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Nope and if it was not for the lack of decent AF, peak video camera for me. Yes I wish it was 10% smaller & lighter and I wish they had been able to update it to have the firmware features of the S9 and S5II, ie, the ability to burn in a LUT and multiple frame markers. Whether it was possible or not, I wish they had ‘simply’ made an S2R and an S2H using the S1H body and simply called them the S1Rii and the S1Hii. I suspect that unless they really knock these next releases out of the park, they are cooked though. They just do not seem to get it and that is great product + good marketing = continued existence. Anything less is death. It never ceases to amaze me how some brands with real heritage are simply run into the ground. Panasonic LUMIX does not have that and I am thinking companies more like Olympus and Kodak. You have to be an utter fuckwit to take such heritage and grind it to dust.

Yeah, the cinematography and moody grading overcame the lack of resolution. https://www.eoshd.com/lens/kendy-ty-t2i-one-guy-amazing-things-5-year-old-dslr/ But we still feel the need (myself included) to pixel peep. I suppose it's a hobby if anything - whether it has any real creative use, is open to debate... In some way it is relevant, but it all depends on what serves the content and story, and the lighting and cinematography. Sometimes, that demands a Hi8 camcorder!

Still kind of amazing that the notion of buying your way into image quality with a camera is a thing these days. What others have said. Don't ignore the craft. Swap out an ARRI with a GH1 in certain production environments and you'd be, like, "Holy shit! That looks awesome!" Three or four stops of DR does not a good image make. It helps, but it doesn't make it. A decade ago a bunch of cinematic heavyweights, Coppola and the like, did a popular test screening of hybrid camera tech at the time. They were more than pleased with what the products, like a 5dII, were delivering. If it was good enough for them in 2010's, what the heck are we worried about? Also, who remembers that one talented dude guy filming in 720p on a canon rebel? I think his name started with a "Z"? Beautiful stuff because he knew how to use it. Would it have been better if it was an ARRI? Of course, but would that really affect the narrative? Anyway... And then, yeah, add in a bunch of YT knobs playing with the gear without any deep wisdom about gaffing, camera moves, and storytelling --of course the video examples of hybrids'll end up looking like crap. Here's an anecdote: I'm currently editing a documentary with a decent budget. The cinematographer on the shoots sucked balls. He filmed with an ARRI and two different REDS along the way. The ARRI has a look. It comes out of the cam with a lot of "thickness" to use, you know? Regardless, we recently had to hire a different guy to do a half day of pick up shots and he used his lowly GH5. He knew how to find the right light, frame an interesting composition, and (thankfully) knew how to hold a mother-f'ing-shot longer than 2 seconds. Grrrr. Guess which footage looked better and was more useful? We can (and should!) chase the tech if that's what floats our boats, but real creatives don't really give too much of a rip about the tech. "Is it working? Good. Let's tell this story." They make it happen with what they got.

I'm more optimistic about Lumix than a lot of people. I think they will continue to release the best value cameras out there, the issue will be not just retaining their current users (regardless of which system they are invested in) but growing it. I think they can achieve that. I have seen signs that they've accomplished the latter somewhat with the S5II X. It has been more of a trickle than a flood, but there are people out there who switched from Sony to Lumix because of it. To continue that, they need to continue on the current path but radically change the way they communicate and market their product. That, for them, seems to be the hardest thing to overcome.

Canon now has an Only Fans page.

It is ready. Everyone who replied here so far, will get it free and I'll be sending you all a direct message and email this week.

I would get their 28mm f4.5 body cap lens for sure, perfect match to S9!

Well to be fair they basically had done their homework on what film looked like because of the work they did on the Arriscan. In its time a revolutionary film scanner. The sensor in this ended up being what went into the first Alexa. The color science work was already done one way They just reversed it

Yes it is mostly about cost, and weight/bulk. I'm no longer shooting for money and my financial position is not nearly good enough to justify keeping ~$6-7K of kit for personal shooting, when I think I could probably be happy or at least satisfied with ~$3K worth, and put the rest into savings/retirement. A good chunk of my shooting is also in fairly risky scenarios, and I guess as I get older the idea of a ~$3-4K body with $500-1,000 of lens and rigging on it getting smashed or stolen is increasingly less appealing than risking a $1200 body with $50-500 on it. I'll definitely be happy about heading out the door with a 20lb backpack on instead of dragging a 35lb Pelican! We'll see. I've started buying the m4/3 setup, and am going to sell off the L-mount stuff I haven't really used as much first. Maybe the GAS/shiny new toy instinct will take back over, but I like to think I'll be able to continue being an adult about this 😄

