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Like I said these idiotic tariffs are causing the market to act as a cartel. Capitalism is all about competition so if one company faces higher costs, and the others don't, then that company suffers and the rest can keep their prices low. If all companies are forced to up-their prices, it sets a new expectation for the entire market for costs, and nobody loses as the consumer can't simply turn to a company with lower prices when they are all subject to the same market forces. So even if the prices go up in the US, that gives the camera companies the perfect excuse to do the dirty on the UK and Europe as well.

Yes I have the Beastgrip DOF adapter, but... controversial opinion alert... Mirrorless cameras are a far better tool for interchangeable lenses. They have the grip, the physical controls, the EVF and the ergonomics and weight balance, where a smartphone just feels shit when there's a big weight on the front. For me, the Beastgrip was interesting to play with for a few shots, but nothing more. I just didn't see the point when I could just pick up an X-Pro3 instead. As a standalone camera the 14 Ultra has an upper-hand over mirrorless camera creatively though which is why I bought it... in that it's capable of firing off so many different shot styles on the spot, in a few seconds, with ease and speed... which I absolutely love and to do the same with interchangeable lenses would take forever and the shots would be gone or the light would be different. Not to mention the stealth factor for street photography too. I think the beauty of these smartphones is they are..... smartphones. Always with you, and no need to reach into a bag of lenses every time you see a shot worth taking.

@Andrew Reid Do you by any chance own a smartphone DOF adapter like the Beastgrip or Ulanzi DOF Adapter? I'm really curious how it would match up with the 1" sensor in the X14U. Yes it's definitely not compact any more and rigging it will be a nightmare :') But the integrated aperture in the 23mm lens would serve as a variable ND substitute (and the DOF adapter itself will reduce light intake too). So using it like this may render using a VND obsolete. May be great for daylight. I think it would be fun to pair it with vintage lenses, or in the case of the Ulanzi with E mount anamorphic lenses. I even have a DJI Focus Pro to 'solve' the lack of autofocus. 😁 Considering I'm currently using an EOS M with Magic Lantern I think X14U + DOF adapter will result in highr framerates and hopefully better dynamic range. Not sure about resolution and lowlight though due to the DOF adapter. And I'm aware it will produce artifacts: texture and spherical aberration but that could actually look interesting. 🙂

It was the GX80. Had it from the beginning but sold it when I moved to FF. Bought it again, still loved it but sold it again because I can't justify 2 systems. The GX80 and Voigtlander 17.5 0.95 was a great combo.

No need for 1927 technology! As recently as 2018, people were only doing run-and-gun film shoots without the benefit of 32 bits. Heck, even now nearly every sound engineer I film with has a 32-bit capable recorder, but records in 24-bit anyway because they don't feel that 32-bit is needed. The others? Never upgraded to a 32-bit recorder. As far as how people are connecting XLR, on my Reds, I plug in an adapter from the built-in little mini double-XLR port to the XLR mic - after all, using a camera that natively has XLR inputs. A Komodo with that is probably either smaller or nearly the same total volume as a Panasonic S1 with the XLR adapter on top. Z Cam also use a dual mini-XLR port. I bet some models of Black Magic do too. All are 24-bit, of course, and that's enough for most things. On the Ronin 4D, XLR plug into the expansion unit. On the Ursa Cine 12K, there are full-size XLR ports. Otherwise, you already mentioned the CA-XLR2D which is barely any bigger than the Fuji or Sony XLR adapter. That's available for Canon and Fuji. It won't give 32-bit, but as before, 24-bit is still enough for most things. Otherwise, you can just jump up to one of their more cinema-focused bodies. The C70 has mini-XLR. I'd guess something like an FX6 does too. Otherwise, for an unobtrusive rig, one can just simply not use XLR and connect any number of extremely decent non-XLR microphones to the camera's mic input port. One example would be the Deity V-Mic D4, though I'm sure Sennheiser and R0de have some too. Still 24-bit, but for many uses, it's also just fine, just like it was for many years before 2019.

