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Perhaps it's just me but the search function didn't throw up any topic that I could find so starting this one. The XH2. Not the S, model, but the 40mp 8k capable one. Anyone have one and been using it in this mode, ie, 8k? And specifically, in one of the film profiles such as Eterna? I am back to musing over pulling stills from video at either 6k 30p full frame (which I currently have) with Lumix and potential other options... Not interested in BM Cameras, - too many compromises for my needs. Canon has options as does Nikon, but at 8k only. I came from Fuji X cameras (2011-2020) and the XH1 was one of my favourites of all time for both video and stills, but things have moved on quite a bit since then... The XH2 intrigues me with specifically 8k 30p Eterna, the profile I used to shoot with the XH1 and then the XT3 as a 'one and done', minimal grading required, wedding video option and 8k would allow me to pull stills. As above, any experience appreciated! And nope, not bothered about anything external or rolling shutter, just the quality of the output 🙂

That's probably very common in all camera and smartphone promos. It may have to do with the AD Agencies and Panasonic's advertising division just be stupid, disorganized and lazy, instead of anything else. Contrary to us assuming that the Great Gerald has dented Panasonic's image and given them a bad name, cause they didn't send a Rolls-Royce and a private jet to receive him, people seem to calling him out and others like him, who've suddenly become self appointed demi-Gods. On youtube, influencers are shameless deleting comments, but on regular forums and sites where it's discussed, the discussions actually highlight the problem quite succinctly. https://petapixel.com/2024/05/28/panasonic-reacts-to-controversy-concerning-its-lumix-s9-event/ These two guys have highlighted all issues with Panasonic. Which is a pretty long list, according to them. But there is a certain dignity and maturity to their review and criticism. Something obviously lacking in some others. https://petapixel.com/2024/05/22/panasonic-s9-initial-review-small-pretty-and-confusing/

Thinking about this even further, that really just adds fuel to this fire. It's pretty much a storm in a teacup though and this weeks media drama to be replaced next week by something equally as ephemeral (such as Gerald undoing himself), but they really are not doing themselves any favours with this launch are they. Except for one thing and that is for it's ACTUAL MARKET, it's actually quite a good thing. A little over-priced perhaps, but otherwise ticks a lot of boxes. It wouldn't stop me from buying it if it's the right tool for me, despite what a bunch of hysteria queens think, do or say...

Still loved.

Yeah in the context of what else existed back then, then Magic Lantern was amazing. Especially for the cost (if you couldn't afford a RED Epic). But in 2024??? You need to either be insane, or doing it purely for the fun of the process, or have zero clue whatsoever about the bigger picture needs. As we're spoiled with so many choices today that could be a better fit for your project. Yikes!!! He badly needs to upgrade from a Zoom H Series to a Zoom F8n. I think rather than dealing with a ML raw then if I wanted a hybrid camera that's weather sealed I'd go instead with a Canon 1D C or a Nikon Z8 or Panasonic S1H / GH6 or Sony FX3 / FX30 (or perhaps a7Smk3) or Fujifilm X-H2s or Canon R6 mk2 / R7 / R8 etc Because raw is over rated, and 10bit is good enough 99% of the time. Especially if you're working in an environment where weather sealing / low visibility / run & gun / etc matters! As you likely don't have a tonne of card space with you, along with a 1st AC, and DIT on set, to handle the data offloads and to be checking the footage. Rather you want something simple, reliable, and fast. Which isn't what describes ML raw, but does fit the use case of the Canon 1D C / Nikon Z8 / S1H / X-H2s / GH6 / FX30 / etc

Had the two 14-42 kits from Panasonic - the first and bigger one, that was the kit zoom on the GH2, and the second smaller one. The older was not grat, but the smaller was very ok. Using in f/5.6 (where I used all my m43 lenses when travelling with sun), plenty good indeed. In the last trip with m43), used the "little gem", the pancake 12-32. Was one of the m43 lenses that I did not sold, very good, sharper than the 14-42. Is exactly what Panasonic should do in FF. I asked for a small f/4.5 zoom lens for FF because in terms of DOF, is like a "f/2.9ish" in APS-C - and I'm using the Sigma 18-50 f/2.8 and in most cases the DOF is ok for general use. The manufacturer that makes a FF small body with a small 24-60 or 24-70 f/4.5 (collapsible, if possible) with good (don't need to be very top) image quality, probably will get me in the future.

Have been using mine the fourth day in the row now. Having a blast. It's a very pure experience, having to be set with four puny batteries, which last for about 30 to 35min of footage. Today I was using the 12-32 zoom, on the first three days a 25mm C-mount lens, the latter with a 360 shutter unfortunately! Not using Nds at all is a pretty big confession to choosing a desired depth of field. It provides me with some challenges I have to master and which make me reflect a good deal about my framing and sujet. Handheld panning and tilting with the 25mm is quiete an exercise as well.

