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I didn't say it's good... just that it's designed for vlogging! The Canon PowerShot V10: Pocketable, flip-up screen, integrated stand 19mm equivalent FOV, and the EIS crop isn't that much Everything else is just like a PowerShot though..... 1" CMOS sensor, Contrast AF, low bitrate, etc It's a sad day when simply combining an ergonomic chassis and a wide enough lens counts as innovation, but it does. I've seen at least one camera YouTuber say that if they keep the form factor and improve the specs then this might tempt them away from the high-end S35/FF cameras they currently use.

So far, no issue. I do feel the camera getting hotter as the ambient temperature increases. Temperatures did reach 80's F for one shoot (I was in Shandong too), but I never even received a heat warning. I do turn the camera off a lot between shots. This does tax the battery more, but I actually never exhausted a full battery either.

@markr041 So any overheating reports in any of your 4K60p endeavours ? Just checked the weather in Chengdu and its about to get pretty hot, good week ahead for stress test!

Nah I never noticed much difference shooting my G lenses with the adapter vs the Z lenses

Since I am a portait and studio whore, I still would go with z9. Also don't really get the z8 price point. 3.5k would have been nice and then leave out some of the highend features. Is it true that you can't shoot 240fps in HD? Recording on to SD would have been nice.

Actually, in that case, I could probably cover all my needs with just 2 bodies and 2 lenses with the Nikon/Tamron combo. It has to be my number one option for 2024 if within the LMA, they don’t produce something that meets my needs. The appeal of doing it all with just 2 bodies and never having to change lenses is my holy grail. I can’t do it with L Mount because the lenses do not exist. The bodies I think will come, but it’s that Tamron 35-150 that just sits in it’s own space all alone. And even that 20-40… That is such a perfect indoor everything and outdoor landscape and architectural lens. The closest is the Sony but it’s f4 which outdoor is fine but indoors less so.

Not yet (looked), promised in June.

Is 4K 120 fps ready?

Yeah, that's exactly it, but you'll see that in the big budget shows as well! Eventually it will all be 4k across the board, but right now it's mostly only lower budget projects or the extreme high end meaning like an Imax-shot sequence in a Nolan film. If $100-150m projects are shot on an Alexa 65 and are very vfx heavy, it's still normal to see them being finished at lower than 4k despite the res of the camera original. Besides Netflix and their 4k push (and good to point out it's associated with flogging tv's), I am a bit out of the loop with what all the streamers are doing for their spec requirements, but it would make sense for any footage for the Volume being shot as hi-res as possible. Also stuff like VR, that's a good place for 8k+. Yes the 4k hype has pushed Arri forward with the Alexa 35, which is an astonishing camera. And watching a 4k remaster of an old movie scanned off the neg is amazing. Ah yeah there you go, I shouldn't have said it was a rumor. The dual gain thing I mentioned WAS a rumor though, that sadly hasn't panned out: https://www.sonyalpharumors.com/fx6-features-19ev-wdr-via-v2-x-firmware-and-wdr-license/ Was hoping to see that in the FX6 and in my fever dreams, the FX3. I did a bit of online searching, and there were a bunch of papers published my Sony engineers in Japan that were using this WDR approach, but it hasn't made it into any mainstream camera releases. I'm always interested to see dual gain approaches in other sensors like Canon and the GH6. What I noticed is Canon have focused more on cleaning up the shadows, while Arri focused on the highlights. I think this is to do with the power requirements of using a DGO approach to capture highlights since the Alexa has a much higher power draw, but also probably a culture difference where Arri's film background made them more focused on capturing filmic highlights. I can imagine that the engineers at Canon are more interested in a lower noise floor. Another issue with Canon's DGO is slower rolling shutter compared to when it's turned off, so again an area to improve on.