1927 doesn't really apply here. I'm a solo operator doing run and gun doc work, and I want the most unobtrusive and functional gear I can afford in 2025. I'm curious what peoples' mirrorless rigs look like where XLR input is a priority outside of the Sony and Panasonic systems.

The Jazz Singer was released in October of 1927. That would seem to indicate that people have made sync sound films for about 98 years now. The first commonly-used 32-bit field recorders seem to have been the Zoom F6 and some Sound Devices something-or-other which were released about 6 years ago in 2019. So... I'd expect that people who are shooting non-Sony, non-Panasonic cameras (or who are using those cameras without expensive 32-bit adapters) are probably still doing fine with 24-bit audio that everybody used for the 92 years before that, whether run and gun or otherwise. 😉

I've thought about this and it is appealing on some level, but having to power multiple devices is still a drawback for me. Still, I do wonder how people are rigging up other systems - other than Sony / Panasonic - for run and gun sound, with the Tascam XLR shoe adapters seeming like a less than ideal setup.

Funnily enough, a former client from 2014 contacted me today to say that she had 'lost' her wedding video and did I still have it? After I stopped laughing, I thought hang on, it is probably still on Vimeo. And it was. I thought it would look so dated and be an utter cringe-fest, but actually it wasn't and I was a bit surprised. It was shot on the GH3.

I'll look forward to Pyxis 12K bodies hitting the used market. I'm a fan of the UC12K and would love a lighter b camera. It's also worth note that even though it doesn't have it now, and I wouldn't buy a camera based on potential future capabilities, but I don't think that BMD has specifically said yet that there are no PDAF pixels in the 12K sensor and that it wouldn't be something that could be added in the future. I think they're wise to beta their AF firmware on a single camera only for now to work out the kinks, but if they add usable AF to the 12K cameras, I think they know that they have a thing that could compel changes from other systems. Heck, if AF comes to Pyxis, BMD might be the last great hope for L mount!

Indeed. I agree with you. Exactly my point about AI : ) It can be beneficial when helps. When replaces, however... For art? No way. This doesn't mean something hybrid but it is up to the driver to choose when yes and when not. And assume the consequences of the choices made. Revolutionary but always for good and bad as all revolutions are or become. - EAG

The S5iiH you mean? 🙈 But seriously, like all the rest, perfectly capable but somewhat dull 🥱

Where are these from? Nikonrumors didn't post these? I'd like to see 14bit readout too though. This is also a comment from Phil Holland, which isn't too different: "If I was a guessing man, I think the efforts of RED and Nikon could lead to a smaller sized FX3-ish sort of Komodo, probably a model with in body stabilization to appease the crowd. But perhaps sticking to a more useful Komodo-X body type with a focus on trimming some length and weight. Maybe getting it down to 2lbs again. Perhaps with a flip up top LCD that folds down and rotates for protection with a decent latch so you can still use it for things Komodo really does well." Personally I'd really like to see open gate, and ND's.

@MrSMWYeah I agree, I pre-ordered the S1 right as it came out, did the same thing with the S5iiX, have shot them together on pretty much every job since, across a huge variety of use cases, never seen any kind of real, noticeable difference between them, at all. Ditto with the original S5, which I have also had with those other two cams on many dozens if not hundreds of shoots over the past several years. I think people just always find something to complain about. Especially when it comes to super arbitrary, impossible-to-prove image-quality mumbo jumbo, i.e. "motion cadence," "video look," "micro-contrast" or "3D-Pop," etc.

The elephant in the room for all us sensor nerds is gonna be that Pyxis 12K for the next ~5yrs when looking at flagship mirrorless, and anyone building cameras with sensors from Sony just got undercut by BMD’s RGBW. I expect to see some sort of answer in under two years, and it’ll probably come from Sony putting something new silicone in their own lineup first, but let’s be honest here. I could upgrade from my (still excellent BTW) S1H to this new LUMIX, and get, what? A bit better AF, a bit more frame rate, and a pick-your-poison of either improved DR or improved readout depending on the mode. Or… I pay a bit more and get the Pyxis 12K. Or (and I’m betting on this option,) I wait ~80 weeks, and whaddayaknow?! BMD has either dropped the 12K’s price, or they come out with something new and people sell the 12K at a discount in response. There’s no way a BMD camera holds at launch price past 24 months, it simply never happens. If we’re after a top-tier sensor in a sensible body? Everything else is up against that. Unless you need AF, but if you need AF why haven’t you already bought either a Sony or a Canon? Panasonic has a slim chance with an S1H successor, but IMO it can’t be a hybrid type body. People who like that kind of physical handling already have a figurative bagillion LUMIX bodies to pick from. One more would be the nail in the coffin.

