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Got the A7SIII as wanted a small body that could do 4k120 10bit with high calibre AF tracking for gimbal work, and more. Coming from the EVA1 and GH5. No footage yet to show. Haven’t used it on a job yet but I’ve took it for a casual spin in the park. Is the hype real? Not sure yet. Need more time. Some observations: 1. The body is very very light. The buttons are nice to press. The screen is a little thin. The menu button is in the wrong place. The grip is far better than before. It’s much bigger. 2. The EVF is insane. Never seen an EVF that clear and sharp, ever. 3. Menu’s make sense, finally. Woo woo. 4. AF tracking is great. Feels like cheating. I’m not sure how I feel about it as part of the craft though. Feels less rewarding, if that makes sense? Lovely on a gimbal though. 5. Working on a screen this small makes me feel disjointed from the scene. Much less clarity than the EVF. Good I’ve got the Ninja V to test then! 6. Dynamic range is impressive. Very nice roll off. 7. There’s a “Shockless” WB. When you change it, it transitions smoothly while recording. Same with ISO and shutter speed. Nice! 8. How am I using ISO 100 in Slog3? Thought this was BANNED. 8. Rolling shutter looks gone. Ran off. Away. Thank the Lord. 9. Battery life - hmmm. Not Panasonic standards. 10. Tamron 70-180 seemed a bit drunk with close distance AF. 11. Image looks quite clinical. Used ProMist 1/4 - not judged it yet. Seems better. Will decide later. 12. Why is the skin tone in FCPX yellow looking when the skin is on the line in the vector scope? Not that the skin tones are bad (they are good off the line), just doesn’t make sense. Maybe I’m blind. 13. Colour is better. I’m not sure how much better yet. Definitely an improvement. I need to get this thing on a proper shoot. Got a triple music video shoot in Turkey coming up so I’m going to throw it in the deep end on that one. Overall, I’m impressed so far but I can’t help feel a slight bit of disappointment when Canon announced the C70, which is the camera I described some years back as the one I would love to have. Now it exists. Funny world.

Of course I would love to have everything the world has, thrown into the C70, but I am trying to be realistic. Yes, I would love it to have raw, and e-ND, and full XLRs, and SDI, and ProRes, and Braw, and other things, but then it wouldn't be the C70, and it wouldn't cost 5000$, or whatever it costs. I have the P4K, I have never shot braw, and that camera has NO AF while the C70 may have the best AF at the price point, less audio options, terrible battery life, no ergonomics whatsoever, less I/O, a smaller sensor ofcourse, no ND - which is like number one priority for video cameras. Why don't you go to the P4K thread to complain about all the issues and omissions, I wonder? If you compare the C200 release, which HAS raw, you can go and check my opinion back then, and you will see that I was right (same with the first Canon RF cameras), they were stop gap releases, not long time solutions like this C70 is. If you need raw more than what the C70 offers, the C200 will be quite cheap for people to buy it really soon. Discussing for ever what a product does NOT have, it is just a waste of time in my opinion, but feel free to express yourself as you like ofcourse, sorry if I sounded autarchic, just can not see the point I guess. The turning point for me, and a lot other professionals in the field, was 10 bit files, and that will be enough for most things in the near future at least, raw is good to have for cheap (P4K) but it isn't a selling point for me and the pros I see working around me. Cheap raw solutions is more for hobbyists and semi-pros as I see it in real life. I literally have seen noone shooting raw in anything less than a feature, and definitely not on a C200 (par example), I believe using raw is a lot less important than we believe it is in some forums, and maybe Canon knows it.

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc. The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates. https://en.wikipedia.org/wiki/Cineon Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative". It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing. And the early reaction to Red's raw format was mostly met with derision due to its lossy (gasp!) compression format. Attitudes have definitely changed as people got used to the new formats. I think the big step up in the video/DSLR space was when we went from 8-bit video recording to a 10-bit log format like the GH5 offered. The 8-bit log formats from Technicolor's Cinestyle, to C-Log, S-log, V-log are just too prone to banding and color artifacts when pushed heavily. The ability to shoot raw is nice, but 10 bit log is a totally viable format for any post house to work with and deliver great results.

