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Next release ... GX85mkii with GH7 sensor and LogC!

So, we're back to those kind of incentives now ? I'd have settled for a free camera myself.

I'm now worried about what "double launch" means in that sentence.

The Panasonic G100 might be due to get a G100mk2 update??? That's bonkers insanely cheap for with the lens! Drat, it's even tempting me to get a GH6. Thank goodness I don't live anywhere near any American Best Buys otherwise I might fall victim to temptation and give in! True, I guess I'm meaning "relatively speaking" As hard as matching an ARRI 35 + ALEXA Mini is, I'm sure if they randomly threw in a GH5 or a7S or whatever, you'd have an even tougher job to match it on set. @homestar_kevin does not sound pissed at all! Rather very happy with their new GH6 Almost nobody? An even better question is... who will buy a C500mk2 now??? I feel the C400 has mostly replaced the C300mk3 and C500mk2 for almost all new buyers. (although many existing C300mk3 / C500mk2 users might feel the C400 doesn't offer enough to be "upgrading" themselves to a C400)

Obviously the price makes this more a dream than reality but goodness me am I impressed with it. Some observations: Very light, much smaller than GFX 100, much better build quality and top screen vs GFX 100S, feels like the sexiest camera ever made to be quite honest and really has a beautiful look and finish. Autofocus is much improved over prior GFX cameras especially original GFX 100, it seemed closer to X-H2, maybe not quite as fast but MUCH better than before, although I only tried it with the 50mm pancake. Video mode has so many crop modes. Rolling shutter in 8K is not great. 5.8K mode is interesting. 4K mode is plenty detailed even though it's pixel binned. There is a 2.35:1 crop mode, which looks like cinema on a stick. Anamorphic modes. Fantastic codec too with ProRes. I was able to try out the Full frame 35mm crop mode, also a PREMISTA one for your 40 grand cinema lenses from Fuji. Didn't see Super 35mm? I don't think I did anyway. EVF is still detachable. Very very good view of the action through it. Ergonomics and outstanding. The chunky high quality feel of everything about it and that top LCD panel is just incredible. Absolutely enormous and dominates the top plate of the camera. I want to pick one up but at 8000 euros, will have to wait. The Sony a1 does have a few advantages but I do love the look of the larger GFX sensor especially with vintage glass. The a1 has a faster rolling shutter at full resolution, and in 8K. It has a more flexible lens mount with a wider range of adapters including the lovely Leica M Autofocus adapter. In general, it is the autofocus king really, whereas GFX 100 II I would be mainly sticking to just one or two Fuji lenses for autofocus and the rest manual focus Canon FD / Minolta MD / etc. You can now pick up a Fuji GFX 100 about 4 years after it was released for $3500 / £3500 and going down further with the release of the new one. This was £10k when it was announced! So hopefully in 2 years we can pick up a GFX 100 II for around £4k or something, which is still a lot for most people, but it absolutely will make sense for many, it's just so good.

I appreciate your optimistic take, but that's not how most people look at it, nor should it be. A camera you purchased for $2000 a year or two ago should not be dead already, and it's value on the used market should not be 1/4 of the price just because the manufacturer decided to discontinue it and run a fire sale. I'd have a very bad taste in my mouth if I'd bought the GH6. My GH5 was nearly 6 years old when I sold it. 2017 to 2023. No amount of spin is going to make a GH6 user happy that the camera they spent $2000 on is selling for $550 brand new with lens.

Discussion on arri log

Good thing you weren't in the game pre-COVID - Iceland was the top destination and there aren't enough warm coats in the world to make that place a hazard-free zone!

Maybe, but I still reckon they had some folks pegged for a double launch and others just for the S9. Not that I really care and I’d go if asked! Japan is No. 1 on my bucket list and if I had to do a couple of days work but had my flights paid plus a couple of nights covered but had to stump up the rest for my ‘own’ time, I’d be fine with that. Maybe I should up my YouTube game so I stand a chance of the S2whatever launch? By the law of sod, they will probably then go and do it somewhere like Paris which is just 2 hours by train and I have been like a gazillion times…

Beautiful : ) But it doesn't seem to me the widest DR range to evaluate the close-up shot or just my display?

Maybe, but not for long surely so possibly chucked out the S9 crew and the GH7 mob had longer date return tickets? ”Oh you are not coming to the airport with us? What do you mean you are staying all expenses paid courtesy of old Panny Boy for another week?”

