of the world have massive leverage over US services, if they wanted to boot out VISA, Mastercard, PayPal, eBay, Amazon, Apple, Google and Microsoft or tax their digital services at 25%, that would destroy the US economy and there would be massive unemployment. Trump doesn't know his arse from his elbow and it's why his businesses all failed.

This is all one of the most boggling parts of the announced tariffs. If the goal is to onshore manufacturing, tariffs should be on completed products, not on subassemblies or raw stuff. I don't remember if I mentioned it here before, but this whole thing even had Mr. Beast (of all people!) making a salient point. The tariffs will lead to him offshoring more of his chocolate bar production. He said that right now, he has factories in the US and Peru making his bars. There's almost no part of the US capable of commercial cacao production (Hawaii only, and they don't make enough). Since the US factory makes bars for export, the tariffs on cacao import will drive up the price of the bars from his US factory, making them less competitive abroad. Moving them to Peru means that the raw goods prices will remain tariff-free. It's absolutely bonkers to think that saying "Pay 10% extra for a foreign-made product made with cheaper labor" and "Pay 10% extra + extra labor costs for a domestic-made product" somehow results in companies screaming "Let's on-shore that stuff!" I mean, maybe for the materials that can be domestically-sourced like iron, that could be a viable strategy... but for anything that we don't build here, the only possible end result can be higher prices and production remains where it is (or shifts to a lower-tariff country).

It's true, on it's own I think it's a fine camera and I've enjoyed it so far, but it is not a true replacement for the S1R, That camera felt much more elevated and bar non, one of my favourite so far!

Rich people do. "Buy when there's blood in the streets, even if the blood is your own."

Sorry and thank you for the correction, yes the 24-70

I suspect i got caught up in some of that " instability " last week when the aus dollar did a pretty good impression of that last ship scene from the titanic... I had decided to purchase the reaper software that allows one to make music on a computer. I had been evaluating it for 360 days +. I just picked a bad day to buy it lol. US $66 went to $113 Australian, that's a nasty unexpected jolt to the system. It also makes me question further purchases when the US $ becomes involved. I haven't bought anything out of the US for the last few years as postage from the US is just astronomical and i have happy enough to source items from japan mostly. From now on, i personally will be thinking quite hard about any further purchases from abroad and that's lose / lose situation for everyone, i guess. On the upside i did find two smc takumars in an old camera bag up in the shed today. Which did brighten up my day a little.

So I got a chance to play with this today for a couple hours. My friend Zack bought it and has been using it for the last two weeks. He really likes it and from my limited time with it I too quite liked it. In the time I had with it it didn't overheat and Zack says he hasn't experienced overheating either. Mind you it's spring here in Vermont and the temperature today was 62 degrees (Fahrenheit) so I wouldn't expect it to. But I know some folks experienced overheating indoors in similar temperatures so I can't really say that it's not an issue, just that we recorded for about 80 minutes on an SD card and had no issue in that environment. I only filmed in 4K, as I'm not that interested in higher resolutions, so I can't really speak about anything else. Doing my own rolling shutter test (basically simulating how I'd film one of my sporting events) I found it to be more than acceptable. If you're whipping the camera around like a maniac I'm sure it stinks, but if you put even a little bit of effort into being steady it's really not an issue. Things I didn't like: I think the image is slightly better than the S5ii, but they're very close. I wish we could get something closer to the first generation of S cameras. Battery life is meh. While it didn't die it was very close, I think. I don't mind the body, but it doesn't feel very premium. I

Industry and customers alike just love this kind of 💩 It’s worse than waiting each time for the next Lumix camera announcement and whether they even will or not… It’s called ‘instability’ and when times are not stable, no one spends any 💰

The 24-70, 28-70 or the new secret 27-70mm f1 lens? I have the not so secret 28-70 and think it’s a great lens; light, compact, minimal zoom extension.

I'm running the camera and 7" Hollyland monitor off one V-mount, recording internally to a Lexar 512 silver CFexpress card. The camera battery is in the grip but fully charged. Camera is powered via usb-c and we are indoors so far about 20-21 C. The clips/takes are about 30 - 45 minutes each per interview. I *THINK* the overheating would be at extreme use, ( I have never had to shoot anything at 6k 60p or 120p in Pro Res HQ for 2 hours + in one take.....) but no issue so far with anything that I think is "normal" use!

