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GH7 just came out... S9? What's that?

I also like the approach that @mercer told me of putting camera on a monopod and putting the 'foot' of the monopod into a tapemeasure holder (like a little cup basically) mounted to your belt. All the benefits of a monopod, but completely portable and much less visible to by-standers etc.

EVF doesn't "fix" it. However, it's broadly believed that having more points of contact between the camera and the shooter increases overall stability. The comment above includes one of the other common methods of increasing stability - adding more/balanced weight to the camera system. Combining one of these things is how run and gun news shooters managed to get their footage to look pretty good 40 years ago - big heavy shoulder-mounted cameras with an EVF. There are other tricks you can try too, even with a smaller camera or no EVF - including getting a pretty thick string and attaching one side to a 1/4x20 screw. Screw it into the camera's tripod mount and let the other end dangle to the ground. Step on it and pull the string taut. Congrats, your footage is now a bit more stable. Though you may want to avoid this strategy on a professional shoot. Many clients might not be thrilled to have spent hundreds or thousands of dollars for somebody to show up with some string and about 60 cents in hardware store fasteners. (It's saved me in a pinch before, but I'm also not a working professional)

I ended up ordering the s-mic 3s. Showed up today. I laughed more than a little bit at the box it came in (the image at the top of the thread didn't register with me for some reason). Nice of 'em to include a wooden box, but it's kind of a bummer there's not an option to order without the fancy box for what's going to be used as an on-camera mic!

No Z cameras have a s16 mode. I could see that changing with a Nikon that has bought RED, but I would still be surprised if it showed up in the Z6III. Do any FF mirrorless bodies have it? Canon does on their cinema cameras; but don't remember reading it as a feature on any Sony or Canon FF models.

Ah well, something to store your cigars with instead?

does z6 iii have s16 mode? z mount is shorter than c mount.

Saying something is popular with a niche group (high frame rates) of another niche group (Panasonic L mount camera owners/shooters) does not make it less niche. 😉

It would make good sense. The cost to develop one's own chips/signaling for it would be pretty high* so one might as well use the perfectly good open standard. * Exception being Red who used open standards unchanged, but found douchey ways like proprietary connectors to still render things generally inoperable

As far as I know, a single store put it on clearance for closer to 1/3 price (1/4 price for open box). For a store like Best Buy, this isn't at all atypical. If a product is barely selling and discontinued by the manufacturer, sometimes they'll just blow it out at ridiculous prices and write off the loss. My guess is that they hit the limit of how many Panasonic would refund them.

96KHz 32bit audio recorded into the video files themselves: Didn't realize it was offering 96KHz, that's nice! (although it's also total complete overkill. But hey, a nice change to see a camera doing audio in an overkill manner for once!)

Anybody that paid full RRP for a GH6 a year ago and is complaining about their prices now doesn't have a leg to stand on. As the GH6 was often enough on discount (for instance over a year ago you could get a brand new GH6 for as little as US$1.4K on Amazon). Let's go check what the ebay prices are for a GH6 currently: https://www.ebay.com/sch/i.html?_from=R40&_nkw=panasonic+gh6&_sacat=0&_sop=15 About US$1.2K-ish to US$1.4K+ ish Nah, the value of your GH6 hasn't suddenly crashed. @newfoundmass is trying to spin it that this is a normal sale price for a GH6. It is not. It's an open box GH6 (i.e. a technically secondhand camera, but is "like new") and only an exceptionally small number of them, and only for those who can go to their local store (if they even have one! And it's in stock, which it won't be) and buy it in person. Or in other words: This will have zero impact upon eBay prices. (nothing that could be measurable anyway)

one of the best camera introduction videos. fuji should hire him to promote the cameras. I feel that the still photos in the video are much more eye catching than the video clips.

Or more to the point, any data show that leather shoes helps to win Oscar more or easier than fabric or faux-leather? If we're going to talk about what matters, at least let's start asking the right questions.

Although I appreciate the snark of this post, there's no evidence that a 4K image makes your film more Oscar worthy than a 2K image... so...

Of course not, though if working with minimal time and delivering in 4k, 6k or 8k can be nice for framing a bit wide and then pulling multiple angles out in the edit. I hear it can also be nice for pulling a key, though I very rarely need to do that. I also watched a BTS video of some National Geographic stuff the other day. Their videographer was using some form of DSMC2 with a Canon 50-1000. I'd be surprised if it weren't an 8k model. Reframing from 8k seems like a great option there too. Regardless, the industry has been pretty lethargic to care about 8k or 12k. To this date, vendors are announcing 6k cameras and people are happy for them. How were sales of the OG UMP12K? Judging by how many I've ever seen in use or credited for being used in something, I'm going to guess "extremely poor." There were too many other drawbacks for most people to be excited for it. Does more DR make the image better? No. But in uncontrolled lighting, it can make a noticeable difference in what's captured. As always, a mediocre camera with an expert operator is going to be better than the world's best camera with a clueless operator. If you're on the sort of big production with the support system to make the DP look good enough to win the oscar, there's a good chance you're shooting on Arri. You also probably have an entire support crew dedicated to stuff like laying down dolly tracks and a couple of dozen people whose only job is setting up the lights in a place where you say. Once the budget is that big, the price of Arri purchase or rental seems insignificant.

? No, but DR can help. I don't understand any connection with the resolution mantra, though. Resolution is anything useful we want, just not this. It's like comparing engine displacement with horsepower. Immediate equivalence sounds pure nonsense.

Internal ND will be a genuine game changer when it comes to hybrid capture. It’s the single biggest thing IMO that has prevented this form of capture from really taking off as everything else is a workaround.

To be fair, that guy could get great video out of a Box Brownie.