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That's what I remember as well, the LX100 sensors had standard size MFT sensors (not the oversized GH2/GH5S "MFT sensors"), but the LX100 lens designs were for slightly smaller than MFT size (thus they were extra compact sized) which made the LX100 sensors "oversized" (allowing for their multi aspect ratio design) relative to the lens being used on them.

There's a chance it might be an S5R that's coming. A cut price high megapixel body. A full frame rival to the X-T5 perhaps? Doesn't float my boat to be honest, but we'll see what happens. The S9 was also underwhelming at launch, turned out to be a nice camera for the current used prices of around 1000 euros. I wouldn't pay 1600 for it, but as a bargain small full frame camera it has a place.

Like I say I think it's curtains already, whatever they bring out this year is too late. People have moved on. The ones that do stick with Panasonic must be amongst the most loyal customers in the industry, in any industry. Anyway we'll see what they bring out at CP+ in Japan at the end of this month. If it's anything else with an old sensor in an S5 II body I'm not interested.

I would settle for ‘slightly cryptic’ but they are not even that are they. ’Totally silent’ is their attitude to their market. Possibly not the smartest approach, but if their product line is good…

I like trash talking Panasonic at the moment! They deserve it.

If the S1R II has a different sensor to the SL-3 I'll eat my hat, but it would be a very interesting development if true. I can't think of many alternative high megapixel sensors from the Sony shelf that would fit the bill other than the 50MP Sony a1 chip.

Oh yeah can't wait to put a shitty Atomos on top of an OM-3. Amazing.

Yes please, that would float our boat. (Never thought Panasonic catching up to Sony's 2021 tech would be that exciting a prospect, but at this point I'll take it)

I don't understand how you can call the S5mk2/X trash. Yes, the EVF isn't as good as the one on the S1 but it's perfectly usable (unlike the original S5's EVF which was poor). The camera is a superb all rounder that does things that others can't. I have 2 and when I have events where I need to film the whole event (hours long), I just stick an S5mk2 connected to XLR sound and record 4K for hours on end. The other shoot B-roll, interviews and photos. They are pro cameras.

As one, I'd say yes. That would be an improvement over now. I'll be delighted if Nikon are able to get AF on Red to even close to where it was on Sony/Canon 3-5 years ago. Heck, even a face-only AF mode would be just fine.

It's this: https://www.bhphotovideo.com/c/product/1280873-REG/sony_selp18110g_e_mount_lens.html It's a cine lens design spin on their much much much cheaper Sony 18-105mm F4 photography lens (one I've had for years and years, a great run and gun lens): https://www.bhphotovideo.com/c/product/1001011-REG/sony_selp18105g_18_105mm_f_4_g_lens.html Kinda wish I had this lens for my Fujfilm camera, maybe the Tamron 17-70mm f/2.8 is what I should give into temptation and get instead. Slightly more expensive, very slightly wider, somewhat less range, but a full stop faster. I'd imagine Komodo users will be happy to simply get moderately good enough AF for simple sit down interviews. Means they won't have to: 1) rent an FX6/FX9 instead 2) or pay for a 1st AC for the day 3) or pull it themselves and have to divide focus (ha!) between being in focus vs camera operating vs directing vs lighting vs audio vs etc everything else they do when doing a simple OMB sit down interview It's been normal for years that RED would do massive price slashes to their cameras as they near their end of their lifecycle (or even early into it!). People should stop getting upset about it. Even ARRI does this now. https://ymcinema.com/2025/01/28/arri-unveils-new-alexa-35-entry-level-model-with-flexible-licensing-and-affordable-media/ That's the expectation/hope. And I would personally be shocked if we don't eventually see RED cameras broadly roughly speaking "matching" Nikon mirrorless performance for video AF. The question is only if it happens this generation or in the next generation. As doing it this generation is severely limited by both the hardware architecture and the software architecture RED has been using. The hardware their current generation RED cameras are using might flat out prevent them from ever matching Nikon mirrorless video AF performance, or even coming vaguely close. But even if it's not a barrier, and it has enough horsepower to do it (and the right kind of horsepower), then the entire software architecture that RED is running on might require a total overhaul from scratch to allow good enough AF performance. And Nikon might feel that's not worth it for a generation of cameras that only has a limited lifespan left, and would rather put all those efforts into instead the next generation of RED cameras, and have an entire new software stack built for them to run. (perhaps sharing something with Nikon mirrorless, for productivity efficiencies) In the long run I expect RED/Nikon to drop support for Canon RF Mount, it might even come as soon as their next generation of camera releases ("DSMC4" or whatever they call it, or Komodo Gen2, or whatever) which then will be only in PL / Z Mount. If I was to take a wild guess, that's what I'd think as well. Keep RED as the "luxury / prestige brand", but put in RED the good stuff from Nikon (such as lenses / AF), and put in Nikon the good stuff from RED (such as redcode raw, and matching color science. Make it super very easy to use a Nikon mirrorless with the RED cine cameras. Such as a person might use a Sony FX30 with a FX9 camera, or a Canon R5C with a C400)

