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Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.

Another M43 shooter here. The G100 is trash, even in the context of a "starter" vlogging camera. It pains me to say but no amount of excuses will change that. It's inexcusable. There's literally no reason for it to exist; no one asked for it. Not vloggers and certainly not enthusiasts or professionals. I don't even mean to encourage them to just take a GX85 and add a flip screen and mic, because that'd have been bullshit too, but it'd still be much better than what they did with the G100. It is genuinely concerning that this thing even moved beyond a pitch, let alone production. The Lx100 II and G95 might've been disappointing updates, but at least they improved and added something. This though? It's a crippled camera that would make even Canon blush.

I hear they are planning to use the brand awareness to market bespoke package tours to visit large mountains in Greece.

I know what is going on here... Panny knew that Olympus was going to go and they do not wish to continue with 4/3rds themselves. By releasing this piece of junk they can then say, "oh well, we have taken 4/3rds as far as we can and are now moving on from making any more and canning the GH6 in favour of FF only". T-rump and Kim Ping Pong have also played a part in this devious but transparent conspiracy.

The Z-Cam folks definitely seem receptive. In many ways they're a model for what more companies should be doing. You can't compare them to anyone else in the camera game when it comes to listening to their user base, they're unmatched. I don't know that they'll be able to continue that as they get larger, but I certainly hope so! The users though are definitely fervent, and it's not always endearing. It seems your best bet, before criticizing anything, is to heap praise first or risk getting their fan base riled up. I watched Gerald's original review and I thought it was fair, and pointed out serious issues. I really didn't expect it to get the reaction it got.

More defensive community than Red?

The school lesson for today kids, is: 1. Jack by all means MUST apologise in a lengthy monologue at the end, brush the ice from his hair and making clear that in no way is he morally right to come after his wife with an axe. 2. The "problematic and triggering" child abuse must be balanced by an extra 30 minute scene inserted into the middle of the director's cut, where Danny has counselling. 3. Rather than Shelly brushing all this off as a bad day at the office for Jack, she should immediately leave the hotel at the beginning of the movie and bring Danny with her. I think the film would be improved immeasurably for contemporary audiences with just 3 simple changes.

S35 "normal" lens comparison:

Main things for me is a way to shoot braw without attaching a large additional box or monitor, like an SSD. Way to lose the white focus box in screen. Maybe a hot shoe mounted LCD rather than the bulky and awkward loupe.

Maybe you need to hire non-incompetent DoPs?!

- Dedicated ISO on fn. button - Half-press shutter to come permanently out of focus punch-in, and yes moving it around frame whilst in it - Focus punch in ability during recording, if possible (why is this so hard for so many cameras?) - 2.8K RAW 10bit internal mode for reduced file sizes and SD card recording - 4K 60p in APS-C mode - Cup of tea making ability And yes definitely DCI 4K to SSD would be nice.

Iscorama, early Rollei Zeiss 50mm f1.8. Very good combination. If you like a vintage look, German Rollei Zeiss are the most underrated FF lenses on the market. Same coatings as pre-T* standard speeds, slightly improved designs. Very sharp with slightly old school painterly bokeh:

Take out everything that Vloggers want in a camera and advertise it as a camera for Vloggers.

Camera Conspiracies is definitely satire, with the occasional good point here and there. Half the time he has no idea what he's doing, which is part of the charm. He makes fun of everyone, especially himself. Example: Instead of f-stop he calls it Toneh, as a dig on Tony Northrup after Tony posted this video: I don't know what Tony was thinking here. "I'm gonna go on the beach and shoot wide open so you can't see anything behind me. Oh and I'll frame myself terribly." Eventually people were so confused about why he was calling it Toneh that he made a video about it Once you get where he's coming from he's one of the most entertaining channels on YouTube. Have you seen the Canon Cripple Hammer? And the Panasonic Pony of Hope?

Tim, there is nothing wrong with tasteful and honest advertising. The problem comes when you mix the editorial with the advertising.

