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Go to video -> Sound -> audio setting -> PCM Recorder Link -> Camera REC volume. You need to have it set to "disabled". Now there's no more hiss, but you need to have your external recorder connected to the mic input as it is now the preamp and the camera does nothing (except record the audio it receives). Took me forever to figure this out. I thought someone might be interested.

It's kind of funny, isn't it??? I mean, if you were a Wedding shooter, the 12MP Nikon D700 was THE Wedding Photography camera for several years, and a D300 12MP aps-c crop sensor camera would be a back up cam. Personally 24MP is kind of the sweet spot since it allows me to crop in when I need to. Since I shoot 90% buildings, I can step back a bit to avoid keystoning and then zoom in post.

I get the feeling this is different. Coordinated, targeted action. I foresee... trouble.

It's a $100+ middle finger that many people happily parted with. This is a depressing cynical viewpoint and actually points to the core of the current problems in this world. Maybe if everybody was a little less cynical, a little less jaded, a little less full of themselves, a little more joyful the world would be a vastly better place; 100% money back guaranteed it would.

I shoot nearly exclusively hand held, on a gimbal, or on a monopod; I hardly ever use a tripod. The flip out screen is so useful it was the sole reason I did not seriously consider the S1 when it came out; I had gotten too used to the GH5's flip out screen. I have the Ronin S gimbal and for low shots it is a lifesaver, handheld is even better and even on a monopod when you are crammed into a corner somewhere and have to raise the camera above the crowd the flip out screen is great then too. I never use an external monitor for any of my cameras except the C200 when it is locked down on a tripod; all I use are the tools on the S5's screen to pull focus, check exposure, WB, etc. and while not ideal, it gets the job done for me. When the camera is on a gimbal the flip out screen is so light it doesn't affect it at all. I just balance it like normal with the screen not flipped out, then flip it out as needed during the shoot; it probably helps though that the Ronin S can carry far more weight than the S5.

Medium format video will arrive in the mainstream soon. Arri got there first with the Alexa 65, which is of course a pricey and exclusive camera, but it amassed a huge and devoted following among cinematographers. I think that Red will get there next. They've been teasing a 645-sized sensor since day one. The existing Vistavision Monstro sensor is already pushing the FF boundary at 40.96mm horizontal. I think that there needs to be a distinction drawn between the incorporation of medium format still sensor sizes and 65mm sensor sizes in video, because they represent two entirely different things. The various 120-film-based formats offer a much squarer frame and bring a history of association with portraiture and fine art photography. 65mm (52x23mm gate size) is a wide, panoramic format that brings to mind classics like Lawrence of Arabia or 2001: A Space Odyssey. It has the same nostalgic, instantly cinematic effect that draws people to shooting anamorphic. I personally love the look of medium format and never miss an opportunity to take some pictures with a Phase One or Hasselblad camera. When you point them at your figure, they instantly make the subject look iconic. It's an effect like shooting full frame at f1.3, but you don't have to be wide open to get it. An 80mm at f4 is actually preferable, just to get enough DOF to cover your subject's face. It's quite lovely, and I can't to explore this more when true medium format video cameras start coming down the pipe.

Or thrown away your hard drive and have to offer the local council £50m to let you dig up their landfill site... https://www.theguardian.com/uk-news/2021/jan/14/man-newport-council-50m-helps-find-bitcoins-landfill-james-howells

I have the 4K decklink card and I can also output through it when using Premiere. At the time I got it, Resolve couldn't give you a full screen output to another monitor without purchasing the decklink. They have since added that, but the decklink still gives great 24p playback to my 3rd monitor.

true true, peoples interest in a new release are totally out of whack compared to those who'd actually buy it! As we all love to drool over the latest high end new gadget... Anybody got an Aaton Cantar X3 I can play with? 😉

For the specific way you are describing how you would shoot where you can keep the shutter speed high-ish (which has always been the bugbear of this if you were respecting the 180 rule) then, with the caveat that you aren't making massive prints, we might well be. The practicalities of the heat, battery life and media usage when shooting 4K120p all day with this camera are still unknown with this particular camera so that is the major potential fly in the ointment but as you are in no particular rush to get one then you can watch how that unfolds when people start using them. As for whether the quality stands up, again, it won't be long before people will start posting downloadable clips from it in its different modes. The picture profile is the other factor but, based on what I've seen of it in their other cameras, the S-Cinetone has certainly got the potential to make that moot(ish).