1. Some people just don't like the obvious artificial limiting/crippling of tech... they'd like real competition and better products 2. Some people actually LIKE the boomer-protectionism of the 1980's technology markets. I.e. hacks can just say "I own X or Y expensive camera! You HAVE to hire me now!" 3. Some people like to pretend that there is something "Magical" about $5000 or $15000 cameras that will give them better results over something like a Blackmagic P4K or capable DSLR. There isn't.

More first impressions... - The 4k100fps is excellent. To have this feature in 10bit, in 1.1x full frame, in a camera this small is fantastic. Makes the EVA1’s downsampled 2k100fps look like mush. - The extended ISO at 100 in SLOG3 certainly limits the DR, certainly in the highlights. I wouldn’t recommend it, only if you are desperate. - Active Stabilisation works a treat. Tried a “gimbal shot” and did a fair job with stabilisation. - Footage doesn’t look overly sharp with a ProMist 1/4. Recommended. As the image itself is really very clinical. - Colour is definitely better. Don’t care what the naysayers say. Don’t know how good we can get it yet. - But, the skin definitely has a tinge of yellow in SLOG3. Dialling it out is fairly easy. Bit annoying but not a huge issue. - The 4k 10bit files in XAVC-S aren’t playing back on my Mac too well. Will try again as FCPX may have needed a reboot. Maybe not. - XAVC-I seems the tiniest tiniest tiniest bit sharper. You can barely tell though. - The colours with Gamma Assist On looks like classic Sony zombie look on LCD. I wouldn’t use the standard Rec709 LUT ever on SLOG3 in post. - I definitely need to play with Ninja V. Screen is too small to really get into the image. This early experience is just me filming cats, trees, kids, babies... whatever I can see. I’ll be putting it in the deep end soon. I’m impressed so far but I think the Canon C70 reveal hurt it’s thunder. The crafty buggers released the camera that I once described as my perfect camera. Read my mind. I’m suing.

I'm going from memory so I can't verify where I saw these info segments, but I'm fairly confident that: Yes, you can do punch in while recording (Panasonic have been killing me with the lack of this for years now!). Yes, the speedbooster does impede the AF to an extent. I believe it works just as well, but the coverage is reduced (from 80% to 60% of the screen real estate). No, there aren't any EF-S-style crop RF lenses as far as I know. Plus I doubt there will be. Though perhaps 3rd party lenses (like Sigma) might be adapted? (I'm not so confident on this last paragraph).

My a7siii with glasses have arrived 😁

Got mine Saturday. Agree about the EVF, its incredible. The larger grip compared to the a7III is really nice, still wish it was about 2cm taller so my pinky doesn't wrap under and a 1cm or so further away from the lens mount - its pretty tight with fat lenses. Touch tracking is amazing, it sticks to everything. 4k120p in something this small also nuts. And you can use v90 SD cards for just about everything, as opposed to something like the R5 which needs the CFexpress cards. Haven't tinkered with raw/Ninja yet either. There's so much to this camera. So far no regrets. Cheers Chris

Hit that nail for sure. I felt that way with Touch AF since the 70D. I don’t know.... there is something to be said about those eureka moments that comes with setting it up (WB, ISO, Shutter, Aperture and yes manual focus, flags, reflectors and lights) - framing and composing - getting that perfect B-roll... sometimes takes patience and luck. But, when you do get it right... it’s like you did that.... not the camera... the camera just captured what you did. If you leave it up to the camera.... feels like you don’t care anymore. Just my thoughts, but I understand for those that want AF like wedding guys. In my opinion.... charge enough for the gig to have multiple cameras (and operators) and angles... and if all fails then fake it. Missed the shot where the groom kisses the bride? Take them out later and ask them to do a mock kiss the bride, in the garden, under the twilight sun or something ... stitch it all together in post...

Yeah but that is literally the C300 Mk3 and the price is 6k more.

Follow up: I was extremely rude to what seems to be a really nice person in Matti...and I feel bad. I have nothing against him personally but I have some (obviously) strong thoughts about the type of content he uploads. More often than not I side with Andrew on this stuff. If you have built an audience and a name for yourself the LEAST you could do is be authentic and try something unique. To just pander and make 10 B-Roll videos with fake surprise face thumbnails is almost non sensical. It shows your sense of priorities. That you care more about fame/numbers/likes than you do anything artistic or creative. And that is a massive turn off.