Right, I actually learned this on my level having worked on low-budget commercials where the 3D VFX team were begging for 2K pulls whereas the DP was pushing 6K from the BlackMagic. I was naively hoping 4K could be the middle ground but quickly realised there simply wasn't the budget or time for that. So I have first hand experience with this type of scenario, however I admit I assumed that on high budget Hollywood films things were different but I guess it also depends on budget and deadlines.. I wonder if theatrical releases are also more lenient as US theatres are still mostly using 2K projectors? Netflix requirements are high but they are partners of Samsung/LG/Sony pushing high resolution TVs which need high resolution content to shine! Its not just one big hustle though and I feel this pushes the industry forward, including ARRI.. I wonder if Disney+ does the same with its original series (they have the most VFX heavy content with Marvel & SWU IPs). Speaking of Fraser, I know he shot The Mandalorian season 1 in ARRIRAW 4.5K on the LF but that's also using mostly VP for the VFX via The Volume so whole other paradigm. Its not a rumour, its been absolutely verified in teardown that the A7SIII/FX3/FX6 sensor is a 48MP quad bayer sensor binned down to 12MP. That's how it achieves such class leading read out speeds without being stacked. I didn't know/think about dual gain ability though. We have seen ALEV inspired dual gain sensors in the C300/C70 DGO sensor as well as GH6 so that is trickling down. And of course RED Komodo has global shutter 6K sensor for very attractive price.

It's one of the reasons I like Sony's stance on the FX3/FX6/a7sIII etc sensor being "only" 4k. It has about the same pixel pitch as the ALEV III sensor. I hope they do another version of these cameras that unleashes the sensor's rumored dual gain ability, if it really is 8k being binned to 4k. I would really like to see cameras in the affordable price range focusing on higher dynamic range and reduced rolling shutter or having a global shutter. We still haven't quite seen that breakthrough where we are getting a true 13 stops to match the original Alexa in a camera in the sub-10k market.

I sometimes use time lapses or hyper lapses to help tell the story. I mainly only use hyperlapses with drone work and occasionally timelapses to show a setup, or for dramatic effect such as to show the sky rolling across the horizon. I have a dedicated Canon Rebel T6s that I use just for timelapses, it has incredible battery life with the dual grip handle (over 2,000 images in one timelapse once and it still had over 50% battery life remaining), plus I don't want that high shutter count on one of my more expensive cameras, additionally I like to set up my timelapse camera somewhere and leave it while I go shoot other content so there's the theft concern as well. Lastly, it is blazing hot here in the summer and it has never once overheated during a timelapse so its a great little timelapse camera. Many times I have lugged the timelapse camera with me planning on setting up a quick 15min timelapse to use as the opening or closing for the video and many times it's just a not a good fit, either there's no place I feel is safe enough to leave it while I do other things, or the sky is completely cloudless so it would be a wasted effort, etc. As far as where in the edit I tend to find them the most useful, for me its usually the very beginning opening sequence or the closing i.e. a timelapsed sunset is a nice closing shot especially in places where I cannot use the drone. But without the right conditions (cloudy skies, progressive changes, etc.) timelapses aren't worth the time or effort to me. When editing 60FPS on a 30FPS timeline I do occasionally only slow down say the last few seconds of a longer 5 or 10s clip, just enough to stretch it to the jump point which keeps the rest of the clip real time while getting it to the logical jump point, also sometimes I combine 60FPS with optical flow to drop all the way down to 25% to simulate 120FPS without actually shooting 120FPS if I want truly slow motion; this effect followed by a speedramp can be quite dramatic. I know purists may say optical flow isn't "pure" enough slow motion, but in DR with the right settings it does a really good job depending on the content being slowed down. I decided years ago to stick to 30FPS and 60FPS for all of my work unless the client specified 24FPS, or PAL....for me it eliminates all of the conformance issues and reduces the problems with pans, eliminates the jittery look, etc. etc. I figured out long ago I will never be a Hollywood feature film videographer so the 30FPS delivery framerate looks the best with the least amount of work to me.