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Your arguments all appear to be circular, or simply saying that things that are MFT or are old are somehow inferior by default. I guess the Alexa is screwed then, it's really old, the image is soft as hell and it's not FF either! The S1H might well make a nicer image than the GH5, I didn't say that no camera produced a nicer image. In fact the S1H sure better make a nicer image - is it twice or three times the current cost of a GH5? I haven't kept tabs. It's also large and heavy in comparison. You can't say that the GH5 is irrelevant because there's a camera with a nicer image that costs way more and is larger and heavier. If so, the S1H is irrelevant because the Sony Venice exists. You may not like it, but the 10-bit is still 10-bit. I know because I shoot in available light high DR situations and grade heavily, and even after attempts to break the image, it has held up. Someone even made a comment on these forums in the last month or so lamenting the lack of 4k60 in the current lineup of camera bodies. You can't really argue that its 60p isn't 60p. Of course there are cameras that make a nicer image. It sounds like you're living in the internet / vlog / YT / camera reviewer / forums / photographer-as-videographer bubble and don't really know what is happening in the industry. The reality of working DOPs is that most of them aren't online talking about their equipment, they're out in the world shooting and their images are only available on Netflix / Amazon / Hulu / etc, or non-camera YT channels. You have absolutely no idea what most of the content you watch in a given day is shot on. If a camera produces a good enough image then when it's on TV you'll have no idea you're watching that camera. The GH5 is out there being used by working pros and it's completely invisible to us. The entire industry is in upheaval with far less money to go around in some areas, in such times people who are interested in feeding their families will put off upgrades and just keep working. I'm not saying that the GH5 is the best camera in the world, but you're acting like it's no longer being used by anyone making content, which simply isn't true.

I'm following along quite nicely, thank you for your screaming condescension, it is really helping this conversation along! (Although it's not doing much to make me think that you're a serious working professional who can be trusted to make balanced judgments about an entire industry, but you know, you do you.) I agree that when no-one makes MFT cameras any more then the format will be dead. The issue here is that people still are making MFT cameras. The P4K is an MFT camera that pushed what was possible at a given price point when it was released. The Z CAM E2-M4 was only announced a few months ago (?) and is a MFT cine camera. The GH5 is still a current model and although it is overdue for a refresh, it's not that much overdue, and there hasn't been any confirmation from Panasonic (that I know of anyway) that their FF line replaces the GH line. Ok, so assuming you're telling the truth, your experience might be in the part of the industry that is too high-end. Anyone who has worked on a Marvel production or on the Netflix approved sets that you reference probably hasn't worked in a low budget indy or web production since before the GH5 was released (or the GH4 for that matter!). Everyone has blind spots in their experience. One of my blind spots is the entire non-english-speaking world for example. I'm a knowledgable guy, but not about much of what's going on in Turkmenistan. Blind spots are inevitable, I fear that you're confusing your (probably large amount of) knowledge with the idea that you have a good overview of the entire camera-buying market. Thanks - I was beginning to think I knew everything and was becoming omnipotent, but your timely reminder has staved off a bout of madness. I am familiar with the RED forums, I'm registered there. I'm also familiar with CML, and have registered there too. I haven't sought out EVA owners, but there's a few on here. I have sought out GH5 users though, and I didn't find any significant concentrations of them, except here. Which might be why so many people are disagreeing with you and down voting your posts. But back to you telling me I don't know anything.... They're both done with cameras right? It's great that we've finally gotten to the point in the conversation where you ask about my background. I'm a guy who makes home videos. I shoot, edit, colour grade, and then publish my own work. You might then conclude that I wouldn't have the faintest idea about anything, but this would be untrue, because you see, I have been teaching myself to do everything, including colour grade, which leads me to why I might think I know something about this. You see, I hang out on the colour grading forums with professional colourists. So while you might be off making things and only being exposed to one tier of the industry, colourists (who aren't in the upper echelons of feature films) are seeing a wide spectrum of professional work done. and when I got my GH5 and started speaking to them about how to colour grade it, I learned they regularly see footage from cameras like the GH5 on the low-budget productions that can only just afford a colourist. You reference American Pickers, but that's precisely the kind of production that might use a GH5. That and documentaries where owning the camera would be an advantage instead of having to rent an Alexa or C300 on and off over months, maybe with short notice if events unfold and they need to get to location ASAP. I guess this is where we start to question what your definition of a professional DP is, and if it includes professional indy film-makers or you tubers or vloggers, but it actually doesn't matter. We're not talking about if the GH5 is currently a major force in blockbuster Hollywood productions. We're not even talking about if MFT has ever put an image on Netflix. We're talking about if MFT is dead, and to talk about that we only have to talk about who is buying it. This means that we're talking about customers. Which means that it does include all the professional indy film-makers and you tubers and vloggers and even little old me shooting little Suzy blowing out the candles on her 3rd birthday cake. MFT was never sold as a high-end cine system. Even when it came out it was for the size of production that couldn't afford to rent equipment or didn't suit the type of shooting schedule involved. This is where you've gotten me wrong. I do see the signs. MFT is a terrible investment. So is EF. If someone was asking on here if they should buy into the MFT system I would tell them to carefully evaluate their options. My take on the industry is that: Photography always had a FF superiority complex and smaller sensors are basically being eaten by smartphones, and now a Medium Format fetish is starting to emerge Cinematography had standardised on S35 but has recently started shifting to larger sensors The industry is in decline due to smartphones and less players means there will be attrition (which this thread is about) and considering the above going S35 or FF might be the 'safer' option MFT might be a good recommendation if the person asking had a specific requirement, such as a size/weight limitation, a cost limitation, or some combination of things (the way I do) I would also suggest that cameras and lenses are an investment, but you pay for them in $$$ and you get a return in images, not resale value. This seems to me like a relatively balanced and nuanced view. Indicative of pros and cons, strengths and weaknesses, and context playing an important part in any decision. On the other hand, there's you saying things like "MFT is dead because companies will stop making the bodies and sensors." Not particularly nuanced.

