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It depends on the scene, sometime it works well and sometime not but you can also get decent result by adding motion blur in post, here two example from this Saturday (8k RAW 60fps F2.8, 1/2000): motion blur in Resolve Btw you here you also see a bit the rolling shutter that at 15ms is not fast enough for pans to avoid making the pillars leaning... This from yesterday 4k 24fps 1/50 F2.8 you cannot really take a picture out. You can always try to add motion blur in post but you cannot remove it. This I filmed with the 180 rule as we did not care about taking photos out.

A couple where the motion blur makes them more interesting. 24fps 1/50.

For me M43 will always be the ideal system, it just got caught up in the specs race. And for a while, it was leading, but slowly the advantages that made it attractive to me started to dwindle because the wanted to appeal to a customer base that wasn't going to buy into M43 no matter what, which resulted in larger bodies and phasing out smaller ones. Tiny bodies with exceptional photo and video capabilities interest me more than a GH6 or a future GH7, but they've seemingly abandoned that market completely. If they'd released a GH5 (or GH6) in the body of a GX camera I honestly would've held out and kept one foot in the M43 system, because that kind of setup, with the right lenses, is something that full frame will never, ever be able to achieve. Full frame will never be able to match the compactness of a GX body and the 12-35 or 35-100. Those lenses with the GX85 were probably my favorite set up I've ever used, especially for concerts and getting into venues that didn't allow "professional" video gear. No one ever looked twice when I'd bring that set up with me! As much as I loved it though, the limitations made me sell it last year. The problem is, I don't know if there is even a big enough market for cameras like that anymore. I assume if there was Panasonic would've continued it? It's hard to imagine that heading into full frame didn't impact the R&D that went into M43 though, which feels like the bigger culprit. But it seems to be paying dividends as the S5 II and S5 II X are being well received, so I guess it's hard to fault them with seeing the writing on the wall? I don't know. I just think it's a shame that we will probably never see what M43 is truly capable of, because I think we COULD see even smaller bodies and lenses without significant compromises if the resources were allocated to do so. I don't think people should rush to offload their M43 gear because there are still some years left in it, and there absolutely are benefits over full frame. I'm sure I'll miss my trusty GH5 once I do my first shoot without it, I was prepared to keep it for a couple more years and didn't have much reason to want to upgrade. But I was just given an off ramp that I kind of had to take. Selling the GH5 and the 12-35mm paid for the S5 and (excellent) kit lens, not to mention what i got for the others, so I ended up ahead financially. Plus having three of the same cameras will make things easier for me. But there's still a lot to love about M43.

Over the years I have invested so much in taking M43 underwater (GH2 GH3 GH4 GH5) that just the idea that it has reached the end of the line pisses me off like a beast. I am still convinced that M43 is the best format in existence for underwater shooting. The size of the sensor and lens allows for minimal lens ports, and with modern wet lenses you get a very compact kit (housing and port/wet lens). Switching to FF while maintaining the same quality means having an underwater kit at least twice the size and a bare expense of at least 20K euros if not more. Also, given the current availability of underwater accessories, it almost certainly means saying goodbye to Panasonic and jumping into the hands of Sony or Canon. If I were a professional earning from underwater work it would be an attractive investment. but for an amateur like me the jump is almost impractical unless you are really rich. What a shame.