Yep. It is not that the camera type does not matter, but there are literally dozens and dozens of options. I would simply A. set a budget and B. set out a list of 'must haves' and see what matches up. As a LUMIX user, I could just say go and get a used S5II off MPB and a couple of different focal length f1.8 primes and you are done, but other options exist. For between 2500-3000 you'd be golden. I don't shoot travel docs, 'just' weddings and for me it's just unbeatable all factors considered; cost, size, weight, performance, near gimbal like IBIS settings, higher end AF. Pretty much all some folks complain about is not having full-frame 4k 60p but how many really NEED that? I've considered Canon several times but would want to go down the RF lens route and it then falls apart for me. I've considered Sony and it just doesn't have some of the features I like that LUMIX does. I've considered Nikon and other than pushing the budget up to Z8 levels, doesn't work for me. M4/3? Could work but I've never really been able to go back to that after tasting full-frame. But as above, A + B and go from there.

I was also about to post about Chimp Empire which I watched after that recommendation! Also, I haven't seen all of King Coal yet, but the trailer and various clips that I've seen from it looked great. The C70 is also pretty affordable nowadays, as things go. Is it the sharpest camera on the market? Nope. You can always rent it, though, to see if it meets your needs. As far as lenses for the C70, instead of buying the latest shiny RF glass, you could also consider permanently affixing Canon's 0.71x focal reducer and using EF glass which is plentiful on the used market and very good. If you're focused on Canon, you could also look at the original R5 which is now available used for about $2,000 and has a nice 8k raw image. I'd also say that, had you not already said you're using the DJI Pocket 3, it would have been my first suggestion... or maybe my second suggestion after an iPhone 16 Pro (or whatever the latest fancy Android phone with a great camera is, probably a Samsung something-or-others). The iPhone can put out some really nice-looking ProRes log footage and it's one of the few cameras out there which will work well in every scenario you mentioned - whereas the C70 is not fantastic in low light and unless you buy a housing costing as much as the camera, won't work well after you submerge it in the water. Working on technique and editing/storytelling is going to do a lot more for your overlanding vlogs than buying $10,000 in gear... venture4wd, one of the most popular overlanding YouTubers uses a combination of action cameras and a Panasonic - I think an S5 II? And he didn't upgrade to the Panasonic until his channel was already big.

I just checked eBay. Yes, you can get an original Arri Alexa for less than CAN$5000 including the viewfinder. We live in the golden age of cameras, Kids. Go make your movie!

As others have said, for the most part, proper lighting and grading is often more important than the image straight out of the camera. Though with that said, Alexa is still the most flexible image that you'll find coming out of a camera, That's followed by Burano and V-Raptor and most recently, apparently, Ursa Cine (still needs more time for user tests to confirm/deny, but the tests on paper are impressive. If you're shooting a film with a big budget, your A camera is almost definitely Alexa. Why? Because it's the most flexible image. Because your high-end gaffer will automatically know how to light well for it. Because your high-end editor and colorist will instantly know how to push the footage around and probably have pre-defined workflows for working with it. Is it still the best image? Arguable. If you're shooting a decent budget indie flick, you're more likely to find Burano/Venice or V-Raptor? Why? Similar things to the above, but you're paying less than Alexa. If you're shooting lower budget than that, it's a complete crapshoot. It'll probably involve the letters F, X, and 6, but if it's a run and gun documentary, it might involve C300 and/or C70. From what I've seen, if you want to penetrate the bigger productions, you're better off not trying to compete with Alexa for A camera, but to aim to make secondary cameras that fit in places where it doesn't. Civil War, for example, famously used the Ronin 4D for a bunch of the handheld stuff because it's a quick/easy gimbal camera with decent autofocus. I hear they're making inroads on other productions too for similar reasons - and on other stuff because, like, the 4d flex is great for tight spaces and/or car-to-car shots. The most recent Mission Impossible and the upcoming one use Z Cam E2-F6 as crash cameras because they're cheap (for Hollywood), make a great image, and are reliable (no overheating, you can basically hammer nails with the body all day and then go record some video at night). That footage of Tom Cruise flying off a cliff on a motorcycle? Nearly all Z-Cam. Anyway, the point is that the image SOOC on high-end cameras should look good. Should it look THAT much better than a mirrorless camera in the hands of a proficient operator? Nope. Just a few weeks ago, Kye posted some stuff that he shot in Korea using, if I remember right, the original BM micro studio camera from like a hundred years ago. Looked great. You could project it in a cinema as part of a feature and the audience would be none the wiser to the camera used.