Quick Screen grabs from Lens testing Today. Superb Kipon Mamiya 645 Speedbooster with the Mamiya 55mm F2,8. All handheld wide open. LUIX S1/Iso 1000, 4K 10 bit. VLOG

Nah! This is the only true pocket Fiat500:

Oh man, with all of what you said about the GH5, I hope nobody has ever used something older and worse..... like the GH4! https://web.archive.org/web/20180907094729/https://www.creativeplanetnetwork.com/news-features/better-call-saul-formats-framing-and-film-noir-influences-series-608600 Oops, did a Panasonic GH4 get used heaps on the hit show "Better Call Saul"?? Yes. Yes it did. Is that not screened on Broadcast TV too? Are the people who work on that not professionals?

To be fair, I think the Pocket thing was two fold really. Obviously the physical one of you needing the proverbial clown's pocket to fit it in. The other was more philosophical about the contrast to the original. A bit like both of these cars being a Fiat500

Don't judge the pocket size on my cargo pants! That's Grip Dept shaming.

Yeah, my super old and dirt cheap Nikon D5200 still has a close to identical performance as the best Nikon DX cameras in terms of pure image quality from the sensor itself. This is why I tell people to not bother too much about looking at the photo capabilities of cameras, they've basically stalled out in terms of progress, but the video tech they can record with is still improving. (but that is slowing down too I feel....) THIS! x10000 People sometimes only see their own little world. We're all guilty of that. Although I haven't worked on a Marvel set, I have worked on the Avatar set, and on Netflix shows too. However, the vast bulk of my experience is on Indie Film Sets or Corporate Shoots or Doco/Reality TV, so I definitely have a strong bias in that direction. If a person earns a living income from filmmaking, and gets regular credits as "DoP" then I'm happy to call them a "professional DoP". Am super disappointed Panasonic never ever made an AF100 mk2! Or released the DVX200 with a MFT mount. Or the EVA1 with a MFT mount. Or Blackmagic with an URSA Mini 4K MFT! Wonder if 20yrs from now we'll be talking about FF (folks "looking down at it") like we do now with MFT? Because MF Mirrorless has become "mainstream" and cheap. I'd hold off and saying they've started to shift over! Maybe not just yet. I'd say people are more dabbling/experimenting with larger sensor cinema cameras. S35 still reigns strong as #1 by a very very very large margin.

This is interesting and useful. It shows you how Resolve can render the colour grading up to a certain node, but not beyond it. So for example, if your node tree started with a Deflicker (great for timelapses), then NR, then a Motion Blur (for fake 180 shutter!) then you could render these three nodes into a cache but then grade normally after these and unless you go back and adjust one of them it wouldn't need to re-render that cache. I've never heard about this before, so thought it was worth sharing.

