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I'd also vote for the GX85/GX80, maybe paired with the 12-32mm 'pancake' zoom and the 25mm F1.7 prime - both are cheap used, lightweight & good. It's just a nice, solid-feeling camera to hold and use, and has in-camera battery charging. One downside for video is the noisy audio (and no mic input). Mine usually has an Oly 14-150mm lens on it, and I use it as my travel 'superzoom' camera - laid on its side that combo fits in quite a small camera bag (or I put a neoprene wrap around it and stuff it into a small bag or rucksack). The LX100 is smaller and lighter and has a nice fast lens, but the rear screen is fixed and the stabilization for video is mediocre (as is the video C-AF). IMHO it's a great camera for stills but only 'OK' for video. (I own the first version, have never tried the mk2 version).

I can't take advice from anyone with the broccoli haircut

In May 2022, just over six months after her appointment as CEO, Estelle McGechie was fired from Atomos due to her being unwilling to re-locate to Australia. At the time, it seemed a bit odd because you would have thought that her appointment to that senior role would have been contingent on her re-location from the get go. According to a suit that she has now filed in the US, she claims that there was more to it than her relocation. A lot more. In addition to her claims about gender discrimination and a toxic corporate culture at Atomos, there are also allegations that there was 'rampant illegality' at the company with regards to shipping out 'dud' products to fraudulently inflate sales figures to meet projected targets. One example product mentioned in her filing is the CAST switcher add on for the Ninja V range which was shipped without any functioning firmware. The other product mentioned is the Neon grading monitor which shipped with know deficiencies that rendered it outside of the capabilities detailed in its marketing literature and packaging. The CAST product interests me because I've been surprised that for something that is such an appealing product (turns your Ninja V into an ATEM) there has been very little buzz about it since it was launched and comparatively few reviews on YouTube and certainly none from the past few month. Possibly now not as surprising as I'd originally felt. The share price of Atomos in the past twelve months certainly wouldn't have been bringing a nice warm glow to investors anyway, but this latest news has knocked it further. Needless to say, Atomos have refuted all of Estelle McGechie's allegations so it will be interesting to see how this pans out. Full story here : https://www.afr.com/rear-window/ex-ceo-alleges-rampant-illegality-at-ellerston-regal-backed-atomos-20220831-p5be2q

I respect your opinion but I totally disagree. Have you seen films shot with Panasonic Varicam or Sony Venice (doesn’t look soulless to me) or are we talking about mirrorless cameras Whats soulless to you ? can you show some examples because alot of things are subjective like Colour science, Design, cinematography etc. Sony and Panasonic are hardcore focused on specs and so is canon, Fuji and Leica.. so ?. Also what philosophies does Fuji, Canon and Leica have that Sony and Panasonic does not. Is it because of Sony sensors in which Fuji and Leica uses. Don’t want to sound harsh, just trying to understand. I don’t see anything special about Canon, Fuji and Leica. It’s all so subjective anyways.

"When you’re fundraising, it’s AI. When you’re hiring, it’s ML. When you’re implementing, it’s linear regression." Replace "fundraising" with "marketing" and the truth value doesn't change. It is "artificial intelligence" as much as your phone or watch is "smart". Which is none. So the answer is "No, it isn't", but it largely depends on definitions and heavily overloaded semantics. "AI" certainly doesn't "think", nor "feel", but it can "sense" or "perceive" by being fed data from sensors, and it can represent knowledge and learn. The latter two are where the usefulness comes from, currently. A model can distill structure from a dataset in order to represent knowledge needed for solving a specific task. It is glorified statistics, is all. But anthropomorphizing is in our DNA, we have a sci-fi legacy imprinted on us, and model design itself has long been taking cues from neurobiology, so you'll never be able to steer terminology in the field towards something more restrained.

@TomTheDP Take a look at this essay below, used the same settings with your ARRI footage and they are extremely close now. Thanks again for giving access to that footage. 🙂 Hi all, I have some very exciting news for you. After a couple more testing sessions I have figured out how to match my ProRes RAW workflow coming from V-log ending in the ARRI Rec709 LUT as well for cDNG!! Assume this workflow can also be compiled into a monitoring LUT to be uploaded on 3D compatible monitor. The highlights will still be shown as clipped with more than +3 stops over middle grey. But that could be remedied by securing highlights setting the camera to ISO 100 and afterwards switch back to ISO 800. They will be left intact as the camera is invariant in that range and you can see what is happening in the shadows. Necessary steps are the following: 1. RAW settings & CST to ARRI LogC 2. CST (non industry standard) bringen the colors into range where they belong 3. ARRI Rec709 Classic LUT 4. Comparison shot of my PRR workflow footage: same same 🙂

lol.. I do find it interesting to see these younger cats see the light so to say. But sensor size aside, the FX30 does have a more detailed 6K oversampled IQ than A7S3/FX3 and the lower 3200 dual ISO can be more useful than 12800. Only in low-light does the FX30 suffer compared to the FF versions.

Other than a quick test of an early eos-m ml build, the 50D was my first real foray into Magic Lantern Raw and the image was amazing. It was the first time I was getting an image I was pleased with after putzing around with cameras for a couple years. That said, the 50D has a ton of limitations which include overheating, the LiveView freezing at will. Usually the fix was as simple as shutting down the camera and ejecting the battery, but it became a major pain. Also the lack of audio made the camera kinda unusable for any real production because you kinda need a scratch track, at least, to synch audio from an external recorder. So, if you just want to mess around with ML Raw, then yes for the price, it's a great camera and an amazing feat since Canon's original firmware didn't even offer video. But if you want to shoot with ML Raw and have zero issues, the 5D3 is king. The 5D2 is also nice with a slightly different color science than the Mark III and also not too expensive. Beware though, if you're anything like me, and you get a 50D, you'll be selling everything else and saving up for a 5D3 very soon.

If I had no money I would be shooting with a Canon 50D. People keep saying the EOS M is the budget king (valid) but this camera literally costs $109.98 with shipping! That is freaking cheap for 14-bit RAW video!

DJI Osmo Pocket/Pocket 2 with the anamorphic adapter is a decent option for holidays. Tiny, great stabilisation, looks half decent and has a lot of creative/practical options built in like panoramas and tracking etc. Also easy to share stuff from it through the phone app for social media if thats your thing.

R8 seems ideally suited for this. Hard to get a more compact camera with FF 4K60p 10-bit capability at entry level price: Stick the cheap 16mm / 24mm / 35mm STM and you're good to go.. love my iPhone 13 but good luck getting that kinda IQ on it!