Already said that in the forum - I'm an amateur (each day more amateur, in fact...), and started seriously in stlls / video with MFT; a GH2, in fact. Still have it here, and will never let it go (part because of nostalgia, part because the value is so low now - and its colors have something). Compactness and discretion were (and is) my motto - and MFT still the champion in ths regard. And, for years, was more than enough for me. First problem was PDAF. Never bothered my old use cases - travel, concert shooting, streets. CDAF and Single AF worked very well in all these situations. But then I became a father, and a child running around soon reverted all that - Continuous AF became mandatory, specially in video. My loved GX9 was out (albeit its eye detection works even better than current Fujis). Only PDAF cameras in MFT: the Olympuses, E-M1s and E-M5 MKIII. The latter would work very well for me, despite video being not on par with Panasonics. But I sensed that OM Digital and Panasonic wanted to make the format a niche one. Adventure / wildlife for OM, video only for Panasonic. And looks like I was right. OM put all efforts in a wildlife / adveture body (the OM-1), and all the new lenses are big zooms and big Pro lenses, a lot of them bigger and heavier than APS-C ones. Panasonic released the GH6 (the first GH model full target to video, for stills the GH5 and specially yhe G9 are better), and the only new lens was the 9mm (terrific, would buy one in pre-order if already in the system) for the vlogger crowd, prior to that were only the big f/1.7 zooms. The body size advantage was gone; and now the lenses too. Had to forcefully moved to Fuji. Still have the GH2, my E-P1, and kept the Oly 45mm and the 12-32 zoom to use with them. Maybe will get a used E-M5 MK III or OM-5 used in the future, and always keep looking for a Pen-F, the most beautiful digital camera ever made. But I guess that Panasonic will give a last try with a GH with PDAF, if not suceeed will leave the format. And OM will stay small, surfing the wildlife crowd to the last possible moment. Lots of missed oportunities in the format - market claiming for a X100V and Panasonic not taking the oppportunity to a new LX100, a smaller and MUCH more versatile camera. Or a new Pen F with a new pancake fast lens. Or newer zooms without OIS, smaller and lighter, like the Sigma 18-50 f/2.8 APS-C. Would like to see a future for the format besides a niche one, but I can't.

After my close friend decided to upgrade to the Lumix S5 II X he gave me an incredible deal on his Lumix S5 that I couldn't pass up. As a result I just finished packing up my trusty GH5, 12-35mm mk II, 35-100mm mk I, 25mm, and 14mm to ship off to MPB. For the first time in nearly a decade I will no longer have any M43 cameras or lenses. I think my time in the system has finally come to an (unplanned) end. 😞 I'm feeling some kind of way about it right now, honestly. I still believe in the promise of M43, I just don't know that Panasonic will ever realize it or if the market will ever be there to make it viable. It's a damn shame, honestly. I'll be happy with my full frame cameras, and having three of the same bodies will make things a bit easier for me, but I still can't help but wish there was a professional level compact M43 camera that could fit my needs and fit in with my two S5 bodies. I just don't see it happening. I had planned to always have at least one M43 camera in my kit. Eventually I was going to upgrade to the GH6 in a couple years, once they were even more affordable on the used market, but I couldn't pass on another S5 with kit lens for $750, so plans changed. It just didn't make sense to keep the GH5 and follow through with my original plans anymore, as these three S5 bodies will get me through until I can snag some S5 II bodies in a couple years when people upgrade to the latest camera. The GH5 was a total game changer for me and my work. I'm sad to see it go, because in many ways it did things that I never thought a camera would be able to do. It really cannot be overstated how much the IBIS changed things for people like me. I no longer had to set up a cumbersome shoulder rig, I could simply hold it and get steady shots even as I rushed around a wrestling ring and dodged people flying all over the place! Life goes on though, I guess.

Now that! LX100 in 10bit and a lens with a clutch mechanism for MF with a mechanical like feel and operation just like the Oly 12mm. Olympus Pen EP5, OMD10 MKIII, GX85, GF1 are my favorite MFT designs. Exactely! Have bragged about that a dozen times, GH10bit in a GX body! GX7 or GX85 like, not the big ole GX8:)

I don't think that it is a open mount - in fact, only Panasonic, Leica and Sigma offers AF lenses to L-mount. Sony have Sony, Sigma, Tamron, Viltrox, Samyang, Yongnuo with AF lenses.

The game of thrones vibe is great. I feel like they’re saying “let us gingerly touch tips”