Just seeing the name of this camera printed here puts me in a bad mood; I was one of those early adopters that had it for a month when it first came out, took on a trip to Denmark even, and returned it harder than any camera I’ve ever returned before, it left such a bad taste in my mouth. It’s marketed as a hybrid camera, yet the AF was abysmal for stills, like really bad, like it makes the Blackmagic cameras seems like they have dual pixel AF. I was ok with not being able to playback CDNG in-camera (I was used to that from my early BMPCC days). But the aliasing, the unforgivable act of using a non-articulating screen, the waste of time they spend making those stupid “Cinema” color profiles and the stupid waste of button real estate spent on them as well, the fact that you couldn’t easily switch between Cine and Stills mode without ALL your settings (shutter, iso) carrying over as well, it all left me with such disdain for Sigma. (They did release 3D models of the camera which allowed me to 3D print a hand grip, that was pretty cool actually). So, like most, I returned the camera, only to read them announce this upcoming firmware which would include Cinemagraphs (hahaha), and ProRes RAW... The Z6 getting ProRes RAW was a pretty exciting read. The Sigma FP on the other hand, the camera that already records raw onto a $70 SSD, hmm, not quite sure this is something this camera was calling out for in the first place. But I guess someone, somewhere, can import footage easier now, is that the advantage? Great use of 8 months of firmware update time Sigma!

First of all, this is not some big comprehensive review but just a brief look and some samples that I took on the first day that I took it out. OK, with that disclaimer out of the way, lets have a look at it. The H3-VR is an integrated ambisonic microphone array and recorder and you can find the full product information here https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-h3-vr-handy-recorder Basically, what it allows you to do is record the output from its 4 microphones either as a stereo binaural track or as a 4 channel ambisonics B format which you can then manipulate in post to effectively simulate changing the mic position after the fact. If you want a bit of a primer on ambisonics then this link will sort you out https://www.waves.com/ambisonics-explained-guide-for-sound-engineers I've mentioned the H3-VR a few times in responses in various threads about field recording, particularly with regard to ambient tracks, so on my last trip I decided that it was time to put my money where my mouth was and actually buy one. Well, with the proviso that I found one cheap enough, which I did, so here we are. First impressions are that it is much smaller than I had expected which is no bad thing and very, very light so its not going to be a problem to mount it on a camera. Here it is on the very diminutive OG Pocket Cinema Camera which I was using for testing it with. Incidentally, the foam shield is included in the box but I'd budget for a deadcat if you are using it outdoors and I'd probably also caution against mounting like it is here as it is very prone to handling noise even as transference from operating the camera controls. It is very straightforward to use as it has a good menu system and you can record in an array of stereo and B format modes and it also has a headphone monitor which you can select to be stereo or binaural. This option is also available on the line out so for the examples further down they are sent to the camera as a binaural mix but still recorded in B format in the recorder for later manipulation if necessary. To make post sync easy, you have the option for it to send a tone burst to the camera at the start of each recording and the H3-VR also has an inbuilt gyro so that it knows which way is up as it where in terms of where the microphones were during the recording. This function is also used for shooting 360 videos as it allows the unit to be connected upside down under a 360 camera to keep it out of shot and also enables you to use it in end-fire mode. Specs wise, it can record in various formats up to and including 24bit/96Khz so you can have a decent amount of headroom for your recordings but there is also a limiter and lo cut filters to give you a bit more security. My interest in this system is partly for VR but primarily for general ambience recording to create a more immersive soundscape with the ability to do some manipulation of the sound targeting in post production. Its worth bearing in mind that until very, very recently, having a B format microphone array and recording setup (let alone one that can fit in a large pocket and runs off two AA batteries) was a very specialist niche with a price tag to match so you'll have to manage your expectations about matching something like that but I've got to say that for me its going to be a very useful little item to supplement rather than replace other sound recording gear I've got. For these examples, I chose two different scenarios (although they are only about 15 minutes walk away from each other in Tokyo!) to illustrate its use in capturing soundscapes with different densities and degrees of subtlety. The audio on these is from the line out of the H3VR set to binaural stereo straight into the OG Pocket Cinema Camera whilst the H3-VR was recording them internally in the 4 channel B Format (Ambix in this case). Make sure you put some decent headphones on to listen and you should be able to pick up some degree of height and rear positioning of sounds within the environment and as objects move around it. If you want to experiment with manipulating the B format files, Zoom have a standalone player that enables you to do this This is available free from https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-h3-vr-handy-recorder#downloads And I have put the original B format files from the H3VR from the videos above for you to download and use with it here https://mega.nz/#!RqYQXSpB!Ydluy4G-ouMIEJbJyWWTAzcG4DIUU47G2GNKhMyVpJM OK, thats it for now, as this is very much just an initial look at it and I'll return to flesh it out with more information as I use it a bit more but hope some of you can find some use in it.

