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I felt the same way after the R5 ridiculous BS, but I had to set my personal feelings aside and buy what was best for my business. I came very close to going all in on Panasonic for photography and video but I couldn't bring myself to buy into the L mount "alliance" or go all in on a system with such terrible AF. With Panasonic out of the picture and my large collection of EF mount lenses, when the C70 came out and the R7 came out they were simply what was most economical and what worked best for my business. Canon sensors really aren't known for their DR, even the C70 with its famous DGO sensor is just ok IMO, not the revolutionary breakthrough that the marketing materials would lead you to believe. But with all modern cameras being so good, just ok is good enough for me when combined with its other features. I feel the same way about the R7, and R6II, their IQ is good enough for anything I need and the story you are trying to tell with them is far more important than specs on paper. The R8 on the other hand IMO has a lot of real world compromises (battery size, ergonomics, single card slot, etc.) that I feel are more important than IQ to keep it at its current price point with a FF sensor. YT and other social media platforms do far more damage to my IQ than any crop sensor or line skipped footage ever will. Today right now I feel that Sony and Canon have the most complete ecosystems, since I already have an investment in Canon EF glass, it is a natural choice for me to stick with Canon's ecosystem.

That looks actually jaw dropping. Imagine the creative applications and overall possibilities!

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range. It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆. I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

Ditto. In fact for the way I work, it is better. I really hope so… I have the Fotodiox EF-L adapter with built in VND and it’s a great bit of kit…except MF lenses only and I prefer Sigma DG DN lenses. It is. I sold mine though for 2 reasons: The variable aperture and the fact that it was a bit too slow for very low light and because sometimes (very rarely, but still sometimes!) I need to go wider. Hello Sigma 16-24mm f2.8 but because I am a crop mode 4k 50p shooter, it’s more like a 24-42mm which for my needs is great. That was my single biggest issue with the S5. My S5ii turns up this week and is actually going to be paired with permanently, the Sigma crop only, 18-50mm f2.8 Tiny but very capable crop 27-75mm. My S1H has had a stay of execution and is not being replaced by a second S5ii as all it needs to do is perform 30+ minute static duty on a tripod without AF, so a second S5ii in that role would be wasted (and the old S5 could not do it in the first place. Not in 10 bit 4K 50p anyway). And in a final about face, I am going to mostly be shooting zooms for my stills. I was going all primes (from f2’s to 1.4’s) with my S1R’s, but having tried out those f1.4’s, decided that ergonomically, I really needed battery grips to be comfortable on a typical 12-15 hour shoot…but the ergos of the S1R sans grip, are very well suited to that Sigma pairing of 16-24 and 28-70 so sticking with that as I have the lenses. And love them. The only prime I am keeping is the Sigma 85mm f1.4 because it’s not too big and an absolute gem for stills at 85mm, or for video cropped at ‘127mm’.

Maybe because it can oversample a FF 24 mpix sensors at 60 fps 10 bit with full AF and can shoot 40fps 12 bit RAW pictures with full AF and AE. 40 fps RAW I believe it makes it the fastest FF RAW camera (with the R6 ii)…. just a few years ago you would need to buy a 1Dx class camera for 12/14 fps RAW…. But I finally find your problem with this camera … is not a Panasonic 🤣🤣

It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is. Check out a new novelty on the web... with my WRITTEN BLOG POST! https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd

First, the Flat profile is indeed a log profile, and the gamma can be adjusted in the camera. And 10bit colors was available at the start even in 5.3K 60p. In Linear mode, there is hardly any fisheye, and at 5.3K resolution there is plenty of detail for 4K despite the crop. But now with GoPro Labs firmware: 1. You can up the bitrate to 200 Mbps (HEVC, 10bit). 2. You can now shoot 4K 120p in 10bit (newest firmware). 3. You can turn off noise reduction - and you get visibly more detail, and any noise is actually very fine. 5.3K using 2.35:1 crop (10bit, Flat, Linear, extended color gamut (Native), 180 Mbps HEVC): 4K 120P 10bit, Flat, 180Mbps:

For me, this kind of thing has been more about ease of use rather than ultimate quality of output. Like most, I don’t go anywhere without my phone. I’m not going to shoot a wedding on it, never mind a serious film, but the simple fact is as much as I like the idea of a compact EDC, my phone is my EDC.

Like the GH6, the S5II uses a sort of digital aliasing/moiré filter to helps with repetitive lines. I use Panasonic cameras since the GH4 and there is something I really disliked about image quality on their new cameras since the GH6 and now I know what is it. This + the increased noise reduction on the standard profiles make the pictures sometimes weird/plastic, especially on skin. Fortunately, this digital moiré filter is a bit weakier in V-log but still there. To compensate the softening made by this digital filter, Panasonic has added more sharpening compare to the S5 especially with standard profiles, and (according to what I see on facebook) even in V-log when both camera have the sharpness set to 0. But the end result is not really good, the image looks sometimes weird mostly when there is motion or on the skin because it smooths some textures (like skin pores) and sharpen other ones (like eyelashes), so there is less details (despite higher in camera sharpening) than on the S5 and S1.

I used to carry the NX500 with a couple of tiny pancakes primes (depending the trip) and the tiny 16-50 Power zoom..(in this bag https://www.bhphotovideo.com/c/product/999866-REG/samsung_ed_cc3n90n_large_bag_for_all.html/accessories) Latest trips I am bringing the R7 with an 18-135 and a couple of primes (depending again the situation and my preference at that moment in time)..(in this bag https://www.ebay.com/itm/304435980148) The difference is the bag!

