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Get yourself a gear cart! Doesn't have to be a fancy industry standard Inovativ film cart. Doesn't even have to be a little lightweight Rock-n-Roller cart on the cheap. Just simply one of these garden trolleys (you can even get fold up versions!) that are as cheap as dirt could do the trick for you! They can be total game changers when it comes to carting your gear around shoots, and making your life easier, with the time you save.

I think certainly for stills, at least at ‘ordinary’ viewing levels which for 99.9999999999999% of all viewing these days is on a device and mainly a phone…and with compressed images at that! The artist/craftsman in me still and always will fight back against that even if I am the only one that sees or even knows about it. It’s one of the reasons I am chasing more megapixels. It’s not because I think it improves the image in any way as such, but because I can crop ever harder with a lower loss of quality which means I can use smaller and lighter kit which has so many benefits including enjoyment. Tech for tech sake no. If it’s just data on a spreadsheet, who gives a shit, but when that tech relates to real world quality of life…

Understand the genre you are making, what works in the edit and what doesn't. Most discussion of camera features is just noise coming from people that don't know what matters to them and what doesn't.

Cool, now what they really need to add is LUT support. Especially considering the current log assist mode isn’t really that reliable for exposure. Another major one would be open gate. If they add both LUT support and OG, I’d switch to Nikon in a heartbeat.

Whatever the personal preference on the shots, part of the question for me would be whether that's a capture-time decision or a decision to be made in the edit/color grade. I tend to favor the latter. Best to capture a flexible "negative" that can be manipulated after the fact. As an example, I recently shot and then colored a short film with someone else doing the editing. The editor complained after my first color pass that it was too contrasty and dark. The scene is a tense scene in a hallway with a man in military gear guarding the rear while his comrades rush off. The light in the hallway is flickering and supposed to be faulty. For me, bringing the levels down and crushing the shadows (and yes, losing detail!) was absolutely the right call. The darkness and contrast help to convey the tense feeling of the scene... and flickering lights tend not to be strong! Anyway, thankfully the director/producer liked the darkness so we went with it... but the washed-out look seems really fashionable these days (and I'm not all that here for it).

Another comparison between a high dynamic range scene in 2049 vs similar shot from the original... I personally think the HDR 2049 scene looks too peaceful and clinical, milky, hazy. Whereas the high contrast in the old film looks far more dramatic and in keeping with the brutality of that dystopian world.

Mine is more like this: But came with less vegetables.

Monster Adapter are about to release an F to Z mount adapter that incorporates a motor to drive old AF-D lenses. So thats another boatload of high quality very affordable lenses that can now be used with Z mount cameras. It really is the USB of lens mounts.

Another vote for the S5. I got mine used from Japan for $535 and it looks like new. They gave that camera a new life with the later updates too… I have mine as a B camera with a Ninja V+ on it because that last big update gave it raw 6k, 4k s35 and 3.5k anamorphic raw. So with the S9 you get all the latest lumix has to offer but the S5 makes a really sweet B and C cam now. And that sensor has such a nice look to it compared to the over sharpened S5ii. It’s not a big deal but I feel like it looks a little closer to the S1H. My only gripe is that they never really figured out how to do L-Mount speed boosters for Panasonic cameras. I emailed metabones 3 or 4 times and they never gave me a reason. I have been told there isn’t enough room but some of the other shorter flange distances work so who knows… luckily at this point we’re finally at FF 60p with no crop moving forward. I do however have the Kipon Focal reducer to adapt the Mamiya 645 lenses to the S5 so that’s been fun. Since AF isn’t the best I doubled down on vintage, manual glass. Second I would say the small bit mighty Fujifilm X-M5 at $800. Like a baby X-H2s with quite the list of video record options. Ranked 8th best in DR tests by Cine D. And quite the image with 6.2k open gate and 60p/120p 4k. Rolling shutter can be a little bad in the open gate modes but there are some other faster options to choose from if that’s your priority. Also, the Raw output (6.2k 3:2 and 5.2k 60p) is unexpected in such a tiny and cheap camera. Just have to get a locking cable bracket because it’s micro HDMI. No IBIS so makes for a good drone cam or car mount/action cam and matches perfectly with the X-H2s. Fast data rate speeds and 4.2.2 color with F-Log options. lens tangent: I have been using it with the little Blazar Nero 1.5x adapter for Anamorphic 6k and love the results. The Blazar is a little wild at full frame but for APS-C it looses the funky edges and looks a lot cleaner. Plus you can add it to your lens of choice and have fun with it. I’m adapting some 60’s Japanese rangefinder lenses to M mount and they pair really well with the Blazar.

