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Here is a list of the 75 FF and APS-C cameras that WEX sell for the same or lower price than the OM-3 https://www.wexphotovideo.com/compact-system-cameras/?p=categoryPath%3A"cameras>compact-system-cameras"&filter=SensorFormats_uFilter%3A"Full Frame" OR SensorFormats_uFilter%3A"APS-C"&filter=sellingPrice%3A[400 TO 500] OR sellingPrice%3A[500 TO 600] OR sellingPrice%3A[600 TO 700] OR sellingPrice%3A[700 TO 800] OR sellingPrice%3A[800 TO 900] OR sellingPrice%3A[900 TO 1000] OR sellingPrice%3A[1000 TO 1100] OR sellingPrice%3A[1100 TO 1200] OR sellingPrice%3A[1200 TO 1300] OR sellingPrice%3A[1300 TO 1400] OR sellingPrice%3A[1400 TO 1500] OR sellingPrice%3A[1500 TO 1600] OR sellingPrice%3A[1600 TO 1700]&sort=sellingPrice desc&rows=96&start=0 I'm curious about the rationale for anyone walking in there and choosing it over a sizeable number of those on that list. There is only so far the "well they've got the lenses so we've locked them in to the format" thinking will stretch when you are charging more for less.

R5 II RAW CLog2 is a better image than R5c RAW CLog2. Imo on the R5c CLog2 does not really give you anything more than Clog3 other than matching to other Clog2 cameras. It wasn't me testing out SRAW, I'm a big fan of 8k so I never used SRAW and probably will not if future, but if they would add SRAW for 4k 120 fps and 2k 240fps then I will be super happy. For my usage (sports, actions) the AF is a quantum leap compared to both R5 and R5c but if you do more "normal" stuff not sure it makes such a difference. I really only miss the WFM on/off but happy to trade this with the C1, C2 and C3 that is such a time saver for me especially for going from normal to HFR. I do miss a bit but not a big issue peaking while AF on.... as it helps me judging if the AF is doing his work. The movie playback on the R5c is also a bit nicer but are really small details. If you shoot RAW the R5c battery is still miserable as also when you are not shooting is consuming the same amount. Just one recurring example, Ice Hockey match, camera is on for 1.5h in 3x30min periods and I record around 10-12 min per period, R5 II I have 50% battery left, R5c I need to change battery at least once. Is the R5 II better than the R5c, for my use absolutely. Is it worth the difference in price used R5c vs new R5 II? It is a harder question to answer as the R5c is very capable and now at a good price and with the new battery it solves the biggest issue that I had.

Hey have you read my questions above? Really curious about your take on 4K60p SRAW. I've played with test footage and found that reducing the default sharpness setting from 10 to under 3 seems to get rid of any moiré issues and still leaves a much more detailed image than the soft HEVC 4K60p. I'm overall quite impressed with the R5 mk2 footage I've downloaded, especially Clog2. Skin tones are so much more natural and DR a lot less crushed than every Clog3 footage I've had previously. Gives a way more filmic image and nuance to grading. That said R5C in RAW does give Clog2 option although I haven't played with that footage. Anything else you miss or recommend vs R5C (aside from WFM on/off!)?

I have two R5 II and the first firmware fixed my issue, and since then they are super stable no more issues. Very happy with mines. Now Canon please just make the waveform on/off assignable to a button.

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.

*bump* im thinking abt getting an r5 ii, but reading this thread, WOW have there been issues -- so sorry u guys have had to deal w returning cameras/etc, what a nightmare how are things going at the moment? have firmware updates worked the bugs out? whats the latest? hi btw lol 👋🏻