And...they're gone. For the 3rd and final time. 😆 As part of my down-sizing exercise, I have settled on 2x S5ii's and a single S1H. I say 'down-sizing' but the S1H now has a battery grip and the Lumix 70-200mm f4 welded to it. And a monopod because it's freaking heavy at 2959 grams or 6.5 lbs!! However, the sole use of this combo is roaming hybrid during wedding ceremonies and speeches whilst the pair of S5ii's are on tripods doing the longer form static stuff. Outside of C&S, the S1H disappears and it's back to roaming hybrid with the S5ii pair which can be easily handheld. Well the S1H can be handheld, but try holding that lump one handed whilst trying to turn a VND! I used the set up for the first time at a recent 4 day event and it was the FIRST time in 12+ years I felt I had a zero compromise hybrid set up where the tools got out of the way of the creativity. A couple of niggles but they were on me or unavoidable such as the Sigma 16-28 decided to start taking out of focus (right 50% of the frame), stills and video, so I lost the ability to shoot anything wider than 28mm on Day 01. No real biggie. I then dropped one of my S5ii's and bent the new flip out VND holder on Day 03 🤪 And a battery failed also Day 03 mid ceremony. Fortunately I shoot 2 angles on sticks plus my roaming unit so lost just one of the statics. Still comfortably the best results (because or despite of?) of the year to date. The combo was genuinely stellar and just needs a few final tweaks (settings) and then I can get some continuity going which I am looking forward to. Finally. Because it was driving me fucking nuts having to make anything from micro to fundamental changes at or after each and every job for pretty much more than a decade. So goodbye S1R's. I liked the quality of your output but found your controls compared with the S1H and S5's just a bit clunky and decided (finally) that 24mp is indeed the sweet spot. The S5ii's just do everything better except for the hi res stills. Which I'm not too bothered about losing. No further changes until full frame 6k 50/60p and ideally internal VND is a thing without sacrificing IBIS and that will happen when it happens and I will look forward to it, but don't care when.

I tested quite extensively over the weekend, let’s start with the good: “Enables to detect heads facing sideways or backwards, or in situations such as when wearing a helmet” This one is not perfect but really good and for the type of filming that I do it makes a difference, first it does not lose the head when moving away but more important it works with helmets. These in the past I would have to stop down to 5.6 to keep the face in focus, now with the face tracking with helmet I can shoot at 2.8. Screen grab, this one was almost impossible before as the focus would have been on the horse head instead of her. this one before it would have simply lose the focus “Improves switching time between Video/Photo mode” This one is much faster now, was not a big issue for me but now it should not be an issue for most people. “Enables to change WFM size” and “Enables to change WFM/Vector scope opacity”. This is very practical, especially on the tiny screen. Just tap the WFM and it becomes bigger, tap it again goes smaller. Now the not so good: Face/Helmet does not work on S&F mode so no 100/120 fps face tracking…. R5 can… “Adds Power Saving Mode” this comes with some limitations so only 4k XAVC, but works 24 to 60fps…. and indeed it extends quite a bit the battery. So seems all good but the implementation is a bit cumbersome as you can turn it on only when all settings matches and if you want to let say go to S&F mode 120 you cannot you need first to disable it…. T his camera needs absolutely customs shooting modes it would make all of this so easier to go from 8K RAW 24, to XAVC save mode 24 to then XAV S&F 120 and so on…. You need to change many menu items that is insane…. For example, for this scene I wanted to quickly change to 120fps for a few seconds and then back to 24 and with power saving you cannot do it quickly.... Overall not much to complain Canon added quite a few of very useful features. I hope they will further improve the camera. My wishes for the next one are customs shooting modes and face tracking in S&F 120, even better if you could select the area of the frame where face tracking is active similar to the R3.

You should be able to use any camera that has a video out and a power in connection. The front door camera that Casey Neistat used in his studio was just a GoPro that was powered via USB and connected to a TV. Surely you'd have an old camera around that has these two connections?

I remember doing this too. A robin nested outside my grandmother’s living room window back in the 80’s. I hooked up a VHS camcorder and we watched/recorded. Cute! Also discovered how mama birds make sure the nest doesn’t get covered in poop. As for your modern birds, nowadays I think I’d use a ‘cheep’ nanny cam.

I film professional wrestling using two (now three) S5 bodies. The AF is more than adequate. The biggest obstacle to getting good stills from the footage isn't the AF but the shutter speed. I film using a 180 degree shutter angle, but I'm sure I could get good results by adjusting it if I didn't care about the impact it'd have on the footage. When there isn't a ton of movement I'll take a still to use for social media, but the motion blur during heavy action just isn't flattering. Here are some ones I've taken for social media/YouTube thumbnails. These are downloaded from Facebook since I'm on my phone but it gives you a general idea. I can post higher resolution versions tomorrow if anyone wants them.