Well I guess I’ll just ask them to keep repeating the confetti run until the camera says so, or possibly ask them to immediately go cut the cake, do their first dance, play with some sparklers and then hope the firework show is extra long 👍

And what keeps tempting me to go back… For instance, of the new releases, I’d rather have an S9 paired with an S5ii, the latter for static and longer stuff, the former for roaming around like the wedding day predator that I am. But for the lenses, GH7. Easily. Now arguably, I could crop in post or use pixel to pixel and have my Sigma 28-70mm f2.8, performing like the actually bigger and heavier, but f1.7 for light gathering purposes, M4/3 25-50, but actually, I’d rather just have the 10-25 and 25-50 and be done with it, all bases covered, no faffing. The 18-35 was a gem. It’s big brother less so when it came to AF and that was the issue for me. I shoot manual focus most of the time but NEED reliable AF at certain points and this is where until recently, the camera side was not working so well for me. Oly great AF but trash video. Panny great video but trash AF. Does the G9ii have PDAF? I’ll have to go check because I don’t think I need the spec of the GH7… I haven’t paid the G9ii much attention, but maybe it’s an option. I’ll go look at it.

Whoa. None left in my area either, open box or otherwise, but $550 might have been low enough for me to consider shooting M43 again.

No, it wasn't heavy! I previously used a Sigma 18-35 f1.8 with a speedbooster so if anything it felt light to me! The reason i sold it was because I moved to Lumix FF. It's probably the only thing I really miss from my m43 times.

"I ruined a lot of shots just because I thought a $10,000 camera setup would transform my bad lighting and framing into something cinematic." Flawless quote. I've used mine as the A camera on 2 short films so far - one for Four Points Film Project and one for a local short film festival called Z Fest. My favorite modes are the 5.8k 2.39 mode that uses full sensor width and the full size 4k mode where I can choose between decent RS and high dynamic range. I also like the 8k mode, but less for the resolution and more for the crop to vary up my prime focal lengths. It also doesn't hurt that the Fuji 110/2 is probably my favorite lens that I ever used on any format/camera. Going in for a any sort of close-up with that lens feels like you just typed a cheat code into your monitor. For most shorts that I shoot, I'm way more likely to just grab the C70 or the K-X. The Fuji can make some amazing images, but I'm always having to think about which mode I'm in and which positives/drawbacks that mode has... plus the big sensor can create some problems. Like, if I put on a fast manual lens with character that I like, I might need to stop it down to f/4 to get enough working DOF to keep the talent in focus while they move (or to have the tip of their nose still in focus while their eyes are sharp) - and by f/4, a lot of the character that I like in that lens vanishes. This objection is reduced a lot with native or EF glass, though, since the eye detect AF is really decent (back to the 110/2, did I mention that I love that lens?). That said, if I'm traveling and can only bring one camera, it's a no-brainer for me. The GFX 100 II is by far the best all-around camera I've ever touched. I've taken it to Turkey and Brazil since getting it and never found myself wishing I had another camera with me. There's a reason that my answer in the "If you could have only one camera..." thread was simply "GFX 100 II." 😁

It's probably not a question of "processing" (and even if it were, it'd be a hard one to overcome and very expensive for a niche camera) https://www.sony-semicon.com/files/62/pdf/p-13_IMX461ALR_AQR_Flyer.pdf Unless I'm mistaken, GFX 100 and II are both based on IMX461 AQR. The maximum readout speed in full resolution is 10 fps with 12-bit color. Lines up nicely with the GFX 100 II dropping to 12-bit mode when shooting at 8fps. If there's an 8-bit readout mode, maybe they could get close to (or even reach) 12k readout from the sensor at 24fps, but what's the market? People who want enormous files, but shitty dynamic range? The GFX 100 II is almost certainly doing as much as it can with a sensor that is now like 4-5 years old (most of their wording around "new sensor" was really in "new circuitry to read from the sensor as fast as possible"). My guess is that we won't see a dedicated "cinema" GFX until Sony release a newer medium format sensor which is better optimized for video. I'd love to be wrong, but for now, I don't mind having one of the best stills cameras in the world which also features some really nice video modes.

I own the original GFX 100 and a GFX 100 II. I don't own a Z8 or a Z9, but I feel confident in saying that if video is your main use, you're better off with the Nikon. The II is a huge upgrade over the original GFX 100 for video, and the image is really gorgeous, but even after almost 2 months, I still get annoyed trying to remember how much any given mode crops and which ones have decent vs which have severe RS, etc. But yeah, for stills, I love it - and I love that it fits easily into a camera bag (and is pretty light) unlike my original 100. 😃

Nobody outside of Atomos has been allowed thus far to add braw to their camera and it doesn't seem, in any way, like BMD have much interest in licensing their proprietary codec to others, outside of using their own recorders.