So you know when the famous lead singer dies but the band wants to carry on... Olympus cameras were some of the most beautiful ever. Both in terms of feel, build quality and looks - they were all very lovely. Better, in my opinion, than many of Fuji's attempt at 'classic' style cameras. The PEN-F was a lovely design... here's a reminder of that... I still have mine, and even though the OLYMPUS OM-1 (the final true Olympus camera by their Japan engineering team) has surpassed it in every way, I'll never part with it for stills. (Such a shame they never did a 4K 10bit PEN-F). Well the PEN-F and OM-1 are even more special now because we know they were the last goodbye, the sunset over Mount Olympus, the pinnacle of 75 years of camera history and the best evolution of the entire species, which is now extinct. So the OM-3 after all these years since Olympus fell, is the first 'real' OM System camera as in a fresh concept, new body, a new camera from the Japanese investment bank or whatever the fuck they are. Clearly it shares none of the DNA design with the Olympus cameras, it looks like a contractor on Blackmagic street, Singapore, at best a design office of 5 accountants have raided the parts bin of an E-M5. Where's the fucking grip? Have they even tried this thing with their own lenses especially the larger zooms? Why isn't it a rangefinder style body like the PEN-F, where does it sit in the range between the OM-5 and OM-1 (as it seems to offer nothing different to either of them in terms of specs)? Why does it have a viewfinder hump when it's supposed to be different conceptually to the OM-5 / E-M5 III? As an aside I really hate the design language of all the text, "OM SYSTEM" is far too much to be cramming onto the front of the viewfinder, and the OM-3 logo is too far over with a huge negative space at the edge making the horrible square shoulder look even more drawn out than it is. And the back is also really 'off' in terms of proportions...the layout upsets my eyes. So we can safely say the OM-1 was the peak, also the E-M1 X. This is a different company, not the same designers, not the same Olympus staff, maybe not even one engineer carried over. Very sad to say, but OM System are history, they will not be able to survive with sup-par products and designs in such a competitive camera market. How can they even compete with Fuji let alone with the rest? RIP! Proof that camera design... indeed all design... is art... and cannot simply be mimicked by the talentless.

Latest rumors claim an S1Rii announcement on Feb 25th with a second full-frame body announced in April. 😐

https://www.amazon.de/-/en/Magnetic-Smartphone-Bluetooth-Compatible-Shooting/dp/B0CFPJXXM6/ The same thing is 30 quid on Amazon. Which leads me to a crafty sneaky idea... What if we were to put a red dot on that? And buy 90 or so?

Any camera compared to the Pen-F is ugly. For me, is the most beautiful digital camera ever made.

I'm floating around the idea in my noggin of going for the 16 + 30 + 56 all f1.4 instead of the FF 18 + 50 f1.8s + 100 f2.8 Not as wide, not as much reach, but used, I can pick up the APSC trio for well under €1k. Having said that, for me, it's not all about lowest price but rather a consideration as part of the whole. And those FF primes from Lumix are not much bigger and heavier than those Sigma cropped lenses and I can keep on shooting 6k 30p open gate... The/any S2R is going to be my trigger on this, but then having said that, part of me doesn't want there to be one so I can keep my A7RV 😜

In addition to the camera, three lenses were upgraded. Version II of their 100-400 zoom lens was introduced, which I was very interested in. I currently use the Lumix version a lot which is a terrible lens. Optically it is good for its price but can only be used with AF. the zoom and focus rings are practically unusable. impossible to get smooth movement, the plastic creaks and they go jerky. The optical quality of the new 100-400 OM zoom is the same as the old version (mediocre lens) but the big difference is in the stabilization: the first version had practically no stabilization because it did not communicate with the camera. This version interfaces with the camera's stabilization but... (the devil is in the details) the synchronization works only on OM bodies and not on Lumix cameras. Damn them forever! This is yet more proof of the uselessness of the M43 alliance. What is the point if the lenses and camera bodies are not 100% compatible among the various companies in the consortium? It really sucks, and despite investing heavily in the M43 system, I hope they fail permanently. Damn them!

I quite like it, but would I buy it? Nope. I'd rather have the OM5 or the original (digital) OM1 that was the last one to have OLYMPUS on the front. I do wish my Nikon Zf was more this size though as that's my only real niggle with it, - it's a bit large for what it is.

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.

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.

