Leaderboard

The A/V companies have already recently been restructured which is partly why the pro-AV releases are so low key, and there's no cinema camera line-up any more - this part of the business was essentially nuked and anything remaining merged into the consumer side. At least as I understand it, Panasonic will continue in consumer cameras... for now... but the professional side of things is ending. And the consumer cameras will be a very low priority compared to the higher-margin parts of the business like batteries and whatever the fuck they think AI is useful for. In the report the exec. uttered a very taboo word in the corporate world, which was "sentimental"... Shareholders don't get rich from sentimentality and culturally important products like TVs, cameras or hifi. They want the big growth areas and bubbles to rise up and take over, and for anything else to fade away including LUMIX. The top Japanese execs at Panasonic attach a high sentimental value to their top consumer products of the past like TVs and cameras. They want to continue. They are one activist shareholder away from being forced to back down on that and then we will see the end of LUMIX altogether.

I think that if Panasonic had wanted to just kill off the entire camera division, they'd probably have done it a few years ago, before committing to development and production of the S5 and GH6. They've culled the product range presumably down to what is (or is projected to be) profitable (which in the UK seems to be basically the FF S5D, S5ii/iix, S9, the MFT GH7, G9ii, GH5ii, G97, G100D, the superzoom FZ2000, FZ82 and the compact TZ99). So a few cameras in each sensor size. From what I've read occasionally, the lower-end Panasonic TVs have been more-or-less badge-engineered products from one or more of the big low-cost manufacturers for some time. So it wouldn't surprise me if they basically licensed the brand name (for TVs) to one of those and stopped in-house TV development and production.

They are not going to make an APSC because they would piss their FF market off big time when we are literally screaming for successors to the S line. It’s not just the bodies but an entire lens line is required. ”Just use the existing FF lenses?” In that case, your FF camera is also APSC. It’s called cropping. And M4/3 users would flip out also and feel they were being neglected. I doubt very much the market is there anyway and they are hardly the biggest player who can take a punt. Nah, can’t see it. At all.

There is no support (currently at least) for USB-C recording on the Ursa Cine 12K. The situation for CF Express Type B has been clarified by BM on their latest support bulletin here for approved cards : https://www.blackmagicdesign.com/uk/support/faq/59051 Long story short is that they have nothing on there that goes above 45fps at 12:K 3:2 BRAW 8:1. There is a data calculator on the product page for the different permutations. https://www.blackmagicdesign.com/uk/products/blackmagicursacine However, there is also the caveat that for any frame rate above 60fps (at any resolution) the camera requires powering from a 24.8v B-Mount battery. So for anyone looking at shooting at the highest frame rates and resolutions, both the Media Module and a B-Mount are non-negotiable so an additional £2K should be budgeted. That is still an almighty good deal for a camera with this performance though and I think the value proposition of the Media Module is good enough to mean it might well be considered an essential purchase by a lot of people anyway. One thing that I find intriguing is that BM list a mount adapter for Hasselblad HC lenses but offer no more information about it at the moment. I still have a set of HC lenses that are orphans after the demise of my H3D-39ii and I'm very curious about how they have managed to get electronic control of them. Currently, only Hasselblad themselves in their H to X adapter and FujiFilm (the original manufacturer of the HC lenses) in their H to GFX adapter have products that do this and whether it is limited to aperture control but also encompasses focus control is undocumented. I'm not saying that this compatibility would make me buy one but, bearing in mind it has a dedicated Stills button, then being able to bring back a collection of fantastic set of lenses (albeit with a smaller FOV) that work more or less natively with a 100mp body that also happens to shoot RAW video would be worth considering. I'm not being serious of course as that would be an insanely flimsy justification to buy one * * Note from wife - Yes he is being serious.

for your perusal i found some more info on the canons Canon offers a Stop Motion Animation Firmware addon for EOS R, EOS RP, R5, R8, R100, and EOS R6 Mark II cameras. You must purchase a camera with the special firmware, or send your camera in to get it updated. It is a paid offering. (The models that are available may vary by region.) Here is an overview of the features it provides, and the support in each version of Dragonframe: FeatureDragonframe 4Dragonframe 5 or newer Supported CamerasR/RPR/RP/R8/R100/R6 Mark II HD Live View (1920 x 1280)YESYES Focus PeakingYESYES Aperture Lock---YES Focus Programming---YES HD Live View: The live view (video assist) is doubled from 960×640 to 1920×1280. Focus Peaking: The camera shows which parts of the image are in focus with bright colored pixels. You must use an RF lens and set it to ‘MF’. Aperture Lock: The camera keeps the lens closed during video assist and while capturing photos. This prevents potential flicker from the aperture opening and closing repeatedly. Requires an RF lens and Dragonframe 5 or newer. The feature is always on in Dragonframe 5. You can verify by choosing a fairly closed aperture, like f/22, and looking into the lens. Verify that it is closed during live view. Then verify that when you take a picture it does not open and close. Focus Programming: This also requires an RF lens and Dragonframe 5 or newer. Dragonframe can program the focus if you create an axis in ARC and set the Connection to ‘Digital Focus’. This feature does not work on a shot that also zooms. Changing the zoom affects the focus range.