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Global shutter is cool and all, but not having it really hasn't impacted my work given how good RS has gotten. I see this as being a much bigger deal for photography than video.

Sports is the main target for the A9 III for Sony and the reason they went global shutter. Lots of pesky LED advertising signs which can cause banding, lots of fast action at the end of long lenses, fast pans, and also sometimes the need for complete discreetness and silence, no mechanical shutter or flash. So for sports photography, they are getting ahead of the Canon EOS R3. Also the very fast burst rates, small size of the body, smaller lenses (sort of) put it ahead of any mechanical shutter camera or 1D X Mark III. They want to challenge Canon's dominance in football, F1, olympics and so on. Big money riding on it. I think in this regard it is really well targeted and innovative, it's just a bonus that they eliminate rolling shutter for filmmakers as well, but not as big a deal for us as it is for sports shooters.

Oh dear. Not US and was waiting until the Spring of ‘24 to replace my original set but maybe I should get it sooner rather than later just in case… There are alternatives, but the Rode WG just worked for me. When I remembered to switch both units on anyway… I hate that long hold on, long hold off system. I’d rather just a flick switch and a lock. Ditto for my little Sony pocket recorders. Forever switching recording on just touching my bag sometimes. Then trawling through 10 hours of recording the interior sounds of my camera bag before eventually finding 2 minutes of Captain Correllis facking Violin being read by cousin Karen 🤪

The animation below from a Wikpedia page about rotary disc shutters illustrates their operation (and film pull-down) nicely, showing that the sweep of the edge (the rolling shutter equivalent) is quite short in relation to the exposure time: (Image By Joram van Hartingsveldt - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=924146) Film projectors have basically the same mechanism, except that usually the shutter operates at twice the rate to create 48 Hz flicker which is much less noticeable/annoying to viewers than 24Hz.

The thumbnails have to grab you and make you watch, so will say whatever does that. I've seen it both ways - hype up an incremental improvement and on things that already have a lot of hype it can be the old 'done buy until you've watched this' gag... In between those two there's the 'hidden feature' that will change the world, etc etc.. when all of those don't fit, there's always ye olde faithful... product + shocked-face 🙂

@PannySVHS Here is the Sony with the Alexa. I just adjusted the Hue on the sony and applied the Emotive Color ARRI Daylight lut. Now this is a really bad lighting situation. Sunlight, combined with Tungsten, and also bright green walls in the room lol. here is the raw video from both cameras as well as PNG stills of the LOG image if anyone wants to play with them. https://drive.google.com/drive/folders/1fYuQyBHEq9zvrIB_pQ-GBMXWOKxIhP8W?usp=sharing

Interested to see more on this subject. Let's see how far Sony has come from the early global shutter sensor Blackmagic Production Cam 4K which couldn't do ISO 800! Here's my findings so far: https://www.eoshd.com/news/sony-a9-iii-high-iso-raw-test-a-noisier-6k-sensor-than-predecessor/

Hi there, I've been doing mostly outdoor event video shooting as well as some indoor event streaming so have been happy with a basic kit of Olympus EM-1ii with 12-100 f/4 (which I use handheld), a GH5, and a couple of GX80 which I use with fixed prime lenses (P25 f/1.4 and P15 f/1.7) for multicam. I also have the Olympus 40-150 f/2.8. The Olympus IBIS, colours, AF, size and images are great. I've recently been asked to do indoor theatre video (which this m4/3 system works good enough for) but now they want me to do some photography too. I've done some test shots, but between the low-light grain (I can fix with AI denoise) and movement blur, I just can't do the photography with what I have. I love the m4/3 dual-stabilisation for events, so I'm thinking if it would be better to get the Panasonic G9ii to replace the Olympus and get the 12-60/2.8-4 to replace the o12-100/f4 and maybe a used Panasonic 10-25/f1.7 zoom. Or would it be better to switch to the Sony system with a A7siii (or similar, recommendations welcome!) with some decent 24-105/4 zoom. I know I will gain on the low-light but will likely lose the run-and-gun stabilisation that I get in the Olympus system. Also, I would not like to do heavy colour correction, as I'd prefer right out of camera. Thank you so much in advance for any suggestions as it has been a few years since I've been looking at camera gear.