I also took ownership of the A7SIII last week. A few minor inconveniences but for the most part a solid camera. Here's a few things I have found on the negative side of things: No Clear Image Zoom in 120p, all other frame rates it works. No animal eye detect in video mode, only in stills. Human eye detect does work in video and stills mode. In video mode, tracking only works by using touch on the display to activate. No way to assign a button to start tracking when using the viewfinder. Strange and frustrating if you plan to use the EVF instead of the display. Another note, at least on my 3-year old iMac, 4k 422 10-bit is hard to edit @ 120p in either XAVC S or XAVC HS while 420 10-bit edits fine with both of those codecs using DaVinci Resolve. I ran some tests using 422 10-bit and 420 10-bit and cannot tell them apart, even when applying heavy, excessive grading. I could use All-I but will probably stick with XAVC HS 420 10-bit for what I do. The EVF is really amazing. I am waiting for a CF Express type A card to test 240fps HD and high-end All-I 120fps 4k using S&Q.

Yeah, and this is exactly my point. If you are Christopher Nolan and have as many shoot days as necessary to block and frame your shots for an I-Max camera, more power to you. But with shrinking budgets and shoot days, I don't understand why anyone would want to complicate their life by going for a "full frame look" when what they should probably be really concentrating on is just getting their project "in the can" as efficiently as possible. But I know I'm not changing any minds here ranting on the GH6 rumors thread. You guys already get it! 🤣 I just hope Panasonic does.

I doubt Pentax will survive. Ricoh could probably justify (in a Japanese sort of way) keeping the business open while its core business was doing well. But now that its office equipment business has collapsed (and is likely to be difficult for several years) the camera business just becomes an obvious cost saving item. I am not sure Canon and Nikon moving their focus to mirrorless really helps Pentax. You now just find that you can pick up Canon and Nikon DSLRs (and to some extent dslr lenses) dirt cheap, so there is no real advantage to moving or choosing Pentax. My feeling is that Pentax's lack of move into mirrorless is a sign of weakness (Ricoh not committing to the investment) rather than a core strategic decision. (A bit like Olympus's decision not to join the L mount but stick to M43.)

I think just the fact that the baked in profiles on the Canon looks so damn good, is a huge selling point. No fuss image. You're getting the image from the 11 thousand dollar C300 Mk3 sensor for around half the price in a small form factor. I do wish it had an EVF and full sized XLR. There are way to work around those, but you gotta wonder if the C100 or C300 would sell as well as it did with no EVF. The answer is most likely no.

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras. Yet every day we have new posts bemoaning the impending death of the format. And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year. It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase. If Panasonic does decide to abandon a market that they lead and tries to cram the L-mount down our throat it will be one of the silliest decisions a corporation could make. But I wont try to predict the future as it wouldn't be the first time corporate heads made a bad call. For the last year or so now Panasonic has been pushing adoption of their new full frame camera line and they probably want to give it as much room to breath and grow as possible. I think with the new release of the S5, they'll also want to give it some time for new adopters to buy in before they release any news about a GH5 replacement. At least that is what makes the most sense to me, but I do agree the lack of guidance from them and full support of the format a bit worrisome. For example, the EVA1 really should have been M43 with maybe a bundled EF adapter or an interchangeable mount-- that alone may have given their user base more confidence in its future. It is also too bad that the L-mount and M43 have such similar flange distances that an adapter between the two is probably not in the cards. That said M43 is still my favorite ecosystem and format and none of the full frame cameras have really pulled me away due to some combination of rolling shutter, cropped video, heat issues, or just the size of the bodies and lenses. The A7S III looks the most promising to me, but I'm still not entirely sold on the need to move to full frame due to weight/size of the lenses and the shallow depth of field that I mostly consider a negative for video. Anyway, It would be sad to see Panasonic walk away from a mount that arguably has one of the most diverse ecosystems of lenses and adapters on the market. Hopefully, we'll get some good news soon from Panasonic after they have given the S5 some time to sell through.