Gonna link them later today or tomorrow, I'm out of town RN. They are pretty conclusive tho IMO

A belated thanks for all your help! Sound is a difficult theme to master!

https://kinotehnik.com/product/lcdvf-bm5-optical-viewfinder/ I use the Kinotehnik optical viewfinder on the smallhd focus oled, its not supposed to work but I made it work. So now I have a 1080p OLED evf It is suported to work on the blackmagic 5" 12g

Regarding to Olympus: the best end (with 0% chance of happening) would be Sony buying Olympus. They could pull a Panasonic and drop the APS-C line (which never got so much love from Sony after their FF move - the A6xxx is almost the same since 2014). They could port to Olympus their AF tech, better codecs, and finally release a newer m43 sensor with all bells and whistles (BSI, stacked, all the tech), like a 24mp unit with Fuji low light performance. An OM-D with good low light, good AF, 4k60p, 10 bit output, with Olympus colors and ergonomics, anyone? And Sony could use Olympus knowledge to improve their IBIS and color science, Zuiko expertise in great compact lenses and optics. Or maybe a FF OM-D with E-mount. But will not happen. In fact, Sony looks somewhat quiet in these days...

My 72 year old dad carries a point and shoot small Samsung on his vacations, used to shoot Pentax 35mm and super 8, he does not recognise or see value in better image quality. I think the same goes for average Joe and Jane. They're already saturated with images through social media, and have no more appetite. Further more I think companies are not listening enough to end users' needs and desires. Often I think it's sheer unwillingness or laziness, as annoyances appear to be just a software setting away. Sometimes I think consumers are just an afterthought, and the real money is made else where like in medical or surveillance or military tech.

I agree with @Mustafa Dogan that it obviously isn't well-matched to the marketing spiel, but that we should just consider it on its merits. Remember when half the P4K thread was just people jumping up and down about it having the word "Pocket" in the title? I think this is similar 😂😂😂

From a quick test on mine yesterday, I'd say the answers to your questions are "subtle, if at all" and "not even remotely close". I love this camera but the AF is never going to give the likes of Canon or Sony any sleepless nights but AF is less important to me with the fp so I turn a blind eye to it. Which, coincidentally, what the camera itself appears to do when trying to use face detect mode !

Technically it's true, but nobody's stopping you from continuing to use the enormous range of good cameras and lenses still available (even if only secondhand) for dead formats. Minidisc has been dead for a long time, but I still have a minidisc recorder that I bought in 1996, along with a lifetime supply of minidiscs (one minidisc can be re-recorded thousands of times and I have about 20 of them). I still use it occasionally for some recording situations and the sound quality is excellent. I recorded an interview on minidisc as part of a documentary I'm working on and the sound quality is indistinguishable from that of other interviews recorded on a Sound Devices MixPre 6 with a Sennheiser MKH 8060.

Some people are just down on the FP. That's fine. Obviously people have varying needs and some are just not taken with this camera. It often does read like a statement of fact however. I bought mine slightly used, obviously from a disgruntled early adopter. I have shot numerous short films using CDNG, 10 bit. Apart from a couple of minor bugs before the last firmware update (early spring). I have not seen any lines or artefacts. It is super easy to import into Davinci Resolve (drag and drop the folders). It is also very easy to grade, despite some disappearing down a rabbit hole of stats and codecs. It is a slow camera for stills work. The loupe is bulky, but essential for me as I'm a reading glasses wearer. The screen is a blurred fade in daylight if I try and use it without the loupe. Agreed, the ISO is one click to the QS menu. I generally decide what my ISO should be for a project and use shutter speed and aperture to expose my pictures from there. back in the day you had to determine the ISO as you loaded a 30 shot film. At least now it's auto-ISO, or a one click menu change. I do not have any L mount lenses (yet). Last week I shot one of my favourite raw stills ever. I processed it in Capture One. Again, super easy. I just adjusted the levels, added a little contrast and it looked fantastic. I forgot to add any saturation before I exported it, but the colours look lovely (slightly pastel). I have a Leica Q stills camera, and a BMD Pocket 4K, and for me the Sigma FP matches both in end result. I am enjoying using it easily as much as those two cameras. I only keep the Pocket 4K for Braw. If there was a very small unit I could record Braw to from the FP I would sell my Pocket 4K.

