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https://www.fujirumors.com/teac-announces-development-of-tascam-xlr-audio-adapter-for-fujifilm-mirrorless-cameras/ Anyone was aware that some Fujifilm models had a hotshoe with a digital interface?

5k60p RAW is a crop of the sensor. 8k RAW to the Ninja V+ is 10 bit, while internally it is 12bit.

Saw it from Fb, 5K60P RAW out is available now

Atomos firmware for 8k prores raw was just released for the Canon R5. Looks like overheating is greatly diminished (not recording internally) and 5K raw modes available. Damn son

Awesome step in the right direction. To me, camera companies are both archaic and stupid the way they treat audio. Syncing audio in post is a critical function (audio sync issues are completely intolerable) and yet the camera companies have done nothing, literally zero, to try and take market share from the external audio market, despite the fact they have the advantage of being able to sync to the image. To give an idea about the ridiculous state of in-camera audio, here's what I would like: the TRS (stereo) for the mic should be a TRRS and record three channels of audio a combination hot-shoe / top handle or "battery grip" style add-on with XLRs and high-end low-noise pre-amps every channel should be low-noise pre-amps at least one channel should offer a virtual safety channel, where the single audio input is split to two channels - one gets digitised at that level and the other gets a 20dB attenuation and then is digitised The way it stands, you can't record two mics with one of them having a safety channel, you can't record a stereo signal as well as a mono signal, and on most hybrid cameras the audio is so poor you can't even use a non-powered mic. Almost every hybrid camera has stereo internal mics and a stereo mic input, and yet they can't record all 4 channels at once, the internal mics are often useless (recording digital interference or recording the lens focusing mechanism etc). Audio is significantly more important than image, and yet camera companies basically go "we're not going to use audio pre-amps that cost $80c more - instead we'll make the customer spend hundreds and hundreds of dollars to buy external audio interfaces / recorders and spend time in post syncing the audio on every project". It's like they don't even know what "integration" means.

I think its great, I use the XLR module with the S5 all the time for quick sound bites such as a real estate agent doing the intro voice over, modelling interviews, product reviews from YouTube content creators, etc. I almost never need more than one channel, two at the most and all of my higher quality mics are XLR. I can also shoot long form such as speeches, conferences, etc and the whole setup is still more compact than my C200. I have the MixPre6 and its a PITA, it needs another power source, just remembering how to set it up properly is a PITA since I rarely use it, and now you've got cables everywhere, etc. I only use the MixPre when I need 32bit float, more than 2 channels, or multiple backup copies of the audio.

Yes I hate the HDMI placement! It's exactly where my hand naturally wants to rest when hand holding the camera. Filmed again with the C70 today and it is very liberating (coming recently from BMPCC and Mirrorless) having it all in one box with great battery life, NDs and superb audio preamps. Colours are easy to work with and the dynamic range is very good.

@Andrew Reid If you keep a list of things to poke camera manufacturers about, add 32bit float audio to the lineup. IMO it would be a paradigm shift in “scratch” and on-camera audio to include even a decent float system. Heck, a simplicity-first company like Blackmagic Design could do away with audio controls in float mode entirely, opting only for a headphone volume control (or even auto level monitoring). I use a 32bit float recorder at work all the time, and I literally don’t have to think about its operation beyond power-up, verification of the mic signal, and hitting the record button.

Interested to see what the GH6 will be but the strongest contender for my third (and final) body for what will now be 2022, is another S1H. Though if an ‘H’ version of the S5 came out as the S1H is to the S1, I’d be all over that.

I look forward to what the GH6 has to offer, and hope Panasonic continues to develop more L mount glass. The built-in ND filter option would be sooooo nice, especially for video shooters, but I understand the implications of changing the body size to accommodate it. The electronic ND on my old Sony FS5 was a wonderful thing, and I'm surprised that it hasn't become a standard feature on other cinema cameras by now. As an owner of GH4, GH5, EVA1 and S1H, I am somewhat committed to Panasonic for my work flow. I never had great results color grading Sony Slog, but get consistently great results with Panasonic Vlog. One feature that could be useful is a voice driven menu. In the field I often spend more time hunting for seldom used features buried in the menus. All Panasonic hybrid cameras have microphones, and the menu data set can't be very large, so voice recognition would be relatively easy. Of course, if would have to be multi-lingual for different regions, but that would be an easy firmware patch. Wishful thinking...