There are several recent trends that make this difficult to assess. Past experience may not be a reliable indicator. Historically most use of RAW video has been proprietary formats which were expensive and complicated in both acquisition and post. By contrast both Blackmagic's BRAW and ProRes RAW are cheap to acquire and easy to handle in post. However they are both fairly recent developments, especially the rapidly-growing inexpensive availability of ProRes RAW via HDMI from various mirrorless cameras. If a given technology has only been widely available for 1-2 years, you won't immediately see great penetration in any segment of the video production community. There is institutional inertia and lag. However, long before BRAW and ProRes RAW, we had regular ProRes acquisition, either internally or via external recorders. Lots of shops have used ProRes acquisition because it avoids time-consuming transcoding and gives good quality in post. BRAW or ProRes RAW are no more complex or difficult to use than ProRes. This implies in the future, those RAW formats may grow and become somewhat more widely used, even in lower end productions. Conflicting with this is the more widespread recent availability of good-quality internal 10-bit 4:2:2 codecs on mirrorless cameras. I recently did a color correction test comparing 12-bit ProRes RAW from a Sony FS5 via Atomos Inferno to 10-bit 4:2:2 All-Intra from an A7SIII, and even when doing aggressive HSL masking, the A7SIII internal codec looked really good. So the idea is not accurate that the C70 is somehow debilitated because of not shipping with RAW capability on day 1. OTOH Sony will also face this same issue when the FX6 is shortly released. If it doesn't at least have ProRes RAW via HDMI to Atomos, that will be a perceptual problem because the A7SIII and S1H have it. It's also not just about RAW -- regular ProRes is widely used, e.g. various cameras inc'l Blackmagic record this internally or with an inexpensive external recorder. The S1, S1H and A7SIII can record regular 10-bit 4:2:2 ProRes to a Ninja V, the BMPCC4k can record that internally or via USB-C to a Samsung T5, etc. With a good quality 10-bit internal codec you may have less need for either RAW or ProRes acquisition. OTOH I believe some camera mfgs have an internal perceptual problem which is reflected externally in their products and marketing. E.g, I recently asked a senior Sony marketing guy what is the strategy for getting regular ProRes from the FX9. His response was why would I want that, why not use the internal codecs. There is some kind of disconnect, worsened by the new mirrorless cameras. Maybe the C70 lack of RAW is another manifestation. This general issue is discussed in the FX9 review starting at 06:25. While about the FX9 specifically, in broader terms the same issue (to varying degrees) affects the C70 and other cameras:

The official EOSHD discussion thread for all things lens related!

Forum news. You can now switch between dark and light theme. I prefer the dark one, especially on a bright modern high contrast IPS or OLED screen. Much easier on the eye and photos / videos really pop now on the darker backdrop. Enjoy! (The button to switch between dark and light Theme is at the bottom of the page)

Pentax seem to have shunned the growing areas of the camera market (mirrorless cameras, cinema and videography). But as other manufacturers move on from the past will Pentax eventually benefit? https://www.eoshd.com/news/will-canon-nikon-leaving-the-dslr-market-boost-pentax/

You most certainly could do that too. Working space inside the adapter is going to be the issue with any solution. With a non speed boosted adapter it is less of an issue.

It's the same sensor. The magic is a dual gain output, like Arri. But not the same; Canon's advantage is in the shadows while Arri's is in the highlights. So you should still protect the highlights w/ the C300iii or C70

Clear image zoom is not the aps-c crop, its a 1.5x digital zoom. I use it for quick punch-ins on the a73 all the time. Just haven't got around to trying it on the s3 yet. Chris

I'm not so much talking about making considered (though in my opinion, misguided) points like you have done. I'm talking more about calling everybody else cunts, and then trying to pass it off as 'ironic' or a joke when called out about it 😉.

That does sound like the best solution then, at least for images; ironically the cell phone still sounds like the best solution for video. Fortunately in my line of work the most hostile environment I may be in is the father of the bride dislikes who the bride is marrying.