Yeah it's too new to show up secondhand just yet in any sort of quantities. But you can find the Viltrox DC-X3 on Aliexpress and B&H: https://www.bhphotovideo.com/c/product/1842381-REG/viltrox_dc_x3_6_touchscreen_hd_monitor.html Yup, sometimes there are moments in time when there are leaps forward in tech / affordability, such that it no longer makes sense to buy secondhand. For instance when the OG BMPCC went on sale for $500 it killed any reason whatsoever to buy a secondhand BMCC EF (in my personal opinion). Nope, but I've got a very old OG SmallHD 702 that's given up the ghost, and I would like to replace it. And from the research I've done recently, then the Viltrox DC-X3 seems like the best option right now. The only reasons I haven't pulled the trigger just yet is because: 1) only just recently came to this conclusion from doing the research into it, so still thinking over it, and I'm trying to spend less on gear in 2025. And I don't need need it just yet. Because I can just kinda get away with peeking at the other monitors at video village on a small budget shoot. Plus I have an old SmallHD Focus monitor, but it lacks loop through and lacks SDI 😕 However I have an HDMI to SDI converter. Clunky, but "works". 2) I quite like the 7" size of the 702, and if anything I'd rather go bigger than smaller with the 6" Viltrox DC-X3. However as a smaller level Production Sound Mixer I'm not sure I can truly justify the costs of a 10" SDI monitor. The leap up in price from 6" or 7" to 10" is quite significant, seems my only cheap option would be the Lilliput A11? So I dunno, haven't really decided yet if I'd rather go for the cheaper Viltrox DC-X3 (and better features/quality) vs the bigger and more expensive Lilliput A11. 3) spending money for a new monitor then opens the door to spending even more money... as I go down the slippery slope of "well, now I should upgrade / get more SDI cables?" then "but what about getting an SDI wireless transmitter? Some of these new ones look very tempting..." And before I know it I'm a few thousand dollars into monitors/cables/wireless/batteries/mounting/accessories/etc 4) with how common just casting video over WiFi is these days, maybe I could simply just live with dedicating one of my tablets to only this task and getting a cage for it? (to protect / mount it with) Am not focus pulling with it! So I can "live with" a small delay.

Atomos just released raw support for the OM-3. https://www.newsshooter.com/2025/02/13/atomos-releases-new-firmware-that-offers-expanded-hdmi-raw-support-for-ninja-shogun/

Why are you dragging the topic into aspect ratios when the thread is called "Panasonic drastic surgery"?

I suspect Nikon might not care too much about grumpy existing RED customers, if the lower prices increase the total RED sales revenue (and they sell expensive Nikon 'cinema' lenses alongside them). Nikon seem to be pretty aggressive on camera body pricing/value these days, and also seem to be taking video seriously as a way of increasing sales and 'market presence'. It'll be interesting to see what their next move is in the 'cinema' market.

