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A power tool and a camera had a baby!

Posting in this thread bcuz I doubt it's been mentioned before and I honestly misjudged the usefulness of this new feature. Canon added the teleconverter feature to the R5C last year and while initial reviews/tests concluded that the feature was really only good to 1.5x mag with anything past that (2x, 2.5x, 3x) being deemed not as good - it has been flagged by several R5C users that those conclusions were not accurate. In fact (and I can confirm with my own tests) that the R5C's TC feature produces very good results across the entire magnification range. What matters is that you are exposing properly but also maaybe giving it a bit more light than usual. So now my trusty Canon 17-55mm f/2.8 EF-S has new life with a focal range of 27mm - 264mm with the 3x footage being about as great as the widest end. Anyways, just one more reason this cam continues to be a great hybrid option.

I've seen that video and for sure there are some surprises in there! Main IQ advantage of R5C is in 4K60p which is actually quite a big deal. However I've found that shooting 4K60p in SRAW gives a very sharp detailed image on R5 mk2. SRAW is really a great option, I'd probably shoot that a lot. And again its nice to have Clog2 in every mode. I shoot mostly handheld and appreciate IBIS for locked tripod stability. I also have quite a few non IS lenses so IBIS would benefit my type of shooting. Other than that, R5C has the edge in a lot of video centric features and is for sure excellent value compared to R5 mk2. Still leaning towards R5 mk2 for reasons mentioned above but you make some valid points! That TC feature for punching-in is definitely ace, especially if quality doesn't take too much a hit.

China definitely can't. Not without ASML. (and arguably TSMC as well, but China might just try to conquer TSMC by military force?! Hopefully not. Although China can more easily catch up and replace TSMC, would be a massive project that would very optimistically be multi-year long, and China is currently trying to do this. In comparison vs the multi decade project that replacing ASML might require) I've got an undergrad degree in electronics, in particular optoelectronics, a strength my uni is world class at, which is especially very relevant to this situation. Papers I took such as Physics333 (which covers topics about lasers such as: the electron oscillator model, rate equation model, Einstein coefficients, Fabry Perot etalons and resonators, optimum output coupling, reflection at a dielectric surface, waveguide theory, thin films, matrix techniques for optical elements, Gaussian beams and applications etc), those don't normally get taught at the third year level at most normal universities So while I'm a long long long waaaay off what these expert engineers in chip production would know (many who have PhDs), I do at least know enough to have a rough grip on and a glimpse into how ridiculously over the top complex the process! That it's crazy hard wall for China to scale if they wish to catch up.

If this will be used with a Blackmagic live streaming / switching set up, then certainly there could be some pros leaning it in the direction of going with Blackmagic cameras. In this situation then I'd be strongly considering having at least one camera with solidly good AF, for your tight shots, but the wide / mid shots (which are very likely going to be mostly unmanned, because you're working OMB) could use cheaper cameras with average / bad AF and even manual lenses, as those can be kinda just set and forget cameras. (well, checking in on them now or then, but they don't have your full 24/7 attention) Two grand? I guess per camera? Not in total. Also I very strongly suspect you're underbudgeting for lighting / lenses / audio / camera support, so let's try and go as far under $2K/camera as we can! In that is the case then it's hard to look past getting 2x Panasonic OG S5 cameras secondhand, plus one new Panasonic S5II. Maybe if you have a lot of MFT lenses that you don't wish to sell off, then you might go for a hybrid approach, with 2x secondhand Panasonic GH5S + 1x Panasonic S5II (just getting perhaps a couple of native L mount lenses for the S5II, say the Panasonic Lumix S 85mm f/1.8 Lens and the Sigma 28-70mm f/2.8 are both very affordable but great lenses) If compact size is very important (perhaps for travel work for instance, or docos where you'll be hiking carrying your gear a lot) then go for 2x secondhand GH5S + 1x new GH7, that way you can go all in on lightweight and compact MFT lenses. If you want some kind of compromise middle ground, the Sony FX30 would be very appealing. Their S35 lenses are sometimes not that much bigger than MFT lenses, but are at least a lot more compact than FF lenses are! (with more reach) https://www.bhphotovideo.com/c/product/1729317-REG/sony_ilme_fx30_fx30_digital_cinema_camera.html FF lenses from what brand, for what mount? Nope! It's three years old now. You can kinda vaguely think of them as sort of ish comparable to the AF in the GH5/GH6 cameras. Workable enough autofocus for stills work, even professional work. But for video? You can use the AF to set your focus very accurately, then flip it over to manual focus to leave the focus point there. But you don't want it to try and track a shot during a take. Not until PDAF arrived in the G9II / GH7 / S5II / etc did Panasonic get to have truly good (but not perfect! Nothing is) autofocus performance for during a take. Sony just dominates in the low / mid budget work of professional shooting. If you think you'll be working a lot for/with other professionals then that's a very strong reason to go for the FX9 or FX6 (or perhaps one of the even cheaper FX models). If you'll be working independently, then just ignore this factor though. (or if you'll be working with just a small group of friends/colleague, then go with whatevere they're using. Most are Canon? Go with Canon! Most are Blackmagic? Get a Blackmagic yourself! Or are they all using LUMIX? Then guess what... you do the same!) GH5S is essentially identical to the GH5, but it removes IBIS (no big deal at all if you'll be shooting on sticks), however it adds timecode support (yay! A big deal for me), and uses a 12 megapixel sensor instead of the GH5's 20 megapixel (the new GH5S sensor is a lot better in low light than the GH5. BTW, "the same sensor" ish in the GH5S is also used in the P4K and Z Cam E2-M4). As for the GH5 vs GH5II? Almost identical cameras, there is trivially little difference between them. It's more like a whole bunch of little improves in the GH5II that all add up to make a difference vs the GH5. But I'd summarize it briefly like this: Features: GH5 vs GH5 II Video Quality: 4K 60p (8-bit), 4K 30p (10-bit) vs 4K 60p (10-bit), pre-installed V-LogL Live Streaming: later updates gave it beta software compatibility for live streaming vs Built-in wired/wireless live streaming Autofocus: Somewhat slower, less accurate vs somewhat marginally improved face/eye detection, better tracking Stabilization: 5 stops IBIS vs 6.5 stops IBIS Display: Standard brightness vs Brighter, better color accuracy Connectivity: Bluetooth 4.2, Wi-Fi 4 vs Bluetooth 4.2, Wi-Fi 5 (faster wireless transfer) Power Options: Standard battery vs USB-C power delivery support Personally I wouldn't spend the couple of hundred dollars extra for a secondhand GH5II over an OG GH5, but if the difference is a hundred bucks or less between them? Then sure, I'd get the newer GH5II. It's worthwhile learning Resolve, it's arguably the best NLE right now, and certainly the best tool for color grading. Yes, the GH5 / GH5S / P4K / a7Sii (heck, even the GH4 in controlled conditions or the a7S mk1 with an external recorder. Or hell the OG BMPCC if you don't mind FHD!) still hold up so well today that if you don't mind missing out on arguably marginal improvement gains they can still do the job professionally in 2025 for low budget productions. And the slow down to more incremental changes happened even earlier over in the stills world than for us in the film/video world. The likes of a Nikon D800 or D750 holds up shooting with professionally in 2025 a lot better than a GH4 or GH5 does today. (and arguably a person could even get away with a Canon 5Dmk1 or Nikon D700 from 2005 and 2008 respectively, depending on exactly what sorts of shooting they're doing) Remember, when the Nikon D800 was launched, then the very latest GH series camera from Panasonic was merely the Panasonic GH2!