Blackmagic Design, an Australia-based digital cinematography camera company, was gearing up to start making products in the United States before the Trump administration blew a tariff-shaped hole in its plans. Now, not only is Blackmagic having to increase prices in the US to mitigate some of the levies on imported goods, but those same tariffs are also making it difficult to justify opening a US production line. “We were planning to build a new factory in Dallas, Texas, to streamline our supply chain and allow us to work more directly with US semiconductor companies,” Blackmagic Design spokesperson Patrick Hussey told The Verge. The introduction and ever-shifting confusion around President Donald Trump’s blanket global tariffs have since complicated things according to Hussey, because while the semiconductor parts and PCBs used in Blackmagic’s cameras are sourced from US companies, those companies are importing them from overseas. “If we proceed with the US factory, we’d incur tariffs on those parts, increasing costs and negating the savings we anticipated,” said Hussey. It’s a no-win situation that many other businesses in and outside of the US are facing if they deal with global suppliers. While Trump has brazenly declared that tariffs will incentivize companies to bring manufacturing to the US to remain competitive, if these manufacturers use foreign equipment or materials in their supply chain, they may — directly or indirectly — still get hit with hefty import fees. (That’s leaving aside the cost of doing business when the fees change dramatically from day to day.) A supply chain survey conducted by CNBC found that 61 percent of respondents from unspecified businesses would be financially better off moving from high-tariff countries to lower-tariffed countries instead of the US, and 81 percent said if they did relocate to the US, they would automate production instead of hiring human workers, failing to deliver the manufacturing jobs Trump promised. 61 percent of the companies also warned they would raise prices for products coming in under the new tariff rates. Blackmagic Design customers have already noticed a price hike has been applied to all products sold in the US, with the new Pyxis 12K briefly listed at $6,600 after initially being marketed at $5,000. This has since fallen to $5,500 after Blackmagic announced it had moved Pyxis production to lessen the tariff impact, but prices in every country besides the US have remained completely unscathed. “Due to new government tariffs, price increases in the US have been unavoidable,” said Hussey. “That said, we operate factories in several countries, so production of some product lines has been relocated to reduce the impact on our customers.” Hussey told The Verge that Blackmagic is now planning to “wait a few months” to see if the supply chain for the components it needs will move to the US. “If it does, we could still achieve the supply chain benefits we were aiming for.” The Trump Administration added “smartphones, computers, and other electronics” to its list of tariff exemptions last week — a list with no clear carveout for cameras or camera-specific manufacturing equipment — but then swiftly warned that companies shouldn’t get comfy. Commerce Secretary Howard Lutnick said these are not “a permanent sort of exemption,” and that these goods will be hit with the same unspecified tariff rules that Trump is expected to apply to the semiconductor industry in “a month or two.” https://www.theverge.com/news/649225/blackmagic-design-trump-us-tariffs-price-hike

This is reassuring! What was your setup - external power? external or internal recording? if internal, CFExpress or SD or both? HDMI monitoring? environment? All of this seems to conspire variably but I cannot bear to watch anymore on the interweb about this camera.

I'm going to keep this short as it's still early days. So far I've been very happy with my S1rii, the files (stills + Video) are really great, the C1 tethering (FINALLY) is great. It cuts with my two S5iix footage very nicely, and I haven't had a hint of overheating shooting 2+ hour talking head stuff, (4K 24 MOV) Battery hasn't been that bad or great for me! The RS is there if you move the camera very fast but nothing that I shoot requires that (YMMV). I can also report that the Sigma 27-70 L mount works perfectly on it, this is the first non brand L-mount on the Lumix for me and I had some concerns from reading some reports, but knock on wood, so far it's been fine! Overall, very happy so far.....

Of course if you're a professional camera tester you'd think it's just dust, easy mistake to make!

I opened my box. I'm keeping mine & here's why: perhaps 80% of my income comes from clients that want a mix of still (heavy on the stills) and short video content. In this use case, the camera excels. It is very fast to use. A Panasonic that finally tethers to Capture One. Gorgeous, robust stills. Very good AF (although I am awaiting that first dimly-lit event). Fantastic IBIS in cropless mode - no more need to bring a gimbal for 60-90 second clips and walking shots (this was a serious knock against the Z8 for me). Nicely implimented, mid-range codec and the CineA2 is my new Eterna (when I don't want a Vlog workflow). Slightly better ergos and good in its own right mechanical shutter. I do not think I would keep this as a video-first camera body, which I think will doom it to irrelevance in this forum. I've had no issues in my limited time but the overheating that I am also reading about leaves a bad taste - more so than the rollign shutter concerns. I will experiment but for now, I wouldn't trust it filming 10-25 minute takes continuously over 2+ hours in a warm environment. Maybe 4k/24p would be ok and maybe all would be ok recording to an external SSD? A lot of variables would need to align. I also note the "crunchiness" from the S5II/x in the video - slight and I need to spend more time with it. @ita149 Any further insights re reducing NR in Vlog? Regardless, for client work, it will NOT be an issue and for flimmaking primarily, I'm keeping my S1. Some bitchy posters in other places were droning on and on about how it should have been named the S5RII. Well, bitchers be right. It's a good-feeling camera but it takes more from the S5 line that the S1 series for sure. Rather than an S-Pro lens, it feels more like the 20-60. @MrSMW The shutter is not that wonderfully damped shutter of the S1 but it is a significant improvement over the horrid clatch of the S5. I don't love it, but I'm comfortable with it. I greatly disliked the S5's ergos and the S5II/x was better. This is better still. Other than the weight, I love the S1 and the best feeling small body to me is the X-H2s. But this new camera is good, and I may get the grip to help that pitiful battery and for better support with larger lenses. But again, once I started working with the stills from yesterday's product shoot, no looking back.