This is a very strange one to me. I've seen online tests as well as examples from shoots I've been on of the Pocket 6k having really great dynamic range. Yet Blackmagic claims it has less dynamic range than the Ursa Mini and the same dynamic range as the Pocket 4k. Cinema 5d measured it at 11.9 stops while measuring the Ursa at 12.6. I tested the Pocket 6k against the URSA, both at 800 iso and the Pocket had more highlight and shadow information, by a good amount. If the Ursa has 12.6 stops of dynamic range the Pocket 6k has got to have over 13 maybe 13.5. I'll probably post the tests if anyone is interested.

JIP manager's next idea:

I am primarily concerned about the risk of losing your camera and more so about the hazard that the rig poses for motorists behind the hero vehicle. At minimum, replace the open hooks with strong carabiners or with removable chain links. The top carabiner needs to completely encompass that runner on the luggage rack, so that it cannot fall off during a bounce. In addition, to prevent the bounce/wobble, solidity could be added with two extra ratchet straps (or motorcycle straps) -- one strap tensioned between the camera platform and to the top of the car and the other strap tensioned between the camera platform and the bottom of the car. These extra straps would also increase safety.

Yes it is a disgrace. But that's often what happens when sales, accountancy and marketing department staff are expedited to the top of the camera over the heads of senior engineers.

The entire argument is silly. Countless low budget features, music videos, docs, short films, commercials, events, etc. have all been shot with a GH5 and other M43 cameras. The fact that major features aren't shot on M43 doesn't mean it's because the cameras aren't capable or that M43 isn't good enough, it merely means that films that have the budget are going to use the same cameras that always get used. They're not using Blackmagic or Z-Cam much either, despite their larger sensor offerings, which shows it goes beyond just sensor size. Heck, Canon has largely failed at getting their cinema line adopted by Hollywood, too. The power of the GH5/S, the Pocket 4K, etc. is that you CAN use it for a feature and get great results. You can use it for a run and gun documentary, or event too. That's the strength of the system. It's incredibly versatile. You're not limited by the camera, just your abilities. If you can't understand or see the benefit of all that, then there's really no point in arguing. Just write the system off and let the rest of us appreciate our tiny but powerful cameras in peace.

FWIW, I used a GH5 for the most recent doc I made. Toured with the film and put it on the "big screen" often. I like to think I know what I was doing visually and in regards to focal lengths. I also just sold my GH5 and bought an Olympus camera. Olympus plans to sell their camera division later this year, if you haven't heard.

It's really a pity that Olympus threw decades of its expertise in making compact and optically brilliant FF lenses out of the window when they switched from analog to digital. I agree that they could have had a brilliant future as an all-systems lens maker (instead of a single-system camera maker). Manual focus OM lenses are still among the best vintage lenses you can buy and adapt to your camera, since their optical formulas were optimized for compact size, low contrast (=high DR) and high resolution. It's a f*ing disgrace for the legacy of Yoshihisa Maitani, Olympus' genius camera and lens designer (who created the original analog Pen/Pen F system, the original 35mm OM system, the fantastic Olympus compact rangefinder cameras and the brilliant Olympus XA).

"When the market shrinks to one tenth its current size, yes, more expensive because the cost per unit to make anything will be dearer and in order to make a profit it will just have to be. While there is lower stuff to sell in volume they can make higher end stuff a bit cheaper than it otherwise would be but once that lower stuff is swallowed up by phones ...well look at Leica....otherwise it will be cheap rubbish." Absolutely this. The reason Zacuto can charge hundreds of dollars for pieces of shaped metal with threaded holes in them is precisely because - in manufacturing terms - the market for those bits of metal is almost undetectably small.

GH5 was a $2000 hybrid camera vs a $10,000 cinema camera 4 or fives times it’s size....okay. You can achieve roughly the same DoF but the background won’t be the same. This gets harder and harder as you go wider and wider for MFT

Which brings us to another v2.1 request: capture raw stills while in Cine mode. Not necessarily while shooting video (that would certainly be resource heavy) but just while switched to Cine.

Just checked it, and bad news, it's JPG only.