How limited in budget? Probably 3x secondhand Panasonic GH4, can't do beter than that for less! ARRI 35 obviously. And it just got itself to be even cheaper: https://ymcinema.com/2025/01/28/arri-unveils-new-alexa-35-entry-level-model-with-flexible-licensing-and-affordable-media/ Depends on budget? And if you have a competent 1st AC or not. (presumably yes... but got to ask! Sometimes they don't, for instance I just the other day finished up working on a feature film done without an AC) If you have the extra money, get a GH7 or S5mk2. Wouldn't ever consider GH5II or S1 if I could get those instead. But if the level of GH5 / GH5II / S1 money is the strict money limit here, then go for the Panasonic GH5S instead of a GH5, if you're doing these interviews on sticks. (I'd assume you are! No way are you handholding 3x GH5 at once) P4K is also a consideration as well. I guess you have a very different idea to me what "no budget constraints" means. Personally I think of the FX6 as a low priced professional camera. And if you can step up the budget from Panasonic GH/S series price points, then going for 3x Sony FX6 is the way to go for sure. If I was very tight on a budget, I'd even seriously consider going for 1x Sony FX6 + 2x Sony FX30 rather than doing 3x Panasonic GH7 / S5II. (the Sony setup is still a fair bit more expensive, but at least it makes the option of working for/with others more viable) If you wish to stick with MFT, then clearly go for BMD P4K or Panasonic GH7 or Z CAM E2-M4 Mark II. If you will consider other non-MFT options, and you don't have an AC, then go for Sony FX6 if you have a modest budget. Otherwise, the other ultra low budget non-MFT top options for filmmaking would be: Sony FX3, Sony FX30, Fujfilm X-H2S, Fujfillm X-T5 (or the even cheaper X-T50), Fujifilm X-M5, Nikon Z8, Nikon Z6 III (or even the older Mk2 or heck the Mk1 with an Atomos recorder), Z Cam E2-S6 Mark II (or the bigger sensor Z Cam E2-F6 Mark II), Blackmagic PYXIS (I think all the other cheaper Blackmagics are not really cheap enough to justify getting them instead of the obviously better PYXIS, except for the P4K which is waaay cheaper. Cheap enough to justify itself over the PYXIS!), Panasonic S1H, Panasonic S5II/S5IIX (the S5II is so cheap, I wouldn't consider the OG S5 unless it's insanely cheap secondhand), or Canon (but nah, don't like them, so won't go into much detail here, wellll... ok, fine, go check out the C80/C70/R5C).

I guess there are more Lumix updates: Actually, I'm quite happy about having some of those features. In particular, I'm very interest in trying out the mp4 Lite and hybrid zoom; the later is a feature is a unique selling point. Cool. Quick question: would Sony, Canon, or Nikon have released this firmware or would they have released a new camera?

Actually, that is not a bad idea, - having the M4/3 crop on the FF sensor and better still if M4/3 lenses could be mounted with an adapter. The G9II and S5II already share the same chassis and OK, some bemoan the size over some of the previous smaller bodies, but actually with some of the bigger M4/3 lenses, they would pair up very well. And if we started with something like a 61MP sensor, plenty of size to crop into for what would be what, something somewhere around 20MP I guess (based on knowing that APSC is 26MP). I body, many lenses, so many different use cases...

Hopefully you get back there and get it done before Donald J Tariff picks a fight with Australia.