Picked up 11 of these bad boys from a factory swapping over to leds. I think at least 7 of them work, no cost to me just had to remove them. There's a fair layer of dust over them so they'll need a good clean up. Considering keeping a few as original, maybe hacking a couple to take some sort of led bulb. Anyone else got some other ideas on what i could do with them ? the diameter of the reflector is about 420mm. On the flip side i guess i could start a grow room 😉 Also another vintage lens... circa 1971. While not the oldest lens around, is now making its way to the land down under, more about it when it turns up. Perhaps i should look at getting a really old lens something pre multiple coatings or even single coatings for comparative purposes. One other thing i have learned when using the fd adapters. mine has a lock and an open position on the adapter . when you position the fd lens onto the adapter, you need to align them properly as if you do it wrong the aperture doesn't work on the lens. Not sure if you could break anything by forcing it but i wasn't game to try. Took me several goes to work it out and that was swapping the lens between the p4k and my old canon t90. I guess anyone with fd lenses already knows this. Just a heads up for anyone thinking about adapting fd lenses.

Alright, didn’t get any answers so I’ll have to find out on my own, just placed my order! I’ll let you all know how it goes.

Get the Zoom H1n just simply for the better design to protect the mic capsules (mine on the original H1 got damaged!). The H1n has a few other tricks up its sleeve over the H1, such as the H1n can be a USB mic as well. I'd say the MixPre3 & Zoom F6 is already really cheap! But if that is outside your budget range, then just get a Tascam DR60D/DR70D. Problem solved. You could cross you fingers and dream of a Tascam DR60D slashed in half (a DR30D?) with just a single XLR input and is half the height. But don't hold your breath. That has no phantom power. No recording. No LED display. I'd recommend the Tascam DR60D/DR70D over a JuicedLink RA 202. (plus of course JuicedLink doesn't exist now! Because Zaxcom's lawyers killed JuicedLink) No, Zoom can not. You wanted a XLR input (which is kinda pointless without P48), that means bigger size/costs. Also we're talking about a far more niche item than a Zoom H1n, I'd expect it would have much lower sales so less units to spread over the fixed costs such as R&D. Expect that to perhaps add on an extra twenty bucks to the final RRP.

Still not compelling, in my opinion, until there is a ninja star type of device for this compressed RAW external recording. Just not worth the effort, for me that is, over a solid high bitrate 10-bit 422. I wonder if S1H will see BRAW support in the future? They share a sensor with the fp, no?

Considering the price difference to the Amira, the S1 and S1H hold up very well in comparison, a cinematic dynamic range is no longer the exclusive privilege of ARRI MAVO LF and Pocket 6K are also on a similar level in that test. So yes, the URSA G2 dynamic range, if it is better than Pocket 6K, is not distributed very far down in the blacks that's for sure.

I tested the methods explained in this thread and I cannot find this supposed superiority, there is a severe penalty to the sharpness, you have a HUGE shift towards green even though I turned the green to 1.90 This is all with manual mode, no automatic garbage going on, all old fashioned adjustment, white balance equal for every image to show you the shift it goes from magenta to green its quite severe. There massive loss of sharpness with this method, the noise is far more prominent and here are examples that took me 5 minutes to do with manual focus, 1/30 shutter, 2.8 aperture and ISO of 1600. Left is the standard profile. Middle one is adjusted ISO down to 800 with RGB boost. Right is the one with the 1.99 RGB levels and no adjustments, you gotta open these real up close and notice what happens, other than the RGB settings every other setting is completely identical. These are JPEG's by the way so video would look just as similar but worse noise obviously. Again the Left is standard, middle is adjusted level and right is the boost one with no adjustments. Notice the sharpness loss in these, the camera was on a tripod with manual focus kept at same level in all 3 shots. The details are quite muddled suggesting your lossing something here, its almost like you are trying to extract details but not getting enough light, its exactly what this is. I read that some people suggested it gives you 1 - 2 stop extra range, but at a sunny day at 160 bitrate you can already pull a few stops out of the shadows anyway with a LOG like settings or not, this RGB boost seems to present no advantages in those shadow details at all in fact there seems to be a loss of details.