100% agree 100% hope not! But then as per my many previous ramblings, I am 100% covered for the rest of my career with what is available for now from LUMIX for video and for photo, if there does turn out to be nothing more, also already covered with Sony. There is not a single body or lens not currently made that I need or would ever wish for if it doesn’t happen. I’m good. Any future purchase now are just choice things to either make (work) life things a little easier or more fun. Need no longer exists.

The A/V companies have already recently been restructured which is partly why the pro-AV releases are so low key, and there's no cinema camera line-up any more - this part of the business was essentially nuked and anything remaining merged into the consumer side. At least as I understand it, Panasonic will continue in consumer cameras... for now... but the professional side of things is ending. And the consumer cameras will be a very low priority compared to the higher-margin parts of the business like batteries and whatever the fuck they think AI is useful for. In the report the exec. uttered a very taboo word in the corporate world, which was "sentimental"... Shareholders don't get rich from sentimentality and culturally important products like TVs, cameras or hifi. They want the big growth areas and bubbles to rise up and take over, and for anything else to fade away including LUMIX. The top Japanese execs at Panasonic attach a high sentimental value to their top consumer products of the past like TVs and cameras. They want to continue. They are one activist shareholder away from being forced to back down on that and then we will see the end of LUMIX altogether.

I think that if Panasonic had wanted to just kill off the entire camera division, they'd probably have done it a few years ago, before committing to development and production of the S5 and GH6. They've culled the product range presumably down to what is (or is projected to be) profitable (which in the UK seems to be basically the FF S5D, S5ii/iix, S9, the MFT GH7, G9ii, GH5ii, G97, G100D, the superzoom FZ2000, FZ82 and the compact TZ99). So a few cameras in each sensor size. From what I've read occasionally, the lower-end Panasonic TVs have been more-or-less badge-engineered products from one or more of the big low-cost manufacturers for some time. So it wouldn't surprise me if they basically licensed the brand name (for TVs) to one of those and stopped in-house TV development and production.

Stunning.

I love the IQ of my FS7. Nice chunky 4K 10-bit XAVC-S. You can bake in LUTs. I really don't see much difference in specs to the current Sony cams (FX30, FX3, FX6 etc) aside for extreme low-light. Ergonomics are great for shoulder mount, its a workhorse. I keep mine because Sony is used everywhere in pro use and it gives me work. Don't really feel a need to upgrade. That being said for personal hybrid projects I prefer Canon/Nikon. I'd recommend R5C or Z8 if you're a hybrid shooter. Personally I'm thinking of going for R5 mk2 mainly because of Clog2 and tiny bitrate SRAW, total game changer. Guess a C70 would be a good cop, great form factor with NDs and long battery life with that DGO sensor, only caveat is the image is a little too soft for my taste.

I shot S5ii h265 yesterday as b-cam to the ursa mini pro, and for some shots I'm really preferring the S5ii image. Consider the fact that the BRAW out of the S5ii bypasses most of the complaints people have with the L2 processing…if you can deal with a monitor and latency…that image is literally the best you can get for its accompanied features under $2.5k, no question. I’d agree though, the S series first gen colors are special. It’s what makes me want to pick up an s5 or s1h sometime.

The AI was trained about overrigging a camera with Caleb Pike.

The overall quality of life improvements (plus auto focus) are just worth it to me. Currently my three camera set up is the S5II X and two S5 bodies. I just prefer the image out of the S5, it has better colors and just looks more natural (less sharpening.) That's not to say that the S5II doesn't have a good image, though. It really boils down to preference. I've only used the S1 a few times, but it's a great camera too! I do think the S5 though is overall a better value on the used market. It's crazy how affordable they are. Some will tell you they are awful and completely unusable, but they are fine once you figure out how to work with their limitations. But there are limitations and it's important that you know that going in. It is nice not having to worry about it as much with my S5II X BUT there are times when that auto focus fails, as there are times when Canan and Sony auto focus fails.

