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Magic Lantern, how about 12-bit RAW on the Panasonic Cameras 😉

It's called a Sigma FP and I assume it's due for an update soon.

This!!!

I've had both for at least 2 years each. If your priority is size, I'd go with the GX85. If your priority is features, the E-m1 ii blows away the GX85 in almost every regard.

Great news and I hope they can concentrate on EOS R and the mirrorless cameras, as the DSLRs don't appeal to me any more. I have my doubts the 7D Mark II will do 4K RAW... EOS R on the other hand, much more promising.

One of the people from magic lantern figured that the bandwidth on the 7D MKII might also allow for DCI 4K Raw 12bit. That would be pretty sweet. So far they tested it for 1984x1068, 14bits 24p. Looking forward to the upcoming news. One testclip of the og EOS R recording 1080p 30p raw is online. Just check the slashcam website yourself with autotranslate.:) The Digi 8 processor of the EOS R is also powering the EOS M50. https://www.slashcam.de/news/single/Erstmals-Magic-Lantern-RAW-auf-EOS-R-mit-Digic-8-a-18410.html

G9 has a super nice S16 mode like the GH5 and it's a classic I would love to try. Maybe sell all my stuff except my BMs and F3 and get a G9 for a good price. Though the EM1II is a pretty camera!

Back then I used a Hlg to Vlog conversion lut from Sage who created the emotive luts for arri color and rolloff for Vlog and went on from there. I really liked how Hlg responded in Grading, both on the GH5 and the S1.

I would add that - and this is just personal - if you could live with the wonky autofocus, then I would probably go for an original G9 over the E-M1 II. I really like 10-bit video, and 4K 60p is nice. Also, I find the menus on the E-M1 MK II a bit baffling. But that's just me.

I don't think a photo real animation with no back end labour can be described as just a better animation tool. Current animation tools, critically, take years of practice and hundreds of paid hours to create each individual work. A production going from "writer, director, and 10,000 hours of professional, lifelong technical artists" to "writer, director, and a 2 month subscription to OpenAI" is, in my opinion, something to pay attention to and expect disruption from, whether you categorize it as a "just a better tool" or not. Switching perspectives a little, these tools are absolutely perfect for hobbyists like me. I'm never going to hire artists, so my productions go from crap CGI to amazing CGI, and no one loses a job. There are no downsides! If that's the angle you're coming from, then I agree with you. However, for anyone making a living off of video work, there's a very very large chance that the amount of money that anyone is willing to pay for ANY kind of creative content creation is going to decrease, fast.

I haven't used the G-series of cameras from panasonic, so I can't compare directly. But I do have an E-M1 MK II with a version 3.0 firmware on it (which allows for phase-detect AF in video mode). It is pretty good. Handling is nice. IBIS is great and rather simple to use. I basically loan it to my son for his school video projects and he often has another student (who has never used a real camera before) use it to film him, and they are able to generate in-focus, steady footage (despite the fact that they have little to no technical training, nor any artistic training). For being an 8-bit m43 camera in 2024, it is pretty good. I've used it as a C Camera with my Panasonic full frame S1 and S5 cameras, and while it is hard to match the Oly to the Panasonics, it is pretty easy to match the Panasnics to the Olyumpus (as long as you are shooting in 10-bit V-LOG on the Panasonic bodies). Hope this helps.

It won't always look shitty. Remember 30 years ago when CGI looked like Legos photographed in stopmotion against a flickery blue screen? Let's wait 30 years on AI generated imagery. No technology can take away the enjoyment of doing something, though it can take away the economic viability of selling it. Which indirectly affects us, because if fewer cameras are sold, people like you and I will face higher equipment prices. Certainly AI is already used in the gaming industry to make assets ahead of time. It will be a bit longer before the computational power exists at the end user to fully leverage AI in real time at 60+ fps. When you have a 13 millisecond rendering budget, it's a delicate balance between clever programming and artistically deciding what you can get away with--and that it requires another leap in intelligence levels. Very few humans are able to design top-tier real time renderers. AI will get there, but it's a vastly more complex task than offline image generation. But yes, AI today already threatens every technical game artist the same way it does the film and animation industries, and will likely be the dominant producer of assets in a couple years. In the near term, humans might still make hero assets, but every rock, tree, and building in the background will be AI. Human writers and voice actors might still voice the main character, but in an RPG with 500 background characters and a million lines of dialog, it is cheaper and higher quality for AI to write and voice generic dialog.