Thanks, I wish I had. Just random clips from free sound. The arpeggio reminded me of Twin Peaks and the buzz of Larry Jordan's Our Lady of the Sphere. I was just messing around with stuff I had ordered from KEH.

My kit is a GH5, a G85 and the GX85 as my c-cam. I bought the GX85 because I saw one used for $250US and figured if I found I didn't use it I could easily sell it for that, or even maybe a little more. After my first multicam shoot using it I was blown away. The IQ is in the same league as its big brothers, though the GH5 is superior for obvious reasons. The three though match pretty much seamlessly. Now when I go to grab a camera for something minor or for personal use, I pretty much always grab the GX85. Where it really blows my mind is when I pair it with the 35-100mm f2.8. What a combo! And you can pretty much bring it anywhere without anyone paying any mind. Throw a flip up/out screen and mic jack, and you'd have had a much more competitive "vlog" camera using 4 year old technology. Bonus if they'd included GH5/G9 AF updates.

This is unfortunately no longer true for fully electronic mirrorless lenses - which not only depend on system-specific protocols to function at all, but also heavily rely on in-camera digital geometry and vignetting correction. When a mirrorless system falters, you can pretty much throw away the lenses. (As it happened before with Nikon 1 and Samsung NX.)

The fact that this beautifully designed and engineered camera doesn’t overheat thanks to it’s clever use of a heatsink puts many other manufacturers to shame. They should thus take notice and pay their respects to this simple yet extremely elegant solution. It makes me even want to buy a Sigma fp just to support the company, even though I don’t really need the camera.

Went into the garden to test the new firmware I opened the CDNG's in photoshop, shot at full-frame with the Carl Zeiss Vario-Sonnar® T* 3.5-4.5/28-70, I'm happy with the results. all shot at 25 fps with firmware 2.0

Well regular people are not buying old type compact cameras anymore so Companies HAVE to either capture a larger share of the existing market (at the expense of others) or find new markets. I have several small point and shoot cameras I hardly ever use and have thrown a couple into the bin that were working perfectly recently and will probably throw a couple more out very soon. I guess this camera was made on the cheap and while it is not great, maybe it WILL sell to enough people to justify its existence. Some of you are GREATLY underestimating the Youtube market (not just those who call themselves Vloggers but anyone who wants to put even one video is in need of a capture device). For many it will be a phone, for lots of others it will still just be a cheap point and shoot (sometimes still with just SD). Even ONE percent of the You Tube market would still likely be profitable for a camera company as long as it is only catering to that (which is what cameras like this and the recent little Sony pretty much are doing). There are probably ENOUGH Sony haters who would not buy the ZV1 no matter how much better that will buy this anyway to justify its existence.

Will post up on Google Drive. Its not the best test in the world but it does demonstrate the Pocket 6k's greater dynamic range. I set both cameras to the same ISO, aperture, and shutter speed and used a 300w LED to clip the subjects face and see which could pull back more highlights. Then we did a rough shadow test. The URSA seemed to be on par with the Pocket shadow wise but you got the vertical fixed noise, which ruined it. Hopefully I can get them up today or tomorrow. My first indication was @Juan Melara Alexa Powergrade thread. He tested it against the Alexa and found the P6K had more highlight information. Then I saw someone posting how the Pocket 6k has more dynamic range than the RED helium. haha yeah for sure. I feel like Blackmagic doesn't market their cameras well enough lol. They should put out their own dynamic range charts or tests against other cameras. The Pocket 6k would clean the floor with almost anything imho.

micro HDMI out? 😅 😥 Still great updates though.

@IronFilm I definitely agree with you on a wait and see approach with the Komodo, but I believe global shutters are just going to get better with the proper development behind it. With companies like RED pushing this technology, it’ll certainly invite other big manufacturers to enter the foray.