@Evgeniy85 I got a LX15 myself but was a bit underwhelmed by its output compared to a G6, G7 or GX85. After revising the example from above I might give it a try again. I had posted it here before. I was amazed back then when I found it and I still am. The material just looks like some of the best footage I have seen from a GX85 or G7. Sensor estate in 4K on this cam is 2/3 inch only, so quarter the area of MFT. Same relation like MFT to FF. But since MFT is faring pretty good in that regard this camera should compare well to mft 8bit cams as well. It does pretty good going by the example above. Here is another one by the same artist, Rec709 8bit 420 glory, 2/3 inch prowess :)

I guess if I look at it from the perspective of BM then perhaps it makes slightly more sense. BM has made cameras with S16 and MFT sensors and they used the MFT mount, and they made cameras with S35 sensors and used the EF mount. Assuming they then wanted to make a FF camera, what mount would they choose? EF mount They have used it before, and their users already have lenses that use it, but the crop factor would change between the S35 and FF sensors, and the EF mount has pretty much been abandoned by Canon, so maybe BM want something that's still in active support RF mount Canon have been quite restrictive with third-party use of the mount, so maybe Canon is blocking BM from licensing it, or maybe it's prohibitively expensive, or maybe the flange distance is too little for things like internal NDs PL mount Seems like a logical choice with lots of existing lenses and support from other manufacturers, but maybe it's a step too far for their existing customer base, or maybe they want AF support (does PL support AF?) Nikon mounts Not a lot of cine lenses for Nikon I wouldn't have thought, focus direction is the other way to EF lenses, which might be troublesome to their existing customers Fujifilm X-mount No AF lenses available that cover FF and only 5 third-party lenses that do (on B&H) MFT mount Wouldn't cover FF sensor Sony A logical choice, but like Canon RF, Sony might not want to help BM compete with their cine-cameras so might be charging a lot for the license or might be refusing outright From this perspective I think L-mount makes more sense, and sort-of aligns with their previous use of MFT and EF mounts, which were both "semi-open" systems with lots of existing glass from original and third-parties.

Now, tests of Dynamic Active Stabilization Slowed 2X (from 4K 60P) in a 4K 30P video + Clear Image Zoom with a power zoom lens - the AI-assisted capabilities of the ZV E1. Climbing a hill and other moves.

Thanks for the gratuitous advice. I guess you don't understand scientific method. And also need to loosen up when there is hyperbole. You way overreacte, and you should think why. Here is what you do not understand: You can *disprove* my statement that no camera with IBIS can match the ZV E1 stabilization by simply uploading a moving-camera video using only IBIS that is just as good. Simple. That was exactly my challenge to you. And, after your rant, you did just that. Good! The Sony X3000 does indeed have IBIS and that camera-moving clip looks pretty good, but not as good as my ZV E1 video Nice try. I have used that camera too, and forgot about it. I of course was thinking about serious cameras that people generally discuss here. But, yes, with a tiny-enough sensor IBIS can work pretty well, as you show. The ZV E1 has a full-frame sensor. Here is my gratuitous advice to you: no matter how annoying a post is to YOU, that does not give you license to provide personal criticism. There is no excuse for ugly posts no matter what. Stick to what you think you know about technical aspects of cameras (which I have learned from). And post more videos. One has to be very brave to post videos here, given the incredible defensiveness and arrogance and pretentiousness that sometimes pops up (the hate for 60 fps was amazing).

I love me my GX85 stuff. I enjoy great stuff shot with this little gem and other cameras of the past like the G6 - 85 series, the older GH cameras and so on. What group(s) would you recommend for stuff like this? Pro work with 8bit oldtimers, love that! @kye I had my GX85 with me for a large family gathering. I accidently shot some clips at 720 25p with 10Mbps. But then I figured, does not look too bad. 🙂 Good thing was I could shoot at 200 ISO withoout a sweat with plenty light available. Gruesome LED practicals mixed into the ambient light though. Still all looking good. A GX85 with GH5(2:) inside would be perfect for me, even in HD only. Would love to see a lowlight test between FX3 and a S1 or S1H or S5 at 12800. The S series is known to provide a lowlight image like the FX6 in regards of grain, whereas the FX3 still inherited mush from the A7S3 afaik.