Also forgot to mention that I think journalism/reporting/news gathering, where the facts of an event are a priority, are spaces where traditional cams/audio, etc will still matter. At least in publicly funded broadcast vs private broadcasting companies. But both realms will be tested by advertisers and waning streams of investment to support those journalistic standards and practices.

I don't think any style or medium or approach is ever rendered completely obsolete. I think the ones you can't monetize just become much less sensible to use for that particular purpose. Whether we're talking reel to reel tape for audio production (which I started with!), OG film cameras, vinyl, cassettes, etc. These become super niche things that creators pull out to return to a "warmer", "more analog" feel. So one day using digital cameras and capturing actual human beings will very likely fall into that category in the media economy - particularly Hollywood. As far as what you're saying about documentaries. Well that is a world I have been thinking about the most, as a hobbyist and sometimes professional. I think it will be a mix of what you're saying. For example, I'm doing a family doc about my parents. How they met, fell in love, moved to Canada from the Caribbean, etc. I've already filmed the main interviews with them. But it is clear that there isn't alot of historic video footage of them as kids or as a young couple. So this is totally where AI will transform the possibilities for this project. Because I could take archival photos of them from those periods and use AI to create video representations of those photos in tandem with what they are describing from their past in the video interviews I've already captured. Even create AI video scene of dialogue between them as a young couple based on their accounts. Will it seem strange to them. Maybe? But I'm more inclined to think it will be surreal and fascinating. For me personally, I have no video footage of myself as a kid - and I can tell you I would really appreciate using tech like this for that purpose. All that said, I agree that weddings and realtime captures of life and current history will likely still depend on some tyoe of traditional raw video capture. But even in that instance I think there's a scenario where you now use something compact like a phone (with much less interest in thinks like the highest resolution, dynamic range, etc - bcuz AI won't need that kind of stuff) just to give AI the raw data to work with, and then AI reproduces that raw capture perfectly and with even more 'detail' AND gives you infinite angle options to build what we now call a 'multicam' doc of an event. I would even think that you could get alot of that done with photos of the event and the people there as well. If anything audio might be the thing we still need to continue to capture the way we do it now - but again, you prob wouldn't need to worry about having the ultimate quality either - just some raw data for AI to work with. So yeah, there are ways that traditional tech will likely still be used - but it will prob be vastly minimized and also very obvious that AI tech will be driving the bulk of the creative process.

We hope it happens on page 24.

Drama is a limited application…. Right

22 pages on... and nothing has been learned.

I've owned both (and the E-M1 iii, G80 and G9). 1. E-M1 ii is larger & heavier but has (for me) superb ergonomics and build quality. It's just a really nice camera to use. 2. E-M1 ii sound via the internal mics is way better than the GX85. It also has a mic input and headphone jack. 3. E-M1 ii 4k UHD is full sensor width (no crop) whereas the GX85 is cropped. 4. E-M1 ii has great battery life. 5. E-M1 ii IBIS is better than the GX85. If you are seriously considering the E-M1 ii and video C-AF and IBIS are important to you, think about the E-M1 iii instead if you can afford it - it has better video C-AF and a choice of IBIS settings (the +1 setting is almost tripod-level). Another cheap (used) alternative to the GX85 worth considering is the G80/G85 - same sensor in a larger body with better IBIS, larger battery and a mic input. Provided the size is OK for you, the G9 is superb value used, and easily beats any of the above cameras for video quality (it also supports 10-bit video and 4k 60p, which none of the others do). Here in the UK, the E-M1 ii and G9 cost about the same used.

Cinemarting achieved first light from an 8K cinema camera in a relatively short time, and within ten months of that milestone they had self-contained, working prototypes. Some would say that such accelerated steps ("strides") were remarkable ("impressive"). One can almost hear the echoes of snickering coming from a junior high school classroom. Glad that we can all laugh at jokes that avoid personal digs. Keep 'em coming! Actually, I would say that "impressive strides" sounds less like an Austin Powers 1960's Carnaby Street shop and more like the extraordinary accomplishments from someone who creates wireless camera accessories and camera apps (in addition to those who create cinema cameras).