Sure, they're a consumable, but in general the maxim of "date your camera, marry your lenses" still applies. Lenses don't last forever but they almost always outlast cameras. I'm using some 50-year-old Minolta lenses on MFT and E-mount cameras, and could use them on L-mount and Nikon Z-mount among others. Those lenses offer a Leica look for a tiny fraction of the cost and with better lens-to-lens consistency than Leica. PL mount cinema lenses of any vintage can be used on any of these cameras as well with adapters. Camera technologies evolve faster than lens technologies, so you're likely to upgrade your camera much more frequently than your lenses, as long as adapters for your new cameras are available.

That shortfilm is second to none compared to every ”branding video” I’ve seen made with cameras in this price range. Really impressive.

So does the ARRI Alexa

Yeh theres a fuck ton of vloggers and even more people aspiring to be. Even when you just search for a product review a lot of the time it'll be in a vlog format. And a large percentage of teenagers aspire not to be filmmakers, doctors, bricklayers, but vloggers. Panny really missed the boat on this one though. The camera they need to put out is an LX100 with flippy screen, mic jack and new sensor with no 4K crop and better dynamic range.

External recording though. For me buying a tiny camera and then adding a lot of bulk around it(charging even more batteries), isnt for me. Then I rather have a bigger camera that I dont need to rig up. Allthough good news that braw is starting to move around to more cameras. Maybe on the next iteration they can do it internal.

Live now, express yourself now. What's the point about just evaluating, calculating, being scared of lose or what will be better money future investment, instead of using any of marvelous option and sharing results? We are at the peak of possibility to do it - maybe mostly grateful to m43 offer. At some point we will not have capability or existence to do it - I know we all know it, but just to remind

Canon should counter-troll Sony and push the announcement date after Sony, who moved theirs to after Canon. Imagine an infinite cycle.

Very sad news this, I have fond memories of my long gone E-M10ii. A dream camera would have been the GH5S sensor in a E-M1iii body with IBIS, 10bit internal, 4K 60p and the PDAF of Olympus.

Panasonic could see the writing on the wall with Olympus. They knew they couldn't sustain MFT by themselves and have transitioned to FF.

I'd stay away from slow 35-70's made by Hanimex, Maginon, Cosina and etc. The ones with 2.8 starting aperture are optically better in almost every regard. Nikon, Vivitar and Tokina have such good lenses. There is also the rare Zeiss Vario-Pancolar 35-70mm 2.7-3.5 which is my personal favorite. It has a prime-like character with superb central sharpness and awesome bokeh. Here is a sample: Only slow but good 35-70 is Leica's and Minolta's fixed 3.5 or 4.0 versions. I want to also add the very rare Konica AR 2.8/35-100 varifocal lens to this list. I was able to find one but it needed a repair first. I can't wait to have it back. The only similar lens I can find is Zeiss's Vario Sonnar 2.8/40-120 for Contarex.

Andrew... with this, you finally made me sign up and send my first post! After nearly a decade of only reading, I read this and couldn't resist the strong urge to reply your thoughts about Panasonic S1. After months of meticulous comparing, I reached the same conclusions as you highlighted here and bought an S1 with 24-105. As a reseller in ebay, I'm lucky to always have a closet full of interesting lenses. No other camera is better than Panasonic S1 at breathing life into those lenses. It is an extremely convenient camera, which can deliver a stunning image with absolutely minimal effort at post video editing. The superb EVF makes it a dream to manually focus. IBIS so good that you never need a tripod. Auto ISO and auto WB always work perfect. The list goes on and on. It is not the perfect allrounder like A7III. But as you say, if your priority is to make videos with manual focus, this camera is a no-brainer! Of course, I'd be very happy if it were less clumsier, if AF were better and if it had a wider lens selection (I especially miss a Sonnar 2.8/35 type compact lens). But for the price, this is complaining on a high level. Here are some shots with 4 nice old gems:

Man, this new firmware update is MASSIVE. Definitely breaths a ton of new life into the FP and fixes a few of the issues that Caleb mentioned in his video! However, I feel it's worth noting that Sigma confirmed in a new interview with one of the sites that can't be linked here that they were ultimately unable to create a proper LOG/flat profile for the FP due to technical limitations... So apparently that's not coming any time soon for the camera. Not the end of the world, as I'd wager most filmmakers buying this camera are investing in it for the various RAW codecs it can provide internally and externally. Hopefully though the next model in the FP lineup fixes that issue and provides a LOG profile at launch. In cheerier news though, Sigma just released a whopping 35 minute long narrative short film shot entirely on the FP! Unsurprisingly, it looks pretty great.