That would work but wouldn't be a great option, in addition to not being able to review the footage the camera would not be able to verify the integrity of the file after dumping the buffer unless it also signed each file then checked the signature prior to clearing the buffer. Any way you look at it, the encryption process would incur overhead; processing, heat, HW, development, etc. and include compromises (complexity, possible lost data, additional costs, etc) for a very small target client base. Also, if you really are in a scenario where the government seizes your camera; if they can't read the data and you are physically unable to provide the decryption key on the spot they will now have an excuse to search the rest of your gear or they will simply destroy the storage medium. Once again phones have the advantage here, they already have network connectivity, they already have data at rest encryption options, they can already livestream events as they happen, etc. Trying to reverse engineer all of that and put it into a camera then trying to market and sell that camera simply isn't something any for profit camera maker would do. All of the encrypted SD cards that I have seen require a full OS or some way of loading their decryption/encryption application onto the device; something that would be impossible to do with a camera. There may be one that I am unaware of (entirely possible), but I haven't seen a simple SD card you can just plug into a camera and have it encrypt everything that is written to it. I believe they all need an app, and you need to enter the proper authentication information into the app prior to using writable space on the card. I have seen USB drives that have physical PIN pad buttons which is how you enter the volume password like this one: https://www.amazon.com/Apricorn-Validated-256-bit-Encryption-ASK3-120GB/dp/B00W2EN8CE/ref=sr_1_1?dchild=1&qid=1601314672&refinements=p_n_feature_keywords_browse-bin%3A6813186011&s=pc&sr=1-1 but for that to work the camera has to support writing to a USB drive or SSD drive. The FlashAir SD card looks like the best option, but it looks like it would be complicated to setup and get to work reliably. Just turning on and off the camera would require the offloading device to reliably reconnect to the wifi, the app to automatically grab the files as it detects them, then move those files to a cloud backup solution (and we are talking large JPGs here). It's been my experience that getting that many different technologies to work together reliably and repeatedly is uncommon.

FYI the Prograde V90 cards are on sale, if you use the code ALPHAGVRD20 they knock 20% off. I bought two 128gb v90 cards for $188. I haven't found a better deal. Chris

Moving away from the laboured topic of Codecs. I am interested in a few things in relation to the C70. Does the camera offer punch in focus during recording? Does the ef speeedbooster adaptor impede AF in any way. What sort of lenses are there for RF to start off with and are there any crop given its a S35 sensor. Any S35 RF lenses out there or just fullframe. I'm more familiar with Panasonic lenses than Canon; its been ages since I've seriously looked at one, though the R5 and R6 came close before disappointment again reared its head.

To be honest, when I say RAW, I am just as much referring to ProRes or any codec that is easier to edit with than H264 and H265. As I said before, these are delivery codecs not editing codecs. Whilst I'd not argue that most here don't need RAW, many would benefit from a codec that edited easier whilst keeping file size to a respectable level. So my wish is less RAW and more an editable codec other than H264 and H265.

Thank you sir and yes am gona try this on my ronin s i know it should handle with easy since it holds 1dx markiii with 35mm 😁

Nice! The 24/1.4 is my favorite E-mount lens. Its awesome on a gimbal too. Cheers Chris

Haven't tested it yet, but Clear Image Zoom does a 1.5x crop in 4k and a 2x crop in HD. On the a7III there's no IQ loss.

Without power, the adapter will not be able to communicate with the camera so you should only need to isolate the power and ground to stop it working. This means that you should be able to bring those out those externally and power the adapter from an external source that you would then be able to engage and disengage with a switch as required. Something like this module which allows you to use a rechargeable 16340 battery could be used and they are about €4 on Aliexpress and the batteries are around €2 for 2 or €6 for 10. It probably won't be pretty and you'll need to find a Fuji service manual to find out the pins but it will work for what you need and is definitely low budget.

I agree 100% with you. I have the C200 and due to the file sizes have never shot raw for a paying job. For the types of jobs that I do, as long as you WB and expose properly the files sizes of raw don't justify the benefits. YouTubers seems to think raw is the holy grail that will instantly turn their cat videos into cinematic blockbusters. With that being said, most people when discussing raw seem to think its only benefit is its ability to have more latitude in color grading. I had a long discussion with Blackmagic Design and the real benefit of raw is the fact that it is designed for editing. For this reason alone I wish the C200 and C70 had compressed raw options. I have no problems with the image quality out of the C200, C300, and C70, but I cringe thinking about trying to edit those files after adding titles, color grades, Fusion effects, and transitions.

My friend has an A7s3. Played with it a little bit yesterday. First impressions: - the viewfinder's FOV is huge. Almost like rea life with added information on screen. Amazing. Much bigger than that of my s1's. - build quality feels solid, but boring. Soulless as Sony is often being accused for. The S1(H) and even the S5 feel much more pleasant to hold and use. The way the buttons feel. The placement. Etc. Same goes for the menu system. It looks like a DOS text game from the eighties. Footage i cannot comment on. But having the option to shoot full frame 60 fps 422 is very nice. I am a bit jealous of that since my Panny's can only do that with a crop. From the other hand, that s35 mode with no quality loss also comes in handy sometimes. And i would miss that option on the a7s3 as it can only do that in 1080p.