It was the $1500 fire sale on the Cine 6K. Picked that up plus an S5iix and S5ii. I got three great cameras for less than $4500. I’d been teetering on switching back to Panasonic, and I’ve always loved Blackmagic, so the stars aligned to make the switch back from Sony economical.

Well I have been around, but this website is a bit dead, @Andrew Reid isn’t posting anymore. I agree with his panasonic post. The era of 5DII and Magic lantern and GH4s etc used to be fun. Now not so much. Also, as everybody here knows, I spent most of my time out here on this forum complaining for years that it was unbelievable we had good phase detect AF in one body, good IBIS in another, good 4K in another, 4K120P in another, great full frame stills in another, but nobody would release a camera with all that. Well Canon did it with the R5 5 years ago. I bought it, and stopped complaining lol. So I haven’t much to say. Oh actually I do have something to complain about. I am a lot into landscape drone photography/video now. For years, I have been waiting for the combination of vertical shooting (DJI Mini) with high quality (DJI Mavic PRO). Can’t believe I have to carry multiple drones. Fortunately DJI listened to me and is releasing the Mavic Pro 4 next month, with excellent IQ as always for the pro line and finally, yes finally vertical shooting. Jesus they took their time… That one is an instant buy! As for my R5, I am happy with it. The R5II is a joke for me, not too much reason to upgrade. Any new camera that is being released recently is not really better than the R5 so nothing to get excited about. Well, the R5 II is not as much of a joke as the new Sony A1 II though. Those guys managed to release the exact same camera years later for $6500 haha

Video performance is so close to its peak that people run out of things to whine about, splitting hair on frantic panoramic movements that no one will ever shoot in real life.

D800 and Pentax K-1 Best stills image quality from 10 years ago I agree there's been a plateau. The main difference between 2015 and 2025 if we're talking stills is that the GFX 100 II now exists. 100mp, and larger than full frame. That's quite a good advance. In video the progress has been much more noticeable due to the speed and less heat of modern CPUs and sensors.

And in some context - main take away from the video is that if you are focussed on a compelling subject, rolling shutter is not what people are paying attention to:

In China launch event there was this slide that says 5 new companies joining the L mount DJI, Blackmagicdesign, Samyang, Astro, disclosed before. The 5th can be Viltrox.

I really don't think there's a better camera under $1,000 than the Lumix S5. 24mp for photos is enough for me most of the time, and the footage is really, really nice, some of the best I've ever worked with. It's capabilities are pretty much unmatched for the price. I'd also add the GH5 and G9 as really great values. You can get the GH5 for around $600 and if you know what you're doing you can still get great images from it. The GH6 is also under $1,000; that's a lot of pro features for a camera under $1000 and is only a few years old! I've heard it's better than the S5ii X and I think the S5ii X's AF is very good.

Emanuel = part Confucious, part early AI bot. I literally have no idea what you are talking about...but at the same time, appreciate your efforts!