Wide range of reports from folks in wedding videography forums especially. The overheating issue varies camera body to camera body and isn't always predictable. Not a good combination for wedding shooters. I don't shoot weddings anymore personally, but my gear needs closely align with wedding needs. Most importantly, I need to know I can hit record and walk away without fear of problems.

Were there reports of it overheating beyond some reviewers finding that in the most taxing mode (6k open gate IIRC), it would overheat after more than an hour of continuous recording?

For (stills) photography, I actually calibrate my editing display so that its range is 0.4 to 90 nit. This matches approximately the contrast range of light reflecting from photographic prints. The display is capable of greater brightness and deeper blacks but I don't normally use that. If I use that display to view streamed video content, the limitation in dynamic range doesn't bother me (I'm not sure if the streaming actually follows the calibrated settings or go outside of it). The display has a "hood" which blocks stray light from the window and other parts of the room, so that avoids most of the reflections that might bother the viewing experience otherwise. I also have a TV which has an OLED screen and a very high contrast ratio (Sony xr-48a90k) and it gives a very high quality viewing experience. It takes into account ambient light brightness and adjusts the brightness and contrast to give an optimal experience in those conditions, so it works better than a projector when viewing during the day. The resolution is also very high, and the streaming applications adjust the TV settings to be optimal for the content they present. I think it's an amazing experience. I don't know what the actual contrast range of the display is (Sony says only that it's near infinite, marketing speak). Apple makes phone and computer screens with what they call Super Retina XDR where they claim the contrast range is 1000000:1 or something like that, but I don't know how accurate the claims are. That would be like 19 stops of dynamic range, if it is true. However, I suspect that kind of content dynamic range cannot be accurately seen in practice because of reflections from the display and also the viewing space. But, what these displays seem to give is a good viewing experience in varying ambient conditions. For stills photography, Adobe has some support for HDR images (I don't mean the usual way the HDR term is used in photography, where multiple exposures are tone-mapped to a result which displays well on SDR displays but actual support of HDR displays without tone mapping). However, the problem with this is that browser support is limited, and if you view a HDR image on an SDR display, you might get a distorted image that doesn't look correct. The Retina XDR display is amazing when viewing high scene contrast ratio photographs converted from RAW images for HDR viewing, it almost feels like a photo of a sunlit scene looks like you were viewing it in the location yourself. However, somehow software support needs to be developed so that both HDR and SDR versions of images can be distributed online and viewed according to the display that you have, since it's unlikely that all displays would be "real" HDR in the near future (increased power consumption etc.) I personally think the technology is amazing, but it's largely unnecessary and somewhat impractical (due to limiting the viewers that can see the images correctly). It seems HDR on the video side is more established and most TVs have some HDR capabilities, and the applications have some ability to adjust to the screen and ambient conditions for optimal experience (at least on my TV). So I would disagree that the displays don't exist, they do. But high dynamic range in cameras has uses also when producing content for SDR displays. On the stills side, people often make masks and dodge and burn the images to be able to get a more human-viewer-like experience within the limitations of SDR media such as SDR displays and prints. In video often there is the situation that you can't set up your own lights and the windows bring in bright daylight and you still have to be able to take video of people doing their activities indoors, hopefully without blowing out the windows. You can deal with this in post-processing somehow (I often reduce highlight contrast and lift the main subject up), or use in-camera tone-mapping techniques (such as Nikon D-Lighting). All of these approaches require a good dynamic range in the capture device to result in a low-noise image in the final result. In dimmer, artificial, lighting conditions when the daylight is gone, ideally one would not blow out the lights when the subject is correctly exposed, for a pleasing final result, again, log video here can help. If the purpose is just to make a video where the subject can be seen clearly and the functional purpose of the photography or video is satisfied, then most cameras made within the 15 years can easily suffice. However, often there are aesthetic objectives that go beyond just the functional information-transfer main goal, and these can be satisfied better with the newer tools.

Funnily enough, (not for the new owner, but it is/was MPB’s job to check any kit I sold them), I sent them a Fuji XH1 with the same damage. I was doing a shoot for a band in Spain and they had a laser set up and when I came back, the footage got increasingly bad with this weird blue and pink ‘bubblegum’ like blobs on every single piece of footage. It was a disaster 😱