I love the IQ of my FS7. Nice chunky 4K 10-bit XAVC-S. You can bake in LUTs. I really don't see much difference in specs to the current Sony cams (FX30, FX3, FX6 etc) aside for extreme low-light. Ergonomics are great for shoulder mount, its a workhorse. I keep mine because Sony is used everywhere in pro use and it gives me work. Don't really feel a need to upgrade. That being said for personal hybrid projects I prefer Canon/Nikon. I'd recommend R5C or Z8 if you're a hybrid shooter. Personally I'm thinking of going for R5 mk2 mainly because of Clog2 and tiny bitrate SRAW, total game changer. Guess a C70 would be a good cop, great form factor with NDs and long battery life with that DGO sensor, only caveat is the image is a little too soft for my taste.

I've shot quite a bit with the FS7 and extensively with the C70 (I currently own two). I'd say that the C70 is definitely worth the extra money. It's smaller, more intuitive, has great autofocus, better color, impressive dynamic range, and is remarkably clean in low light. I like mine so much that I really haven't been tempted by the C80 or C400. Plus, using the Arri LogC to Rec709 on CLOG2 footage is a nice starting point for a grade. But I suppose it really comes down to the lenses that you already own.

My daughter in university requested a compact camera last Christmas. She specifically mentioned the Canon Powershot Elph 180 due to looks and also since her friend uses the same camera so they could share settings. She liked the photos her friend took from that camera over her iphone. I believe smartphone camera have gone too far with HDR and along with sometimes getting the colour wrong. Camera companies just get the colours right for the most part. She also specifically mentioned the flash. I think the flash is the number #1 feature that is currently too limiting with smartphones and that is a big part of what is driving the compact camera trend. While some may be going for the retro look, that is not the main factor. I suspect camera companies still don't understand this and are not filling this large niche. I am not seeing many new compact cameras with a built-in flash.

It's definitely improved for very short takes. While I didn't watch the whole thing, the bits I skipped around to see were all very short clips. Anyplace with letters was also a give-away (the wording on the truck). I also wonder how many "takes" they had to do of each clip to get one that looked good and where the physics were mostly realistic. I saw a few clips that seemed in the "weird physics" space - that continues to be a major weakness of AI-generated video. But the main thing that could still slow down the enshittification of everything through AI is that AI-generated material is still not able to be copyrighted - at least not in the US. How long that lasts before the shitheads in Congress/Senate/Presidency "fix" it? Unknown.

I wonder just how close we are to movie level now then... But I suppose the material still needs to exist to pull together to make this kind of thing and as a commercial and BTS, enough exists, but not for any kind of real movie that would require a unique script and acting. At least not without going CGI. It's crazy how good this stuff is becoming and if I was a youngster, I certainly would not be looking at the more traditional aspects of this industry such as cameras, lenses, lighting, sound etc, but what skills I could develop in my parents basement from my laptop. But for me personally, that would be a hard no as it would not interest me and I'd rather be a lumberjack or something.

The voiceover was real. This is the card at the end of the video. Well, there’s the rub. Whatever it was trained on was certainly very real. Looking at this frame, I’m pretty sure if you went through enough of PotatoJet’s YouTube content you’d find the ,shall we say, “inspiration” for it.

@gt3rs I was all set on an R5C since they are great value these days and the 4K60p fine and cine OS are clutch but I found some R5II SRAW files online and it kind of blew me away. SRAW seems unique to the R5II, from what I understand its 8K downsampled 4K RAW however I think its line skipped. The greatest thing is the file sizes are tiny. On an R5C shooting RAW means 2500mbps files. Shooting 4K SRAW can get you files as low as 330mbps with RAW light and 750mbps files in Standard RAW. The quality is pretty outstanding, especially for the file size. This alone feels like a game changer but I see in your original post you warn that this mode has major moiré issues. Have you experimented any more with this? CLog2 being the other obvious benefit of R5ii but when shooting RAW on the R5C you can convert to CLog2 giving it similar rendering right? Just the workflow and file sizes is the obvious drawback versus Clog2 being available in compressed codecs.

Since the FW update mine works flawlessly, no issue at all. Since the new FW I shoot 3 horse showjumping competitions, two MTB events and 11 Pro Ice Hockey matches and not a single glitch. I finally received my second R5 II (it took two months here in Switzerland to get it 😮) and sold my beloved R5c. Now please Canon just add a way to turn Waveform on and off with a button!!!!!