1) With the caveat that I don't use AF, the Panasonic S5 is a wildly good value at $800 used (what I paid for mine). Imo, the improvement in noise and dynamic range over the GH5 is worth it, but if you're always in well-lit areas maybe you won't notice much benefit. If you aren't tied to existing lenses, camcorders can be more convenient than hybrids. I'm not familiar with available models since I don't shoot events, but I'd research camcorders for event videography with no photos. 2) C400 or FX6. The C300 Mk III is also fine--I choose full frame because of the lenses I own. It also depends on how much weight matters, as the FX6 is extremely light. If I need photos as well, then add a photo body in addition, and honestly everything is so good these days that I'd take anything modern. 3) Assuming 1-3 person camera crew, it depends on the script. My general pick right now for myself is a C500 Mk II (cheaper than a C400). I used to have Z Cam, which has unbeatable wireless monitoring and control, but I don't like the lack of color management support in Resolve. I would pick a Z Cam F6 if I need to fit the camera into tight spaces. If it's a lot of fast action like a car chase, a Komodo's global shutter would be great. The Ronin 4D is also very interesting for extensive handheld--never used one myself, though. If I can step up in budget, I'd love to try the Blackmagic 12k LF.

With the recent price drop, the Pocket 4K is now under £1K new and that has pushed used prices below £700 so they are now far more affordable. It shoots ProRes as well as BRAW so theres no need to get involved with Resolve and even if you did want to shoot BRAW there are now direct importers into FCPX. As you are shooting multi-camera for live events etc then the BM range are absolutely hands down better options than any other range for work like that. With the ATEM Mini Pro series starting at under £300 you can do the live camera switching (or even just very efficient multi camera monitoring to a single monitor) and have full remote control of the cameras as well. If you get three used P4K cameras and the ATEM Mini Pro, then its £2.5K for the whole integrated multi camera system and the cameras are obviously more than capable in the cinema role too. Particularly as it is roughly the price of a single X-H2S. Without the live aspect then options such as the X-H2S etc are a good choice of course but as an all round system for fulfilling the different roles that you've listed then the P4K x3 /ATEM Mini Pro is far more suitable in my opinion.

It's definitely improved for very short takes. While I didn't watch the whole thing, the bits I skipped around to see were all very short clips. Anyplace with letters was also a give-away (the wording on the truck). I also wonder how many "takes" they had to do of each clip to get one that looked good and where the physics were mostly realistic. I saw a few clips that seemed in the "weird physics" space - that continues to be a major weakness of AI-generated video. But the main thing that could still slow down the enshittification of everything through AI is that AI-generated material is still not able to be copyrighted - at least not in the US. How long that lasts before the shitheads in Congress/Senate/Presidency "fix" it? Unknown.

I wonder just how close we are to movie level now then... But I suppose the material still needs to exist to pull together to make this kind of thing and as a commercial and BTS, enough exists, but not for any kind of real movie that would require a unique script and acting. At least not without going CGI. It's crazy how good this stuff is becoming and if I was a youngster, I certainly would not be looking at the more traditional aspects of this industry such as cameras, lenses, lighting, sound etc, but what skills I could develop in my parents basement from my laptop. But for me personally, that would be a hard no as it would not interest me and I'd rather be a lumberjack or something.

The voiceover was real. This is the card at the end of the video. Well, there’s the rub. Whatever it was trained on was certainly very real. Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.

This is exactly why I was asking for the need for AF, because if not really, then 3x these with a lens each.

I guess there are more Lumix updates: Actually, I'm quite happy about having some of those features. In particular, I'm very interest in trying out the mp4 Lite and hybrid zoom; the later is a feature is a unique selling point. Cool. Quick question: would Sony, Canon, or Nikon have released this firmware or would they have released a new camera?

If budget is no option, FX6s all around. You're talking a sturdy body to handle the shake of long lens, good autofocus, good low light, good audio and timecode options, good dynamic range and color. If you are majorly constrained by budget, GH5s would be fine, FX30s would be better if you can afford them. As some have mentioned though, lens constraints are a major factor here.

Actually, that is not a bad idea, - having the M4/3 crop on the FF sensor and better still if M4/3 lenses could be mounted with an adapter. The G9II and S5II already share the same chassis and OK, some bemoan the size over some of the previous smaller bodies, but actually with some of the bigger M4/3 lenses, they would pair up very well. And if we started with something like a 61MP sensor, plenty of size to crop into for what would be what, something somewhere around 20MP I guess (based on knowing that APSC is 26MP). I body, many lenses, so many different use cases...