I'm all for smarter addons like magic mask or smarter tools, but if it starts telling me how to make something better, no thanks. Not sure you'll see much discussion on it. I'm guessing it will decided for our own good what we are allowed do with it. Its in its infancy at the moment, give it some time. From a male third person perspective, not literally i assure you.. i'd expect there to be lots of her husband in her. I presume if english isnt your primary language then chagpt could be beneficial. However is it you ? is it authentic ?

Not directly, but the Zoom F3 is close to the same size as the Panasonic XLR adapter, but only costs $300 where the Panasonic adapter adds $500. It can mount on top of the Z3 and record 32-bit internally while giving a clean feed to the camera which can record 24-bit internally. While it's less convenient to sync files in post, you would also only have to do that in cases where you actually need 32-bit which, for a vast majority of people, will be rare. Also unlike the Panasonic adapter which will probably only work on Lumix cameras, it will work on any camera you want to use. Less convenient, but the goal is accomplished. https://zoomcorp.com/en/us/field-recorders/field-recorders/f3/ That's also fair enough. I don't rule out that there's much bigger demand for a feature than I'd expect, but that is certainly a weird one. Yes, 3:2 is certainly useful with a 1.5 or 1.6x anamorphic adapter which, at least, gives a bit more of the anamorphic look. Though for a 2x anamorphic, it's still far from ideal since you end up with 3:1 which looks nice, but ends up being a really thin strip on a lot of TV's and monitors and isn't a native aspect ratio on a lot of theater screens.

I try to limit my social-media/vertical-video viewing, but even so I do end up still seeing a fair amount of slo-mo being used, especially obnoxious ramped slo-mo. So I can definitely see there being demand. I don't doubt you're not seeing it, though- the algorithm gives us all different things. There's also anamorphic shooters and those who just want to shoot in a square-er format, too. And even those never touching slo-mo benefit from the demand for slo-mo as it generally brings down the rolling shutter in regular-speed modes, too. Yup, bought my S1 a little less than two years after launch, with the 24-105 and V-Log upgrade, in minty condition for $2200. Kinda hoping that S1H prices drop under $1K sometime soon, not sure if the tariff stuff will delay that though.

Is there an audio solution for the Nikon Z6III that lets me input XLR audio (not to mention record in 32 bit)? Without this, they're not really comparable cameras for my use case. Given though that this thread is about pricing, I'm frustrated obviously that the price is so high - but like my S1 and my S1H, I'll pick my S1II up once it hits 50% of MSRP on the used market, which seems to happen pretty fast for S bodies. It is frustrating that the tarriff premium seems slapped on EU and Canadian customers as well.

Lovely shot. I think they are all great, I've had the S1, S5 and S5ii. But I can't deny that the first generation just had something nicer about it, for want of a better word. Saying that, the S5ii has a great image and the handling is much improved.

Not pictured: the Lumix FZ47.

Brought mine along on my honeymoon in Ecuador a few years ago. Kind of a slow camera to work with and not my usual keeper rate, but I do like the shots that I was able to get:

I’ll send you all 300 clips and see what you can do. Yeehaw!

I have one e500. Small, coupled with oly 43 25 f2.8. Good for travel. The lens has some distortion. The camera is not good at night. Other than that, it is good to use. Color is good at iso 100. At iso 400, it starts to smear. I brought it to DC once as my sole traveling gig. I like it except limited use at night.

Not cinematic enough. I fixed it for you. Now that's cinematic.