I think the S9 marketing has worked then 😉. Talking of remembering releases for the wrong reasons, something I remember from the original OM-1 launch was OMDS getting a professional filmmaker to use it for a promo video. Except it also included BTS footage showing the camera (as far as I could tell) rigged out with non-OMDS/Olympus lenses, matte box, cage etc. mounted on a tripod for some of the time, surrounded by a crew. It was the very opposite of the 'rugged outdoor adventure' usage the rest of the OM-1 marketing was pushing. They should have got someone much closer to the target market to make the video promo content, using OMDS lenses and showing off how good it can be hand-held. Content that potential customers can relate to and think 'yes, I could do that and the camera looks a good tool for it'.

Because it's 2024 and everyone is entitled, including to be upset about something that has no bearing on them whatsoever. Really? Someone's head is coming off at Lumix Towers! That's almost as bad as some wedding photographers using others images until such time as they can shoot their own. Another form of 'entitlement' that exists.

Actually, I suspect the S9 has got more coverage online and on social media than they hoped, even if it hasn't happened as planned. A lot of the adverse comments fueling this seem to be coming from a photography enthusiast base it isn't really targeted at anyway, and from video enthusiasts who seem disappointed it's not the S2H or S2R they'd prefer to be discussing. (Not referring to people on this forum) I don't really understand why so many people seem to be upset/annoyed by the S9 - it's just a consumer camera at the end of the day.

The discover that Pansonic used stock photos (even one from a Nikon Ambassador) in the S9 brochures is not helping either. Tie this PR disaster with the Asahi reports that Panasonic camera division could be axed...

But no for goodness sake! Don't misunderstand me. The idea is also cute, since I fell for it. It's just that watching dozens of videos and hundreds of comments posted after GU's video I see that everyone tries to disguise the problem. then I don't know that youtuber so I couldn't appreciate his ironic streak.

Edit: I realize it was a joke (sort of). So now all these YTs are trying to reposition themselves from the GU video. I personally believe that this business model is rotten to the core, and these witty videos are not going to change the substance. I don't think it will change anything. In some time the dust will settle and the circus will resume as usual. GU only spit in the pot it was eating in because it had long since repositioned itself from pure reviews. Time will tell

Meanwhile, not all reviews are the same.....

I'm in agreement! The irony is that I basically did exactly what you say "wouldn't have worked" 25 years ago. Betacam SX camcorder ops with torn rotator cuffs unite! My career back then was filming tourism video around the world using big 'ol NTSC camcorders, large ANTON batteries, and a massive tri-pod.

From what I read, they handled it poorly.

Indeed. Gerald likes to complain in that video about all the unfair consequences for speaking his mind, yet when it comes to people like me speaking my mind about cameras, he and fellow influencer marketing colleagues like Chris Nichols just aren't at all interested (even in the case of the EOS R5), and this demonstrates that they don't respect real journalism, and don't value it enough to draw attention to it. This is because such marketeers are not the same as us - they're not filmmakers, nor are they journalists, nor are they end-users paying their own money and finding stuff out - it's quite simple - they are marketing and sales people in a fancy studio, who like to stick together with other marketing and sales people. They respect each other in terms of other marketing and sales colleagues and PR departments, rather than actual journalists, shooters or those outside the PR industry circle like artists and real filmmakers. They are opportunists. Undone and his marketeer chums like Chris, enjoy being in their little circle jerk with the camera company PR people and events. That's where they want to stay. It goes to show that the hypocrisy levels are off the chart - Gerald doesn't like free speech, and doesn't tolerate it at all when a filmmaker speaks their mind about them. And the moment a camera company has uninvited them, for whatever reason logical or not, all the toys come out the pram which shows how much this attention circle jerk means to them. Unchartered levels of window licking achieved!!

Could also do something in the style of "Our Robocop Remake" where we take a single script (they remade something that existed, we could do something new) and each shoot a scene from it in our own style.

Do we all want to shoot a single theme/genre? Come up with a single script that we all shoot in our own styles? Seems like there should be something to tie them all together - if not, what is there to make it different from what we'd all normally be shooting anyway?