My take has always been that Panasonic should have prioritized a smooth m43 to full frame transition for customers. Having a blended ecosystem would help both thrive. As it is now, customers have to choose FF or m43, often with FF perceived as having most of the benefits. I think the first round of FF cameras should have had a m43 crop mode with faster readouts and frame rates. And, the mount Panasonic developed should have somehow been compatible with m43 lenses via an adapter. This might have meant messing with the flange distance which maybe reduced compatibility with other lens mounts, but ensured more people within the Panasonic system would have less switching costs.

Just finished a 5 day indian wedding shoot, so far the only time it overheated was when I forgot to turn the external fan on. (Shooting 4k25p all day, and it's summer here atm) I also did 1 and half hour interview in 3.8k opengate, that was without the fan but indoor, but towards the end I do see the overheating icon popping up.

I'll put my conspiracy hat on for a moment. Maybe BM knows about imminent competition, and want to get a few more sales out before that happens?

This. A 14 yr old daughter of a friend have a Iphone 15pro, but now carries everywhere a VERY crappy Olympus digicam, shoots everything with flash, and loves it. (now I've taught her on how to do long exposures) For me, is a trend - when Instagram appeared, everyone used their integrated filters in every photo, because it was so different, and now nobody uses. Dunno how this trend will carry - if 3 or 4 of the biggest infuencers start saying "clean iPhone photos are now the trend", it could dissapear fast. (probably is where the camera companies will put their money - reversing the trend could be cheaper than develop and sell new cameras)

Different strokes for different folks as they say… Despite being a full-time pro photographer (not so much at this time of year though) or perhaps despite being, I prefer my phone. I like the idea of a compact but the simple reality is that old adage of the best camera you have is the one you carry with you. And 2 devices at all times is 1 too many for me. If I was going on a serious trip, I’d take some serious kit. Not the entire kit, but enough to do the job without taking over from the purpose of the trip. Unless it was specifically a photography thing. So send me out today with 1k burning a hole in my pocket for an every day compact and I’d come back with a phone. But I will take your Sony A7RV sensor based compact for work purposes please Andrew!

^ Agree ^ The only reason I switched (2 reasons actually) to S5II's was: A. I needed more reliable forward motion AF tracking. The AF of the first gen FF S line cameras was and is perfectly fine, except in this regard when it can be a bit hit and miss and just one miss with a critical unrepeatable scene and it's gone. I shoot weddings so I am thinking bride entrance, confetti walk etc. It happened. Several times. B. I shoot outdoors mainly and some days, over 35c / 100f, direct sunlight and without a fan is not good. I never had an overheating issue, but it could just have been a matter of time and was constantly on my mind. With the S5II's, they still get hot, but I am not concerned. _ I have personally never noticed any file quality difference between the S5 and S5II, but then never shot them side by side and 6 months apart. There may be a difference, but nothing I have noticed or concerns me especially. IMO, the S5 is the budget filmmakers bargain of this current decade.

The S5 is still such a great camera and one that you can still grow into, all for under $900 in like new condition with a warranty on sites like MPB, or even better deals you can find locally or on Facebook Marketplace/Craigslist/eBay/whatever. And even though it's going to be 5 years old this year, Lumix kept improving it with firmware updates so it doesn't feel terribly outdated. One of the reasons I say it's a camera that you can still grow into is because I've never even used the ProRes RAW or BRAW capabilities, never really had to because I do mostly event work, but the fact that the capability is there is incredible. There's just so much value in that camera even today. We've kinda hit a point where there's a good chance you will still be able to get comparable images from it five years from now, because you can't really say there are tons of cameras released since that give you a significantly better image in the under $4000 price range and I don't know that we're going to see a huge leap in the next 5 years outside of more resolution that most of us have no need for. Great camera and it's pretty funny how often I recommend it.

Almost 5 years having my trusty S1 as my workhorse camera (I work on fashion films, weddings and small commercials) and the S5ii/X series never felt like a true upgrade. No 4K 120, same crops, same codecs. And the absence of phase detect in full frame 1080/50p (which I use vastly on weddings and events). GH7 looks great for my needs but I have already built a nice lens set of Sigma 16-28, 28-70 and 35 1.4 and the transition to equivalent MFT lenses would be too costly. I love MFT and I still have my beloved G80 (which I use as a tripod camera for low budget gigs as well as a travel camera) with 25mm 1.7 and 14-42 but I wouldn’t use those lenses for serious professional work. However, the S9 is a thing of its own with its form factor/capability ratio. As long as Panasonic doesn’t soon release the S1II/H (which will probably be above 3K) I’m keeping an eye on it as a 2nd/gimbal unit. There is no phase detect issue at 1080p and my back will thank me after long hours of shooting due to the lightweight body compared to the S1 since 90% of my work is handheld. It can also be the perfect street/travel camera replacing my G80. I think I’ll wait a little bit for any news from Panny but I am close to pulling the trigger 🙂