It won't happen because it wouldn't have functional IBIS, a feature that everyone knows panasonic for, unless you're talking about a M43 crop on a S35 sensor. I don't see the point. They just want you to buy a S5 or S9. The LX100/ii series had the standard 16MP and 20MP sensors respectively, but they included "cropping" features. The GH2 and the GH5S were the only ones that had the larger sensors with 1.86x crop (I believe). I don't believe the GH5S had crop modes like the GH2 though. Both cameras didn't have IBIS.

I can see only one reason not to use Sony 61 Mpx sensor and go with lower megapixel one: faster readout times. We will know soon.

OK, sorry to hear about the health issues but that then leads me to think a motorhome with a quad bike on trailer is perhaps a better option? First, you have all the proper facilities in one single vehicle, ie, proper bathroom, kitchen, bedroom, office etc. Second, you have an off road vehicle to go off the beaten track with. Motorhomes/campers are a bit of an investment, but quad bikes and trailers are not so much and cheaper than a specialised travel trailer? If it's something VW'ish like a T5/T6, you can get away with it as a main 'family' transport also. Our MH is based on a Citroen Jumper van and though it's an 'off the shelf' pro factory build rather than a custom or self build and it could be used as every day transport, but it's not ideal for that. A 5-5.5m camper could be but 6m (mine) is pushing it a bit. The only thing with campers over motorhomes is you don't get a dedicated bathroom which is fine for short trips, but anything running into weeks, could become an issue very quickly. I used to watch a lot of those van life videos on YouTube and it was hilarious (and ridiculous) just how many of these kids think they can live in a van with no bathroom. Van conversions can and should be built around a bathroom as a very high priority IMO!! Most camper users stay on sites with facilities or the occasional overnight at the coast or similar, but I can park up in a venue car park and be self-contained for up to a week. Of course expeditions can be done on nothing more than a motorbike and tent, but as with all things, where and what is your compromise? My MH is my office, my home and my sanctuary on the road.

Yep. It is not that the camera type does not matter, but there are literally dozens and dozens of options. I would simply A. set a budget and B. set out a list of 'must haves' and see what matches up. As a LUMIX user, I could just say go and get a used S5II off MPB and a couple of different focal length f1.8 primes and you are done, but other options exist. For between 2500-3000 you'd be golden. I don't shoot travel docs, 'just' weddings and for me it's just unbeatable all factors considered; cost, size, weight, performance, near gimbal like IBIS settings, higher end AF. Pretty much all some folks complain about is not having full-frame 4k 60p but how many really NEED that? I've considered Canon several times but would want to go down the RF lens route and it then falls apart for me. I've considered Sony and it just doesn't have some of the features I like that LUMIX does. I've considered Nikon and other than pushing the budget up to Z8 levels, doesn't work for me. M4/3? Could work but I've never really been able to go back to that after tasting full-frame. But as above, A + B and go from there.

I was also about to post about Chimp Empire which I watched after that recommendation! Also, I haven't seen all of King Coal yet, but the trailer and various clips that I've seen from it looked great. The C70 is also pretty affordable nowadays, as things go. Is it the sharpest camera on the market? Nope. You can always rent it, though, to see if it meets your needs. As far as lenses for the C70, instead of buying the latest shiny RF glass, you could also consider permanently affixing Canon's 0.71x focal reducer and using EF glass which is plentiful on the used market and very good. If you're focused on Canon, you could also look at the original R5 which is now available used for about $2,000 and has a nice 8k raw image. I'd also say that, had you not already said you're using the DJI Pocket 3, it would have been my first suggestion... or maybe my second suggestion after an iPhone 16 Pro (or whatever the latest fancy Android phone with a great camera is, probably a Samsung something-or-others). The iPhone can put out some really nice-looking ProRes log footage and it's one of the few cameras out there which will work well in every scenario you mentioned - whereas the C70 is not fantastic in low light and unless you buy a housing costing as much as the camera, won't work well after you submerge it in the water. Working on technique and editing/storytelling is going to do a lot more for your overlanding vlogs than buying $10,000 in gear... venture4wd, one of the most popular overlanding YouTubers uses a combination of action cameras and a Panasonic - I think an S5 II? And he didn't upgrade to the Panasonic until his channel was already big.