Like many hobby-related decisions, this comes down more to what I want rather than what I need. I’ll probably end up spending more money than necessary, but that’s what some hobbies are—money pits. I could drive to work in an inexpensive economy car, but I prefer to drive something a little more sporty and luxurious, even though both will get me between point A and point B. Same thing with cameras for my hobby work. 😉

Thanks so much for that. Will look at S5ii / S1H and the sigma zoom. I'm not worried about the shutter as usually the photos are done during rehearsals andI video the actual performances. Just curious how stability with run-and-gun will go, but can always eventually get the G9ii for that when it drops in price for next year outdoor events.

Great and the Sigma 28-70mm f2.8 is a compact high performing zoom and this pairing is my go to for ALL run & gun, indoor, outdoor, after dark… I have had several 4/3 cameras and lenses including the EM5ii and the most recent OM-1 and whilst they may have marginally better stabilisation, performance-wise, beyond that, no contest, the full-frame S5ii is just better everywhere, stills and video. Even with the f1.7 lenses. Nah, weight and IBIS aside, the S5ii kicks any and all 4/3 backsides. GH6 and G9ii users may disagree. Get in a ring with the S5ii though and we would see who the real champ is 😉 My other choice would be the S1H which are now available at very decent prices on the used market, below new S5ii’s I think and you essentially trade a more compact, lighter, better AF frame for a better built (tank) unit with far better rear LCD, beautifully damped shutter and sound (for stills and important in theatres I reckon without resorting to electronic?) and a more ‘filmic’ image. Funnily enough, I have and use both… Gone over to Nikon for stills but can’t give up my Lumix for video…

Thank you, just considering the Panasonic s5ii to replace the em1ii. Just not convinced m4/3 can do decent indoor photography with movement. I need a zoom so thinking of g9ii with p10-25/1.7 and p35-100/2.8 or keep o40-150/2.8. not sure I can be switching primes as can’t miss live action and can’t easily move around. The s5ii with something like 24-100/f4 could be handy but then would lose the goodies like ibis and good AF on the em1ii.

It has a USB port for direct recording to SSD or you can go the whole hog and get the URSA Mini Recorder which sits between the camera and the battery to enable you to define your own capacity using 2.5” SSD drives. It’s not particularly cheap at around $400 but more cost effective than c-fast pretty quickly and a lot more robust than having an external drive hanging off the USB-C port.

You can hack it by installing a firmware to remove the recording limits on UHD. C4k still has some sort of limit. You'll need to look for it on Mu-43.com (I think). If you go Sony, I'd price out those lenses first. I think most people who switched to Sony now simply can't get out because they invested too much in the lenses. Personally, I heavily prefer L mount- I think it's going places. Also, it's open, not closed. Low-light is possible on M43- just buy the 1.7/1.8 primes for dirt cheap. Sony lenses often cost an arm and a leg and they're rather bulky IMO.

Minimal, yes, but that's all I really need. I'm not shooting a feature film, so I don't need all the do-dads you see on cameras used for that task. Plus, adding unnecessary stuff increases the weight of the rig. I have mixed feelings about the RED brand. Back when digital was in its infancy, well before ARRI and others got into the market, RED was a big name and I certainly aspired to own one, but the cost was too high back then. Now that the price of models like the Dragon-X and Komodo are in my grasp, I've been somewhat soured on the RED brand due to their price-gouging on Mini-Mags and other accessories, and their litigious behavior towards other companies using internal RAW recording. The reports of reliability issues is a worry too, since if I get the Dragon-X it's a model that RED has already discontinued and probably won't support much longer (assuming they still do, which might not be the case). The Varicam sounds interesting, but it seems to use proprietary media (P2 cards) that are expensive ($395 for a 30GB card and $1840 for 512GB!) I'll give that one a pass. The BMD URSA 12K is still high on my list of possibilities. Some of the things I don't like about it: reliability concerns, non-detachable screen, and use of CFast cards. Likes: BRAW, PL mount, its menus, and built-in ND filters. I'll definitely keep this one on my short list. ZCam and Kinefinity look like great options with interesting technology. I especially like the media the Kinefinity uses. It's just a shell that holds a common NVMe M.2 SSD that's much cheaper than CFast or even CFexpress cards (4TB for $197). This is what RED Mini-Mags should have been. The thing holding me back here is the relative obscurity of the Chinese companies behind these brands. Will they still be in business a few years from now? Will they service their cameras in the mid to long term? Do repairs require shipping the camera to China? Who knows? Panasonic is definitely a possibility, either the S1H or its cubic brother the BS1H. I have fewer qualms about support from a well-established company like Panasonic, assuming, of course, that they don't decide to get out of the camera market altogether! I think Canon and Sony still sit on top of my list, with the C300 Mark III, the FX9, and the FX6 being contenders. Of these, I like the C300 best and it checks off more boxes than the Sony's. Decisions, decisions...