🤯 So some early doors impressions of the Nikon... It's been out a while so I won't get into the specs again. The overwhelming impression is that Nikon are mad bastards. It's as if they have taken the Z9 and gone... right let's make this better and reduce price by a lot. Everything about it I prefer to the Z9. The price, the size, the newer features and firmware updates since launch which I am discovering for first time since I sold my Z9 a couple of years back. Size wise, it's barely larger than my EOS R5. Weight is impressive given the slightly oversized body vs the Sony cameras. It feels chonky but light at same time which is a nice feeling. I am reminded how well the Nikon Z mount filter stack works at fast apertures. The manual glass I have like the Voigtlander 40mm F1.2 VM is like a different lens on the Z8 compared to the EOS R5 and Sony a7 IV. The glowing edges are gone at F1.2 and less fringing too. F1.2 looks almost as good as F2! I have gone deep into the menus and decided that there's absolutely nothing missing. The different levels of compression for both RAW stills AND RAW video is refreshing especially coming from Panasonic where's there's only ProRes RAW with very large file sizes or uncompressed Cinema DNG on the Sigma Fp-L. Nikon with the RED patent clearly will lead the RAW video codec race for perhaps the next 10 years or more. I want to do a comparison in 4K (where you can toggle between pixel binning / oversampling!) between the higher bitrate N-RAW and 700Mbit/s smaller file size N-RAW. Of course ProRes RAW is also in there. No mechanical shutter doesn't seem to be a problem so far and you can make it do a cute beep when taking a shot instead of a tacky fake shutter sound. Rather a quiet or optionally silent stills camera than one with a loud average shutter clack... although I will one day miss the 'feel' of a quiet mechanical shutter with a satisfying heft. X-H1, Leica SL2, GFX 100, to name a few. There are still a few mechanical sounds coming from the Z8. And one of them is actually quite annoying... It parks / locks the IBIS mechanism to save power / protect the camera every time you enter the main menu. It parks it with quite a loud clank and unlocks with a similar clank when it activates again. Wish there was a way to turn that off without disabling VR. The only other mechanical part is the sensor protection curtain which comes down at power-off, but you can choose whether to have that off or not. The EVF is enormous. In optical terms the best I've ever used. In resolution terms, perhaps not the absolute most detailed but right up there. Can you use it for manual focus at F1.2 without peaking? Absolutely. There's not this feeling you are looking through a tunnel. It's smooth, high contrast, a big FOV flat with no distortion. The rolling shutter appears to be a complete non-issue and there's no crop whatsoever in 4K/120p. Not tried the 8K/60 yet. I have a few 512GB CFexpress cards to test. Got a feeling I might need to go bigger. I am glad I resisted the tempting Nikon Zf. Only thing I am unsure about is whether the Z8 shares the same level of locked-down IBIS performance in video mode as the Zf, as that was quite incredible. Also tested the Nikon 28-200mm travel zoom which has been reduced recently to around 650 euros. I am surprised how small it is and how light. Sure, it's slow at f4-6.3 but it seems pretty sharp and nifty as a shot getter. The 28-75mm F2.8 Nikon Z is also incredibly small and light for a bright zoom. Not tried the Sigma ART E-mount range yet via the Megadap adapter but those are next up.

Initial impressions of the cart if anyone is interested. I'm pretty happy with it! It weighs probably 40-50lbs total. The wheels are super smooth and removable; it glides over everything, but when not loaded up the swivel wheels can shake a bit. Probably due to its lower weight of the cart itself. The whole thing folds up nicely. Everything feels sturdy enough—not at all "real" production cart quality, but not that price either. It says it can hold 400 lbs. I don't know if i'd want to load it up to that, but certainly 50-75lbs per shelf would be fine. The only thing that worries me is the top shelf. It's fully removable and it clicks down onto the frame with heavy duty plastic clips. I wouldn't load up the top shelf too much for fear of sheering weight snapping the fixtures. The middle scissoring framing also means you have to load the middle shelf from the ends. Not great, but probably necessary design to keep the weight down but the payload capability up. It's not super wide. I was hoping to fit my 1510 case sideways, but alas it overhangs by a fair bit; probably will need to strap it down sometimes.

What do you do with 2, 5, 10TB of files though afterwards? It mounts up. You then have to either delete the masters or transcode them. The latter option could get very time consuming and the former option can only be done if you transcode unless you want all the original footage gone forever. Another difference between client videography and art. With a client they are happy when you throw 2TB at them and say keep it, it's yours. But if you've just spent a month filming your short film, no way are you going to compress all that to mush or delete it.

One of these is getting delivered today. $450 on amazon. I’ve been searching for a lower-tier production cart with the right balance of features, weight, payload, and price. I hope this fits the bill.

Yeah I don’t really think stills burst rate limits correlates to open gate. There are cameras from Panny and BMD that offer it with much older tech. Personally I wouldn’t mind if it were offered with certain codec/fps restrictions just as long as it’s an option. Fingers crossed.

Yes. I got my fold up off Amazon for under €70 and it has been one of the best purchases of my career for sure. Instead of 3-4 trips from vehicle to venue, it’s been a single one each way.

I agree the X-S20, X-M5, X-T5 all contenders for value champ. If you look at just full frame cameras under $1000 then it gets less complicated. APS-C and crop sensor cameras have always been plentiful bargains. There's a lot of them to choose from.

My Nikon 28mm F1.4 AF-D will like that. AFD still very popular in Germany.