There are no micro four thirds users here!! What is a GH5?!

Ditto, I'm 99% using M lenses on dumb adapter. Focus box always there in Stills. Disappears in Cine.

Recently, I spent about 200 Euros on a used PL9 (yes, Olympus). I 99% certain that many people would get better vlogging results with it handheld than the G100. The PL9 is slightly lighter at 380g, has 3 axis IBIS but no viewfinder. And that's what is so strange about the G100; why does it have a seemingly amazing viewfinder- vloggers don't really need that. It would have shaved considerable weight off this and there would have been room for 5 axis IBIS, that flip-out screen (and possibly no overheating). This one change would have made it into a winner. Instead, they put some strange microphone system into it and a great viewfinder. What were they thinking?

Yeah, I'm seeing the white box on all screens. I'm only using legacy lenses (Pentax and Leica M).

Remember the infamous Michael Woodford case, of him Exposing the over US$1.7 billion in scam money, involving fake auditing and sequestering money (euphemism for illegal wire transfers to Cayman Islands among other places), at Olympus. It appears, that Olympus probably never recovered from that, because when the scan was exposed, they had to isolated one of their 3 businesses. So it was probably prudent to let their Camera Imaging business bite the bullet. Maybe Olympus was ust a sinking ship. It may have merely been a question of when.

I'm sure they are very nice, but I'm not seeing myself buy apsc lenses for a non fuji system, I'm waiting for the upcoming small full frame primes from sigma

I just take it as a joke, he seems like a decent guy who is funny sometimes. I don't watch all his videos (or even watch through all of the ones I do), but I do find his humour funny because he's just trying to be a regular guy and not some inflated egotistical giant like most reviewers and influenzas are. For the record I've never watched an episode to get factual information. I think he fills a good niche that no one really has previous and his sense of humour at times appeals to me (making a joke out of people and things that take stuff really serious is the best, I hope he's making money). For the record my favourite camera YouTube channel is - Analog Resurgence. That guy is doing it for all the right reasons and it shows.

What are the things still missing that we can ask sigma about the next firmware? 1. I personally would be very happy if I could move the 8x zoomed in frame around and not have to zoom out first to move the focus area. This I because I use manual lensen and would like to quickly confirm focus. If it could also work during recording even better 2. Audio levels are too far burried down the menu 3. DCI at 4k to SSD 4. I would like to have a way to give the name of my manuals focus lenses in the cdng metadata so I can sort shots by lens

I was over generalising when I said online. My main point really was that there have been so many big companies that have fallen in the last decade, and they fell mainly because customers stopped using them. So whilst we are sad to see them go, they went because we stopped being their customer. Obviously like Olympus, they could have done more to keep us as their customers. But sometimes, its impossible to adapt. I can't see how Blockbuster for instance could ever have survived the changes and yet still be true to what they were. Its part of a past that is no longer relevant now. Could Olympus have survived if it expanded its camera line up to fullframe. Maybe, but I'm not convinced. Canon and Nikon dominate the Photography side with Sony making big inroads; Panasonic is trying to get a foot in the door, but it remains to see if this continues and isn't just a one off. How many camera companies does the industry need, to keep each one profitable?

LX100 II, G95 and now G100 I also think no IBIS on GH5S was a major misstep, or at least not having that sensor in ANY body WITH IBIS was! I cannot see sales doing very well if they are going to make big mistakes with every new release.