Keep in mind that in 2009 (when the 7d was released), the number of consumer lenses designed for APS-C was even less than now - and there weren't a ton of people adapting vintage Cooke lenses to the 7d. Plus, 15 years ago, sensor technology was not what it is now. Personally, I don't care a lot for Sigma lenses. Every time I put one on my camera, I feel like I'm putting on something designed by a robot - all technical perfection, no soul. But yes, the 18-35 is quite popular. The EF-S 17-55/2.8 is one of the standout lenses for Canon APS-C, but it's one of only a small number. Fast primes? Not many. I HAVE considered picking up the 18-135 USM for a walkaround lens for C70 + Komodo-X since it's decent enough quality and a big zoom range, but while I'd use that for personal stuff, I'd be really unlikely to take it out of the bag when on set. Who is making CCD in the still world nowadays? The sensor options in the still world are about the same as in the video world at this point. Still world has Foveon, but video world has the 17:9 sensors included in many cinema cameras - and most mirrorless cameras (excepting GR1 and Hasselblad medium format) support a video mode which effectively means that most modern still camera sensors are also video sensors... but most dedicated cinema cameras don't feature a still photo mode. The main thing to differentiate a pro DP from an amateur, IMO, is knowing how to light. Choice of cameras like the Alexa tends to be due to a feature set designed for a large crew, reliability, and having the most flexible image to hand off to professional colorists who also spend 80%+ of their time working on footage from the Alexa. This is one of the reasons that a lot of stuff was still being shot on 2.8k Alexa when RED had 4, 5, 6, and 8k sensors available in their cameras. As people here have repeatedly pointed out, a lot of the best DP's aren't making choices for the sharpest possible image - if you want the image to look a little soft, using a Speed Panchro on a 2.8k sensor to upsize to 4k is going to get you there. Will any Internet camera/lens reviewer give a glowing review to that combo? Doubtful. Will an audience watching the film walk out talking about how beautiful the film was? Yup. As a perfect example, I just watched Dune 2 last night since it's finally free on Max. Lots of people have been talking about how beautiful it was. As I watched, some of the scenes were really pretty sharp-looking and they were the ones that seemed mostly CG. When humans were on screen, I repeatedly noticed how unsharp the images were. Googled a bit and found this bit from the DP > "Texturizing the image was the name of the game. The larger ALEXA sensors are so extraordinary that I felt we needed to dirty the image up a bit." Shot on large format sensors, but too much perfection/sharpness felt soulless. Also: > We had a 57 mm LOOK lens with Petzval glass where you can dial in your effect with a third lens ring Dude shot parts of Dune 2 with a $400 Lomography lens. https://shop.lomography.com/us/new-petzval-55-f-1-7-mkii-art-lens And: > Ultimately Fraser and his team decided to use spherical optics and he worked with a diverse range from ARRI Rental including re-housed 1980s Moviecams and re-housed Soviet-era glass provided by IronGlass, along with some lenses from his collection. Dude shot parts of Dune 2 with Helios 44-2 and Jupiter-9 and lenses like that. Can't afford the IronGlass rehoused versions? Go buy 'em for like $200-300 on ebay.

Ha! I never thought of it as a Civic, but that's great. I'm going to remember that. I recently got a Komodo-X and even though any number of specs from the K-X are better on paper than the C70, I fully intend to keep using my C70 for a lot of stuff. Having built-in ND filters and a ton of buttons to assign things to and an articulating internal screen, the C70 is just faster to use. Plus the DR is great and the image looks nice SOOC. I kind of think of it as a camera used by people who want to get it done. It's not flashy - and when you show up on set and tell people you're using a C70, nobody's all excited... but when you show the results, people are happy with them.

I have to agree with this. 5Diii raw was revolutionary at the time but it does not stack up against modern cameras. I did a comparison about a year ago with my current cameras and it displayed so much striated and blocky magenta noise in the shadows that I can't imagine reaching for it for video ever again. I still takes wonderful photos though. Something I've been pondering lately is usability. I just wrapped a fast-paced short film shoot at a local bar using two C70s and a set of Sirui Jupiter anamorphics. I chose those cameras despite owning two older Reds. The C70s are not cameras that have much appeal to the cinema purist side of me, but I'm glad that I did choose them because I don't think we would have made it through our shot list if I'd been using a camera that was even slightly slower. I still think that my ancient R1MX produces an image that just puts me in a light trance and pulls me into the film more than any other digital camera that I know of. But it's hard to imagine a film that would be the right fit for that camera, so I think that it's days with me may be numbered. So, yeah, unless I was working with larger crews and bigger budgets, I guess my answer to the original question would be the Canon C70. It may be the Honda Civic of cinema cameras, but it will get you where you need to go, without adding additional stress.

As someone who shot exclusively on a 5D3 with magic lantern for ~1.5 years during which I was shooting every week, it is far inferior to most of today's prosumer offerings in every way, including plain image quality. If it's what you have, then yes, a 5D3 with ML produces beautiful images and it will continue to do so. However there is no situation in which I would recommend it as a purchase.

Do you think that any cinematographer in their right-mind would use a 5D with a hacked firmware on a shoot that's $100,000 a day? Hollywood gets nervous if the camera is anything except an Alexa. If they get nervous about using RED, then you're dreaming that they'd even contemplate using a hacked firmware for anything. You talk as if you're familiar with the industry, but.....

It's also a strange comment to make if you've seen the PR videos of larger format cinema cameras where cinematographer after cinematographer gush about how the larger sensor will make all their dreams come true, and using all the words that forum fanboys use, and making all the mistakes that forum fanboys make around crop factor and DOF and FOV. I used to think that the pros automatically knew more about this stuff, but then I saw behind the curtain and realised that everyone is susceptible to sensor size envy. Since the Alexa LF and mini LF were released, the price of FF vintage primes has gone through the roof, to the point that a decade ago people were practically giving away sets of F1.4 primes and now the average cinematographer struggles to even put together a functional set of the F2.8 versions.