Beyond the CPU capability for 10bit. Sensor can do 8K/60p so open gate 8K 30p would be no issue for it. CPU encoder that's on the limit, i.e. HEIF and HVEC.

I agree, the S5 and even more the S1 (with better IBIS, 6K and Open Gate) are fantastic value, I still have these camera along with the even older A7III. For my use, I much prefer the S1 or S5 over the A7III, the video quality is much better, there is no annoying NR or detail smoothing at high ISO, the details are well maintened whereas the A7III looks quickly mushy, a bit like the S5II with rec 709 profiles. The IBIS is also much better on the S1 and S5. Only the AF is not as good as the A7III, but with the last firmwares and the last Sigma lenses like the 28-45mm, it is much faster than before. I don't have any issue if I don't shoot fast moving subjects. Some old lenses like 35mm Sigma F2 are almost unusable on these cameras though ... Yes ! The GH5 is also a great value, even if I have most recent m43 cameras like the GH6 or G9II, the GH5 is still unbeatable for 4k/Open Gate quality and the Open Gate can be used at 60 fps ! The GH6 is special, lot of issues even with the AF, but the colors are the best I've seen on any Panasonic camera.

I can make a case for both such as say; single body with 24-70 vs two bodies, one on each hip, with say a 28 and an 85. It's certainly more convenient to zoom, but it does mean a larger and heavier unit in your hands which over a typical 12-15 hour day, adds up and just isn't as enjoyable at any point throughout the day. It's really when we get about 100mm that zooms tend to make more sense to me because we tend to have 85/90/105 and OK 135, but there isn't really much in prime land above 100'ish' compared with below. At this point in time, I am in the 'one & done' camp, but that does require 3 lens changes albeit, not regularly. Possibly, but right now I'd pick the S9 for video based on current spec and let's not forget the twist & tilt rear LCD. I doubt even that would work my friend 😘

Exactly! Video peformance is harder to max out (to the point at which we reach "the plateau"). No surprise there, as doing video with 24fps (or 30fps, or even 60fps) is a lot harder to achieve than stills with perhaps 1fps (or even say 5fps, for comparison the famous Nikon D800 could only do 4 frames per second). But eventually technology improves, and now we're seeing video performance also entering "the plateau" (arguably we're already well into it). I agree, what a LLM such as ChatGPT can do now for language translation is many lightyears ahead of what say Google Translate could do even just a few short years ago. Especially when it comes to picking up nuances of tone, cultural differences, slang, and other tricky translation issues, then a LLM is a zillion times better than old school translation tools were. Doesn't the DJI Mini 4 Pro and DJI Air 3S shoot vertical video already?

Don't judge each day by the harvest you reap but by the seeds that you plant. ~ Robert Louis Stevenson

I agree with this. I'm all for embracing constraints and I loathe the HDR look, but preserving options for choices post-capture I like.

Sorry guys, I had to do it. I really don't get this guy anymore. This video would be perfect for the "Rise of the salesmen, Death of the artist" thread. @Andrew Reid feel free to delete this post

Oh hey look, Ed Prosser’s. Video I mentioned a while back. Look @eatstoomuchjam now you don’t have to waste your time googling anything. Here it is, delivered right to you.

The Z8, and Z6 III just got firmware updates a week or so ago for shutter angle.