In defense of the C200, it also introduced 4K60p, internal RAW recording, and Touch DPAF... amongst a host of other features, IO, media and ergonomic enhancements . It was a lot more than just a C100 with 4K. Aside from 10-bit codec, it actually did more than the at the time flagship C300 mk2! And that’s the funny thing with Canon. Lower end models often have better features than flagship models but always have the infamous cripple hammer on some crucial aspect..

Agreed. This thread is mostly about codecs, but to me the ergonomics are just as important. Having named it the C70, that leaves some hope that perhaps they will have a C100MKIII at some point, full XLR, BNC?, larger/modular form factor/ etc. for $2K more. Dunno. Many are saying this IS the C100MKIII, but then they would have called it that no?

I bet the C70 is going to be Canon's best selling C Series camera since the C100 itself! (unless the C50 blows us away at an even lower price point, and proves my prediction wrong) Bingo, for many the P4K is a perfect A Cam for the hobbyist, indie filmmaker, or part time pro. Or as a B / C Cam for folks who are the next level up. C200 found its niche for the C100 owners who were happy with everything *except* they wanted "4K". As the C200 was for some kinda a "C100 + 4K 8bit", for many that's all they needed. Plus the C200 had an additional niche for shooters who did everything in house and didn't mind a bit of extra overhead, then the C200 might make sense. I suspect the FX6 will have a major compromise vs the FX9. What would it be? Ideas: 1) no TC, maybe even no SDI?? 2) old sensor? (please don't reuse the FS5 sensor!) 3) not FF? (doubt it) 4) no 4K 60fps 10bit? (or perhaps FF is only 4K 8bits, and the 4K 60fps 10bit is reserved to only the S35 mode)

Thanks! I came to M43 due to the GH5, and have grown to love the format due to its versatility and lens options. It is just so tiresome to see doom and gloom day in and day out mostly due to some groupthink consensus that full frame is the future, or necessary to achieve a professional look. Anecdotally, I worked on a long form project that was shot mostly in full frame and it was a nightmare in post. So many good shots had to be scrapped because the subjects were not all in focus or drifted in and out of focus. This wasn't just a missed focus problem that could be corrected by perfect focus tracking. Even when the subject was bang on in focus, a shot could be annoying or distracting because in a 2 person shot or group shot with multiple talking heads another person might be a couple feet off the focus point and look soft. Micro racking focus back and forth was even more distracting. Its also worth noting that Hollywood has toyed with large formats in the past like VIstavision, Showscan, and now I-Max. They are beautiful formats if you have the time and resources to deal with them, but for every day bread and butter work, I find large formats unnecessarily cumbersome.

I will always have a soft spot for Pentax but they are history and toast. Ricoh saved it as a brand from total oblivion and Ricoh is a big enough company that it can exist as a pimple on the arse as long as it does not lose too much money. I have had a M42 Spotmatic SLR (still have it and a K mount film camera actually) a couple of other film K mount cameras, an IST*D, K100D and Kx DSLRs and a Pentax Q and loved them all....Thing is that my little Sony RX100 iv is probably better than all of them. The K100D and the Q both died prematurely probably because I over stressed the IBIS. The Q was a lot of fun and if I came across a cheap one I would buy it in a heartbeat (but not particularly looking). Do not forget, Pentax tried the mirrorless APSC route with the K-01 in 2012 but that used the K mount so was very niche in a brand that had already become very niche in itself so maybe 1% of a brand that had about 5% of the market at the time and has gone backwards.. I would only buy another DSLR IF it was cheap enough, FF and Canon and just to use my existing Canon mount EF AF lenses. The only Pentax I would consider is that cheap Q if it hit me in the face in the likes of a pawn shop or charity shop. The Pentax 1.7x AF adapter was worth the price of entry to K mount (probably still is for some people).