Another vote for the Lumix S5 if AF isn't a priority. I got mine for $535 and it's a big step up from the GH5 which I sold to get it. I waited long enough in the depreciation cycle that I actually had some money left over after the trade up to full frame. I would combine S5iix with S5 and S9 for a really solid and cheap 3 camera system that gets you most of the 2020's tech advancements but at minimum cost for the image you're getting. If you need high quality stills just swap out the S5 for a Lumix S1R and you're all set. This was my plan before I got swayed into Fuji bodies and a bump up to the GFX medium format system.

f me. I'm over here shooting a doc with an EM10iii I bought used for $300 and thinking, "Dang, this looks pretty good!" And yet now I want an SL2. Damn you all.

The corruption on the license plate coincidentally features a fragment of the plate of the car that images of may well have been used to train it with. The car is a Porsche factory one that was provided to reviewers so enough images of it from different sources to train it. Could just be a massive coincidence of course ..... I think a new parlour game in the upcoming years when generating this stuff becomes more readily/instantly available will be image makers entering a specific prompt describing one of their own images that they have put online and determining how much has been lifted from their work based on the output that comes back.

I'd love to get them, just there are always compromises made. For example I tried the Meike lenses and they just aren't well built. Optically they are very good for their price, but I have zero confidence that they will hold up to heavy use. The ones I got also focused in reverse and didn't work with my S5II X's linear focusing (I've heard this has been fixed for their "pro" lenses). Ultimately I went with Lumix primes instead, which you are pretty affordable on sites like MPB. You can get the 50mm f1.8 for $229 in "Like New" condition; for that price you might as well just get it over the Meike 50mm F1.8 at $169 new. It's a better lens and it's better made. Another issue I've had with third party lenses is that they aren't always consistent. A 35mm will have different color shifts and characteristics than the 50mm does and so on. I've even experienced where the same lens, bought together at the same time, had color shifts between them! It's why I really like what Panasonic has done, as every lens is not only the same size but they are pretty much identical optically. I can easily switch between them without adjusting anything. Still, if they put out a really nice fast prime that is well made and significantly cheaper than the Lumix or Sigma version, then I'd definitely be interested. I don't have a ton of uses for a 1.2 or 1.4 lens, I don't usually need that much light or bokeh, but it'd be nice to have one when I did want that look.

I still believe there is no better value out there than the Lumix S5 on the used market. You'll be amazed at what images you can get even with the cheap 20-60 kit lens. There is just something really, really nice about that camera's image. I prefer it over my S5II. The GH5 is a great camera too, even today, but it's worth spending the extra to get the S5 for the better low light. That's a lot harder because there are so many options. As a Lumix shooter I'd still go that route and get S5II bodies and the Sigma 24-70mm for all of them, but there are no shortage of options if you aren't limited by budget. I still prefer to shoot as light as possible and are familiar with their cameras, so that's my primary reason for choosing Lumix, but you really can't go wrong with anything available today. Another hard one, honestly. There are just so many options. This is probably a weird choice but I think I'd still go with the original Blackmagic Pocket Cinema Camera. I still love that image very much.

If it happens, I hope they release an entire set of lenses and not drip drip drip lenses because I personally don’t like mix & match sets of lenses if I can at all avoid it.

I am not suggesting they do it because it'd kill M43 dead and it'd mean starting from scratch, but they could in theory release 4/3 sensor cameras and lenses that would cover them for L-Mount. Again, not suggesting it, but I also can't say that I wouldn't be intrigued. I miss the small M43 lenses, but it's a really hard sell to re-invest in M43 and have two different systems. I too also always thought it was weird that they didn't have a M43 crop mode on their full frame lenses. Not that I would use it a ton, but there are times when I would (that extra reach would be wonderful) and there really isn't a reason NOT to include it.

^ if you’re interested in seeing some more recent stuff ive shot on the p4k, one or the most recent posts in the stickied lenses thread has some links.

His thoughts on digital.

I have the 13mm. Sharp as hell.