Speaking as a person who needs anything over 24fps only rarely, it's great to know that I could easily do that on this camera, even using just standard CF Express cards, albeit with pretty frequent card swaps. And when needing higher speeds, increasing compression ratio is probably fine - not to mention that they're quoting open gate on that page and not 16:9 which I'd be more likely to use (looks like 17:9 crops 16:9) to crop to 2.39 for delivery (it can do scope internally too, but it's nice to have a little bit of room to shift the image up or down a bit in post, without needing a full 3:2 frame for it). Plus as long as there isn't a hit to the DR, I'd also be more likely to use it at 8K or 9K most of the time than to use it at 12K. It'll be interesting to see what people report once more of these suckers start getting into the hands of real people. Most of the tests I've seen have focused on performance in 12K mode which is understandable, but I'm really more interested in the very high dynamic range combined with very low rolling shutter. Edit: I just realized that in cined's lab test, they at least did the xyla 21 with the 4K mode as well as 12K and they were nearly identical - so the 8k/9k modes probably are too. The biggest drawback so far seems to be low light performance - but my Komodo-X is ISO invariant at 800 in raw with the camera-chosen ISO being more of a suggestion for where to distribute tones than adjusting sensor gain - and that's not been a problem at all since I got it.

Blackmagic made a bold attempt to appeal to the mid-market that sadly kinda doesn't exist. It's exceptionally hard in 2025 to sell any non-ARRI camera in any price bracket that's above US$10K. Sony with the VENICE is the only one who has been successful. RED kinda has their little niche. Panasonic? Gone. Canon? Only their sub $10K cameras are successful-ish. Thus BMD made the decision to move their price back down into the sub $10K region, where I suspect/hope they'll find a lot more success. The URSA Cine 12K LF still has very high media costs, however there are ways to work around that, you could for instance record most formats directly to a connected USB drive over USB-C (like you can do with most other BMD cameras). Love how I got my OG BMPCC back in the day when it went on sale for just US$500! (plus the NZD was strong then too against the USD than it is today)

There’s been a few instances of Blackmagic doing a large price drop seemingly completely out of the blue. Their official reason has always been that they lower the sticker price when their cost of manufacturing drops, whether by economies of scale or something else. No idea if it’s true, but they’ve done this type of thing before and I love it. P.S. They also have marginally raised prices on things recently due to supply chain shortages where many other manufacturers haven’t. To me, that points to some truth that they have strict profit margins to maintain without much wiggle room.

I'll put my conspiracy hat on for a moment. Maybe BM knows about imminent competition, and want to get a few more sales out before that happens?

It won't share the same body as the S5 II X. The EVF isn't big enough. The body isn't professional enough, it's mid-range trash. Much more likely the S1H II will come along in a coffin... aka DOA.

I'd rather pluck my eyeballs out. Just because the camera has a new body design, doesn't mean to say it is engineered by OM System. They are still using an Olympus parts bin and reusing the same components, reusing basically the entire camera again and again. Marketing, who needs that? Engineers? Nah. Man there is a reason the OM-1 has an Olympus badge, and the E-M5 III too, which is the basis for the OM-5. The OM-1 Mark II and OM-5 are *rebadged existing products* I don't know why that isn't registering with you. Therefore it is not OM-System but OLYMPUS who deserve 100% of the credit for the OM-1, OM-3 and OM-5, which are the basis for all of OM-System's current line-up = rebranded existing Olympus products. The OM-3 does have a new cosmetic makeover and swaps a few parts out of the OM-1 with the OM-5 like the EVF. OM System since the takeover have merely done a couple of firmware updates, a buffer memory increase and a shell reshaping. Plus a new logo. So I don't understand why you are giving so much credit, you're talking as if they have built a brand new system from the ground up and a brand new camera. That is fucking stupid.