I expect that B&H have got this wrong. This is from Newshooter and reads a bit more convincing to me (though I'd prefer you to be right) :

Feelworld have announced an interesting alternative to the ATEM Mini. https://feelworld.ltd/products/feelworld-livepro-l1-multi-format-video-mixer-switcher-4-x-hdmi-inputs-real-time-live-streaming?gclid=EAIaIQobChMIusbQwLeJ7AIVUBHgCh2oNwhUEAEYASAAEgIrMvD_BwE Its the same $299 price as the ATEM Mini but its slightly smaller and has an integral screen. That makes it a lot more self contained (as the ATEM Mini needs a screen) so opens up the possibility of mounting it to the side of the tripod of the main camera (on an iPad type tray for example) and switching multi cameras yourself while operating the master one. A lot less buttons than the ATEM but that simplicity will be a boon for operating in that environment, particularly as the sources are separated and laid out as per the quadrants of the screen. Another advantage it has over the base level ATEM Mini is that if you do attach an external screen then it also has multi-view monitoring.

The important (management) question for Panasonic - who don't have a market-dominant position in cameras like Canon do - is 'can we make a sensible return on investment' with a GH5 successor? Making development prototypes isn't necessarily a big investment (I'm sure they've got all sorts of prototypes in the labs) but putting it into production and marketing it is. Obviously there is less investment required if they just 'warm over' the GH5 and make it even more video-centric e.g. update the electronics, IBIS and DFD to G9 standard, switch to the GH5s sensor for better low-light, maybe replace the mechanical shutter with some sort of internal ND filter. Much beyond that it's probably a rather bigger development effort and is going to be a harder sell to the higher management in the current economic climate. This wouldn't be a direct GH5 replacement, but personally I'd like them to put as much as possible of the GH5/G9 tech into the smallest possible camera body - a GX9 size body with 4k60p (even if it had to be cropped a bit) and a mic input would almost be my perfect camera. Combine lens IS with just EIS if IBIS is too space hungry. They could probably get away with dropping the mechanical shutter as well to save space - phones don't have them after all. Small size with good performance is the original ethos of m43, isn't it?

Bet that is what will happen, Nikon will put the priority on mirrorless as that is their future. But will maintain some DSLRs (but with longer lifecycles), which are released by being similar clones (but in a DSLR body) of cameras they've already released as a mirrorless camera. (like Z6 then being followed up by a D780. Perhaps in a couple of years time we'll see a top notch Pro DX Z Mount camera, that then a year or two later is released as a Nikon D550)

fully agree here. give Steve Vai a piece of shit guitar and me a $6000 Ibanez Jem. who is going to play better...its never the gear...on a side note i still love my 1DC and RED One MX...amazing cinematic images

I don't think Nikon have any plans to leave the DSLR market any time soon; they are far more successful with DSLRs than with mirrorless and their mirrorless market share is quite small. They announced two new DSLRs this year (D780 and D6) and a DSLR lens (120-300/2.8). Also they in their public messaging have consistently stated that they will continue to develop both technologies taking advantage of each technology's advantages into the foreseeable future. I recall reading a comment from Nikon that at least in the next seven years this isn't likely to change (this suggests that they have products and technologies in development for products to be released in this period). Off course, what actually happens is also dependent on what the customers decide to buy, so it's not entirely up to Nikon's to decide since they need to sell products. Personally I am likely to buy a few more DSLRs in years to come. I could never really swallow the EVF. Nikon's plan is to design new products so that parts can be shared across DSLR and mirrorless products, and this way they costs of R&D and manufacturing can be shared, making it possible to maintain both product lines at lower cost. The D780 and Z6 seem to be the first example of this plan, with the Z6 sensor, LV AF technology and video technology inherited by the D780.

If pentax want to continue as a niche product like Leica I think they might be able to pull it off. I think in general now camera sales now are driven by video specs. Because the photography side of things has been "good enough" for awhile. Hell I occasionally miss my DSLR, but I was never willing to give pentax a shot because I would not be able to use my nikon glass on it. Mirrorless, I can just adapt my glass so jumping systems is pretty easy.

https://phillipreeve.net/blog/review-olympus-om-zuiko-50mm-f1-2/

I try to solve this issue by not shooting images that need pushing around too much in post.

Beautiful work. Can I also ask what sharpening you did and how you exported it? Some of the shots are so sharp and crisp, particularly of the woman near the fire at the end. Looks fantastic. I always struggle to get crisp exports, even when the original footage has very high fidelity. I feel like h264 footage comes out much worse on Vimeo/YT compared to footage recorded in raw or prores for some reason.