Fuji want everyone with an MFT or APS-C camera who is eyeing the move to FF to give it a miss and move straight to MF. Its a good strategy as anyone making the move to FF is also having to factor in buying in to one of the four new mounts (E,L,RF and Z) three of which are far from being established and don't have a plethora of budget options available (although Sigma are rebalancing this a bit with their latest L mount releases). So Fuji are offering a way to not only leapfrog the quality of FF but also, by being pretty much the only realistic player in the hybrid MF area, removing the uncertainty of which mount to go with. It also offers the upgrade path to their X series owners to keep them onboard which Fuji would otherwise have to do by bringing out not only an FF camera but a whole new lens range to go with it. There is an argument that the image bump from APS-C to FF or from FF to MF isn't particularly dramatic (although in the case of the GFX100 it is IMHO) but it certainly is a noticeable one from APS-C to MF. And thats what upgrades should be about isn't it? Actual "wow, this is so much better" rather than simply "OK, this is better". The GFX100S may not be the final destination for everyone but it is certainly the biggest signpost yet that there might be one.

Indeed. But in 2021, apparently you can’t with the Sony A7SIII because people might want to put the pics on social media and is 12mp enough? My smart phone has a 60”x30” triple retina 16k screen so I suspect maybe not?

That’s the deal breaker right there for me. I could compromise on the rest, but I might have gone on holiday at that time and if it stopped recording while I was away for those 2 weeks... Actually, now I think of it, that is ridiculous. Holidays and especially international travel are a thing of the past so not an issue. How does it compare with the Panasonic G100? I’m mostly interested in vlogging.

Happy to see these guys lose. https://en.wikipedia.org/wiki/Melvin_Capital And there is no excuse for illegal behaviour by the financial establishment and funds - Also this is a great explainer of the week, for people only just reading up on it (like me)... https://imgur.com/a/DCCpuZA

Yes. But the shipping will bankrupt you.

It may be unfair but it's just how it is for me. I am not going to keep a Fuji around when my Panasonic cameras can do unlimited recording. I wouldn't care but its been an annoying thing to have to deal with on several shoots, enough to where I'd not warrant keeping it over a Panasonic. For weddings I had an external recorder to bypass that, but micro HDMI is too fragile. Plus record limits are just a pointless gimp. The camera is perfectly capable of recording past that, especially in 2k. As to rolling shutter its not usually noticeable, but its nice to have low or global shutter for handheld.

Wow. Kubrick often shot with the 200ft magazine, that lasts 2.2 minutes. My Arri 400 foot magazine lasts 4.4 minutes. So 1 year = 90ft/min x 60min x 24hours x 365 days = a 47 million, 304 thousand foot magazine. That’s a magazine weight of about 266,000 pounds. Is that camera on Ebay?

Here's the thing, kid. In the old days, when everything was cinematic, we had film cameras without 30 minute recording limits. Why, we could turn one on and have it record for a full year.

Unlimited recording, full size HDMI, and Prores RAW would be a big start and both fairly easy implementations. Record limits are a big reason I sold my fuji along with micro HDMI. I just can't really take a camera seriously that has a 30 minute record limit, at least they could have gotten rid of it for 2k recording. Micro HDMI is unacceptable too IMHO. The only other ask for me would be improved rolling shutter. It would be nice if the rolling shutter performance on the A7S3 and Canon R5 could be the standard going forward. The first three things I mentioned would be enough for me to buy it though.

The specs on this camera seem almost insane - I guess there will be a catch. Shouldnt it suffer from overheating?

A funny and very pointed piece by Fujifilm. "We don't negotiate with hobbyists."

I'm going to start a company making cameras that are purpose built for intrusive doorstep photography of autocratic leaders. Hasslevlad.

I've thought a few times about what a GH6 would have to have to be better than the GH5 for me, and there's not many things TBH. Of course, I'm not the kind of person who these 24K - 300 FPS - internal RAW - 48fps burst - eyelash AF - 8kg - $12599 cameras seem to be aimed at. I have stuff invested in MFT too, but would happily re-buy a GH5 if mine broke and if I felt the need to change platforms then it would be far enough in the future that the FF camera I would buy with enough features for me wouldn't be that expensive and the lenses available are just getting more and more available and affordable. I had a burst of FOMO around FF just recently, thinking that if I even change to FF then the lenses that I'd want might be vintage primes and might all be too expensive at that point and I'd have missed out, but I kind of realised that there are enough good FF lenses available new that I could get a 'good enough' set, and partially compensate with filters. Still, if someone gave me one of these new A1 cameras then it would be great - I'd sell it and buy more interesting vintage lenses 🙂

For me it takes the edge of of reality. It’s a visual pretense that tells you what you’re watching is a bit of a conceit. There’s some real psychological power in that. Assumptions and biases are made by the viewer. These are good things depending on what narrative you’d like to present. As for YT’ers. They’ll often mess up the shutter speed regardless of the frame rate, so I wouldn’t base any decisions about one’s video settings from random content creators.

Your turn now Panasonic! Give us a Sony A1 but with the smaller 4/3" sensor in a GH6 and at the low price of $1995! 8K 10bit? 4K 120fps 10bit? Yes please!