In all seriousness though I do think this is a great step forward. Have been spending a lot less time on YouTube lately. Tired of the hype.

Hahaha. Blackmagic Production Camera 4k. Global shutter. 2012 baby.

A little more about the Panasonic Varicam LT for you to consider: https://www.newsshooter.com/2016/06/26/field-testing-the-panasonic-varicam-lt-a-hands-on-review-for-solo-shooters/ https://www.newsshooter.com/2016/06/03/panasonic-varicam-lt-do-i-like-you-an-owner-operators-perspective-from-miguel-toran/ https://www.newsshooter.com/2017/07/18/the-gods-of-fire-2k240fps-raw-recording-with-the-panasonic-varicam-lt-and-odyssey7q/ (you don't have to go with Convergent Design: https://www.newsshooter.com/2017/03/23/atomos-announce-a-free-cdng-raw-recording-firmware-update-for-shogun-inferno-flame-and-the-original-shogun/ ) https://*banned URL*/2017/05/review-panasonic-varicam-lt https://www.provideocoalition.com/review-panasonic-varicam-lt-4k-super35mm-cine-camera/ https://www.provideocoalition.com/panasonic-varicam-lt-review-part-2/ https://*banned URL*/2016/07/panasonic-varicam-lt-review https://cinescopophilia.com/comparing-to-the-panasonic-varicam-lt-to-the-sony-fs7-camera/ Geoff Boyle is a very very highly respected cinematographer, here is what he has to say about his tests with the Panasonic Varicam LT: https://www.newsshooter.com/2015/03/31/which-cine-camera-produces-the-best-image-geoff-boyle-has-surprises-in-store/ https://www.newsshooter.com/2016/03/09/bve-2016-cinematographer-geoff-boyle-says-arri-have-a-problem-likes-varicam-lt-image-uses-c300mkii-autofocus/ https://www.cinematography.net/Panasonic-VaricamLT-RAW-UHD-2017.html https://definitionmagazine.com/reviews/review-panasonic-varicam-lt/ If you want to go super lightweight (although I know weight doesn't matter much to you, but it might for other people reading this), you could consider "the baby Varicam LT", the Panasonic EVA1: https://www.newsshooter.com/2017/06/03/panasonic-au-eva1-first-impressions/ They're sub $2K now: https://www.ebay.com/itm/335107746560

2/3 right here:

@TomTheDP Here's a basic match. As I don't own the LUT packs, I have just used a CST sandwich - first node converts to Davinci, second does adjustments, third converts to 709/2.4. The Alexa has no adjustments at all, Sony has a Hue rotation for skin and Tint adjustment pushing green for neutrals. These were literally done just by looking at the vector scope. Added Hue curves for the green wall and the jacket: That would be good enough for most work I'd imagine. Skintones. Always skin tones. It's where the viewer will be looking, and we're sensitive to very slight differences.

No D-log in 4K120p is a joke and deal breaker. Was planning on buying it to use exclusively as a slow mo wide angle gimbal cam. Wish it had M43 sensor and 4K240p as well. Why is there essentially no 4K240 camera on the market except specialized tools? Is processing power in November 2023 the same as 5 years ago when 4K120p was already here? I don’t think so. Why is DJI not making a compact pro Osmo? Something with the IQ of a GH6 with M43 sensor and interchangeable lenses and all the modern features (good AF, 4k120…) and that’s very compact? DJI kills everyone else in the drone market I wish they invested more in the regular camera market or at least gimbal camera market.

We have cameras that are unable to shoot internal RAW literally because of RED. You want to stop animosity against a company that is completely screwing everyone else over and suing people left and right? A company that made it so Blackmagic had no choice but to create their own RAW format and made companies like Panasonic, Sony, and Nikon all have to figure out ways to make raw external instead, which in turn makes the rest of us have to buy expensive external recorders and expensive SSDs? Seriously, no offense man - but you should probably quit telling people what to do and how to treat companies, especially companies that are making our work life more difficult and more expensive. Also, dont forget where you are - this is EOSHD, where the creator of the site is very critical of companies - which in turn pushes them to be better and to quit their bullshit. So in conclusion, please get off your high horse and realize that we shouldn’t bow down to big bad RED and let them push us around with their bullshit patent. And this “animosity” is very much warranted.