Growing up I use to visit the nearby city of Southampton. It had some lovely shops, huge Virgin Megastore and HMV stores for my Video Cassette and later DVD purchases, Debehams store, where I could buy clothes from different brands, Toys R Us I loved as a kid, a huge Jessops store when I got into Photography, Woolworths for odds and ends, various book stores. Now, those shops have gone or downgraded to smaller stores. HMV went last year, Debehams only recently. These shops were a huge part of my growing up, and I regret their loss. I miss them. But... its my fault. Well, not all my own, but just like many people, I moved my shopping online. I changed how I shopped, where I shopped and what kind of things I bought. These shops fell because of people like me. And Olympus fell because of people like me, because our way of buying and what we bought changed. What we wanted changed. And because like these shops I mentioned, Olympus failed to adapt to this new trend. So yes, its a loss. Its very sad. But its happening everywhere. Those who adapt, survive, those who don't fall. When people complain about the quality of features in a new camera, the answer given is usually, that the camera isn't meant for them, or its not what the camera is meant for. To which my answer is why not. Smartphones don't take this approach. They are happy to be whatever is needed to sell the most units. 60p at 4K, sure why not.. throw it in. But camera manufacturers... Take Panasonic, they have just introduced what some have said is a vlogging camera. The G100. If that camera could take videos, and then upload it to the Internet without a computer, it could be classed as a true vlogging camera. An innovation. As it is, its a crippled 4K camera, with some new minor gimmicks that could appeal to vloggers and a miss mash of former camera features, wrapped up in a new body for a cheap price. Its not going to do anything to stop a downward trend in camera buying. Now, of course, my criticism of this camera can be countered with.. 'the camera isn't meant for me.' But if the camera was more innovative, if it did connect to the internet, did allow me to take photos, perform a basic edit of them, plus do video and upload them all straight to Instagram or Facebook, or email them to my family, would I be interested. Maybe. Camera manufacturers need to do more if they want to continue for the next 10 or 20 years. There's only so many Ks you can add to resolution to keep camera forums hyped up and excited.

So how did this thread get derailed into some stupid format war....again?

The forum has a new feature. It's an argue amongst yourself privately and save the EOSHD audience pages of off topic bullshit button. https://www.eoshd.com/comments/messenger/compose/

It seems to be some sort of flat profile now in the Off mode. Desaturated, brings the shadows up. Definitely seems to be more "Flat profile" than LOG but still interesting to further experiment with.

When the market shrinks to one tenth its current size, yes, more expensive because the cost per unit to make anything will be dearer and in order to make a profit it will just have to be. While there is lower stuff to sell in volume they can make higher end stuff a bit cheaper than it otherwise would be but once that lower stuff is swallowed up by phones ...well look at Leica....otherwise it will be cheap rubbish. Makers will also take longer to put out new stuff at the lower end to keep it cheaper or have to put up prices and either way, phones (or devices that have both a phone and camera in them more like) which will just be on an even faster track comparatively.

Tom Antos did this comparison below, in which he pushed the cameras both under and over, and he shows the results of pulling the exposure back in post so it's nice and clear. What I'm not so clear on is if this is the right version of the Ursa that you're referring to? There are a few and I'm not across all of them. I think there are two challenges, the first is that if one brand directly compares their product to another brand then they can get sued, which seems odd, but seems to be a thing. That's why any comparisons are always with a "leading competitor" instead of naming them directly. The other challenge is that there is no official way to measure DR objectively. When someone says it's 12.1 stops then they're choosing a level of noise, and had they chosen a different level of noise then it might have been 12.4 or 11.8. So because there's no standard threshold you can't compare measurements done by different people against each other. Even if we defined a number and everyone started testing against that number, there are other factors to consider too, such as the noise being an RMS, or peak-to-peak, or some other approach. Remember how you used to go to big box stores and there were these tiny little boom boxes that said they were 3000W, but your home theatre system is only 100W and it's way louder? That's a difference of measurement methodology. You can, however, directly compare and see how a given camera compares to other cameras that you kind of have a reference for, so that's useful. Reading a number for DR is less-so.