For me, an easy choice. Phone. Not necessarily an iPhone (though I do have the 13), but any photo/video-orientated one. Single bit of kit and most of my end result ends up on or being posted from my phone so May as well start there!

GX85 maybe?

If I could have a dedicated camera with me, that would be the best. Whatever entry level APS-C or mFT will do fine with a clever selection of lenses (maybe a small zoom and just a prime). Or a nice high end compact like the ZV-1 and a couple of accessories.

Yep sounds like we’re on the same page. Not 100% on the Pocket cams, but if they’re 14-bit, they’re doing something wrong, because it performs just like 12-bit (pretty sure that’s what it is though). The XH2s is indeed one of the outliers. Hopefully that means 14-bit is coming to full frame soon. It makes sense Fuji would do it in their S35 cam, as the have a FF “gap” in their lineup (APSC straight to Medium Format).

Many great cameras out there! Especially for video. There is no argument about it. Having seen almost everything in the last 3 decades, the value for money we are getting right now is unbelievable. Ask me for any camera in the market, and I can tell you 5 things that it does amazingly well that you couldn't even do 10 years ago.. Just embrace and enjoy!

That's what so-called pundits where expecting three years ago when the original R6 dropped. Still hasn't happened, not even in the sub-$4K range. So who's going to do it? Sony? Nope, they won't put a new FF sensor that will cannibalise their best selling A7IV inside a $1500 camera. Besides FF 40K60p 10-bit sensor won't work in the tiny A7C body. Panasonic? They just released S5ii, have S5iiX planned with no FF4K60p and they don't do $1500 cameras. Who's left.. slow-poke Nikon? We're still waiting on Z8 (a $4K camera). Like it or not Canon have been pioneering quite a number of things in their mirrorless range, including 6K/8K internal RAW cameras. Something only the $6K Z9 can currently do. So yeah sometimes you just gotta give them credit where credit is due. Too easy to just dismiss it by saying no big deal, someone else will do the same soon when they've literally proven to be years ahead.

I do think what's interesting is that video is finally starting to become equally if not more important than stills for the general public. surely the influence of YouTube, social networks etc. Everybody wants to get into it, do slomo, grade their footage. This has the beneficiary effect of camera manufacturers putting higher video specs than previous generations inside low-mid tier bodies. Its a real change in policy for companies like Canon & Sony that used to really cripple hard on video specs to protect cine lines. I still think FF4K60p in 10-bit with Clog3 is quite a nice surprise in an entry-level FF mirrorless. Yeah its no big deal for all those of us with R5's, A7SIII's, S1Hs etc but think of the little guys 😉

Some test rushes. 3s trim copy of original media. ProRes HQ; Flog2 https://drive.google.com/drive/folders/1boq6yfg8TDli4c84tcyyfgUlny40fiEL?usp=share_link

There are cost saving measures for sure and of course FF 4K60p will surely overheat under long shooting. But at least is has FF4K60p which neither S5II or even A7IV offer. DPAF2 will also be way superior to S5II AF. Another strong benefit is the fairly low RS (15.2ms in FF / 9.5ms in S35). So for $1500 its imo a great offering. Competition is healthy for us consumers no matter what system you're on.

Wow the R8 has the same sensor and specs as the R6II including FF uncropped 4K60p in 10-bit Clog3 as well as DPAF2 with subject detect only. It even keeps the handy photo/stills switch. Only thing missing is IBIS. But for a whopping $1K less. That's quite a deal if you can forego IBIS or maybe need a B-cam for your Canon setup. Oh yeah and recording time is supposed to be 2 hours instead of unlimited which is imo a pretty ok compromise. Let's find out about overheating..

Actually, the GoPro Hero 11 is not so bad in dim light. In-camera noise reduction turned off: Noise reduction is turned off using GoPro Labs firmware. Flat color. No stabilization (used the Shorty tripod). Bitrate upped to 180 Mbps. 10bit color. Shot in windowless, very dim Grand Central Terminal and its underground areas.

Another dirty window video:

I agree completely about the low light. I don't see the haze or the mud in good light, though. Maybe I am seeing-impaired. Or maybe you have exp post confirmation bias - you formed an opinion based on outmoded facts and your old camera (Hero 8) and that is what you keep seeing no matter what. Your Hero 8 IQ is truly second-rate on dynamic range and color and resolution (and stabilization); and maybe that is what has put you in this state along with countless old posts on the internet talking about how inferior small sensors are. I just do not see what you are describing in the Hero 11 5.3K videos, and I am not blind to differences across cameras. But, maybe I am. I respect your knowledge, that is not the issue. And I am not claiming the Hero 11 IQ is the same as that from the top bigger-sensor cameras, many of which I also use. But dirty window? No.

I don't see what you see. And I certainly see a big difference in dynamic range, color fidelity, and resolution between the Hero 8 and Hero 11. I think you need to re-evaluate. There have been major advances in processing video in just a few years, allowing small sensors to produce high quality video, new cell phones included. I shoot 8K RAW video too, and I find the Hero 11 capability impressive visually. And you forgot the stabilization ability that has no peers.

For the static clips with no movement of camera or subject the camera upped the bitrate from 163 to 167 Mbps when NR was turned off. The greater detail and noise (random movements) need more bits, and if there is detail movement, well.... It is easy to increase the bitrate in the Labs firmware. 180 Mbps (up from the default 120 Mbps) works fine with the Sandisk Extreme V30 card included for free with the Hero 11 from GoPro. And of course that works for larger capacities. 180 Mbps is just the max, the camera uses variable bitrate so most of the time the bitrate is less. like for the static shots. Forget, however, 400 Mbps All-I - the max bitrate anyone has obtained is 180 Mbps.