I think that particular thumbnail is from a low light comparison, but that's a very useful channel. To my eye; 4.6K G2: https://vimeo.com/408639496 Highlights hold to about +4.5. Shadows go deep but get green and unusable around -4 or -4.5. EVA1: https://vimeo.com/399691355 Highlights hold almost to +5. Shadows go deep but heavy noise. Nice color linearity, but maybe good to -3.5? https://vimeo.com/400031418 Amira clips around +5.5, maybe a bit better. Great color linearity but noisy, but nice noise texture. Good to -4.5 but noisy? So would measure much worse but it looks good. Subjective. S1H: https://vimeo.com/404396461 Pretty similar to EVA1, much more banding. Difficult to judge shadows because banding, noise texture, etc. is all more subjective than results on a wedge chart. P6K: https://vimeo.com/408524414 This was at 400 ISO. So it looks like +4 or +4.5 and -2 or -3 if you can tolerate some banding. But at 800 ISO that would be +5 or +5.5 and -1 or -2 but that's from banding, not noise. So if you don't underexpose and rate at 800 ISO I can see this being surprisingly close to an Alexa unless you need to dig into the shadows. S1 has great highlight detail, not so good shadows: https://vimeo.com/399496111Every result is fantastic. An embarrassment of riches on the market today. I don't entirely trust the methodology though.

I am now seriously considering buying the Sigma FP, which looks amazing, to complement my Sony a7iii. On specs, the Sigma FP looks amazing, but I have the following concerns: 1. Battery life - how long can you use it? Obviously I could stick a USB power bank on it, but that kind of defeats the purpose of a small camera right? 2. Will anyone make an affordable variable-ND mount adapter for it? On my Sony a7iii I mostly use Nikon primes, and have an amazing (and cheap) mount adapter where I just turn the ring to seamlessly control the exposure. It's beautiful and there's definitely space for it with the L-Mount's short flange distance, but as far as I can tell this product doesn't exist yet. I could use my Matte-Box which has been gathering dust for years now, but really I cannot stress just how incredible having a variable ND filter in the lens mount is. 3. Will cropping/lossless digital zoom be useful and easy? The Sony a7iii excels in this, and makes it easy to use one prime lens at multiple focal lengths with no loss of quality. The Sigma's sensor is big enough, just need to know if it has that functionality. 4. Can you see the screen in bright sunlight? I like to shoot outdoors. I could buy a separate EVF, but that's pushing the price up more, as well as probably putting more stress on the battery. So those are my concerns, does anyone have any experience to share with this very promising camera? With Canon and Sony both coming out with new cameras soon the field is very competitive, but the Sigma FP does look like a strong contender.

Could be for sure. When it was first announced I was super excited. I thought it was going to be shooting video similar to what my XT3 can do in RAW stills. It turns out that is close to being true. I've seen a lot of threads discussing Pocket 6k vs something higher end, and the lower dynamic range is always brought up. But it turns out the Pocket 6k is right up there with the C500 MK2 even the Alexa. Certainly there are advantages to an alexa or RED helium but its really getting slimmer and slimmer. The URSA G2 form factor, rolling shutter, form factor, and 4k 120fps and all still big advantages. But for me rolling shutter is rarely an issue and I am usually ready to take a hit on most things to put dynamic range at a priority.

Tom posted a follow-up to the above, with the results, and also the under/over exposure tests. I did it blind and picked the P6K first, with the UMP second. Interestingly, I chose based upon the colours, and the strange green tint from the Alexa and the awful strange everything colours of the RED made them get third and last places, respectively. The more I grade, the more I care about good colour and the associated art department choices (which obviously aren't a factor here) and less about the resolution or whatever else of the camera. The sharpness of the P6K doesn't phase me as I know I could soften it in post, or on set with lenses and filters. Considering that the Alexa has been used by other people to get good colours once or twice before we know it's possible and the camera isn't fundamentally flawed... yes, I'm kidding of course. I don't even think he botched the WB. It's very odd how the colours were rendered, and strange that the RED also shared some of the bad colours from the Alexa. Regardless, seems the image from the P6K holds up pretty well, and the over exposure highlight rolloff didn't look too much worse than the Alexa, of course with the under-exposure shadows being much superior due to lower noise levels.

This thread can help you out there:

I concur that MFT format is actually priceless and this current price now is much more indie friendly but aside that, they're practically the same camera just along two different image resolutions and sensor sizes, respectively. Never had seen anything even closer. You still have Luca's, anyway: This device is a must, the Jim Jannard's promise fulfilled today, I'd dare to add : -)

If you want a hybrid outcome, 6K is priceless : -)