Since I had the Z9, Nikon seems to have been on a firmware update rampage. This is just for the Z8... ■ Still Photography • Added [Pixel shift shooting] to the photo shooting menu. • Added new picture controls. • Added [Birds] to [AF subject detection options] in the photo shooting menu. • The maximum shooting display zoom ratio is now 400%. • Added [Auto capture] to the photo shooting menu. Users can select capture criteria from [Motion] (the direction the subject is moving), [Distance] (how far the subject is from the camera), and [Subject detection] (whether or not a subject of a given type is detected). • The length of time the camera will continue to buffer frames before cancelling shooting during the Pre-Release Capture phase of high-speed frame capture + has been increased from 30 to 300 seconds. • Added [Large] to the size options available for [Secondary slot function] > [JPEG primary - JPEG secondary] in the photo shooting menu. • Added new bracketing increments for use during auto bracketing with [AE & flash bracketing], [AE bracketing], or [Flash bracketing] selected for [Auto bracketing set]. This change also applies to [Interval timer shooting] > [Options] > [AE bracketing] > [Increment]. ■ Video Recording • Added new picture controls. • Added [Birds] to [AF subject detection options] in the video recording menu. • The maximum shooting display zoom ratio is now 400%. • Added [Auto capture] to the video recording menu. Users can select capture criteria from [Motion] (the direction the subject is moving), [Distance] (how far the subject is from the camera), and [Subject detection] (whether or not a subject of a given type is detected). • Added low ISO sensitivity options to [ISO sensitivity settings] > [ISO sensitivity (mode M)] for use during N-Log video recording. • Changed the range of speeds available for Hi-Res Zoom. • The color of the in-focus AF-area brackets shown on the shooting display when Hi-Res Zoom is enabled has been changed. • Hi-Res Zoom operations can now be performed using the sub-selector. • Added slow-motion video recording. ■ Playback • Added [Playback speed] in the video playback “i” menu. • Added [Auto image rotation] in the playback menu. • Added [Auto series playback options] to [Series playback] in the playback menu. • Made changes to the [Select for upload to computer] and [Select for upload (FTP)] items in the playback “i” menu and added [Select for priority upload to computer] and [Select for priority upload (FTP)]. ■ Controls • Added [Half-press to cancel zoom (MF)] item to the [CUSTOM SETTINGS MENU] in positions d18 and g17. • Added [Focus point border width] to a11 [Focus point display] in the [CUSTOM SETTINGS MENU]. • Changes have been made to how a full format is performed with [Format memory card] in the [SETUP MENU]. • White balance and exposure compensation can now be adjusted while recalling the shooting function settings. • Added support for the power zoom feature on power zoom lenses. • Added an [Exposure delay mode] item to the [CUSTOM SETTINGS MENU] in position d6. • Added to the custom controls and roles assignable via the following items in the [CUSTOM SETTINGS MENU]. New reset options have also been added. - f2[Custom controls (shooting)] - f3[Custom controls (playback)] - g2[Custom controls] Choose [Prefer focus point] or [Prefer focus point (face priority)] for f3 [Custom controls (playback)] > [Main command dial] or [Sub-command dial] > [Frame advance zoom position]. The settings for f3 [Custom controls (playback)] > [Main command dial] or [Sub-command dial] > [Frame advance] can now be applied during playback zoom. • Made updates to [Non-CPU lens data] in the [SETUP MENU]. • Increased the character limit from 3 to 256 for “Category” entries in IPTC presets. • Restructured the [Camera sounds] item in the [SETUP MENU] with the addition of new options, including new sounds and volume level adjustment for the electronic shutter. ■ Displays • Added focus-distance information to the focus distance indicator displayed during manual focus. • The option selected for [Viewfinder display size] (formerly [Finder display size (photo Lv)]) in the [SETUP MENU] now also applies in video and playback modes. ■ Network (Also NX Field) • A warning now appears when the connection to an ATOMOS AirGlu BT accessory is unstable or disrupted. • ATOMOS AirGlu BT accessories and MC-N10 remote grips can now be used together. • Made changes and additions to the [Connect to FTP server] item in the [NETWORK MENU]. • Changed the procedure used when configuring the camera for synchronized release, increasing to twenty the number of groups that can be created, while the number of cameras in each group that can be controlled from the master camera has been increased to sixteen. • Added [Overwrite copyright info] under [Connect to other cameras] in the [NETWORK MENU]. ■ App-Related Changes With NX MobileAir: • the camera live view display for photo mode now shows NX MobileAir status, and • camera settings saved to a memory card using [Save/load menu settings] can now be downloaded to the smart device or copied from the smart device to the camera memory card using NX MobileAir. ■ Other Changes • The time the shooting display goes dark after shutter is released when [ON] is selected for [Photo flicker reduction] in the [PHOTO SHOOTING MENU] has become shorter. • Improved the accuracy of [3D-tracking] for small, fast-moving subjects when [Auto], [People], [Animal], or [Vehicle] is chosen for [AF subject detection options] and no subject of the selected type is detected. • Improved focus lock-on with flicker detection in low-speed continuous release mode. • Made other improvements to the autofocus operation and its reliability. • Fixed an issue that sometimes resulted in the viewfinder darkening during playback when [Auto] was selected for [Viewfinder brightness]. • It is now easier to obtain the correct exposure from the first shot during interval-timer photography in high-contrast settings or settings dark enough for starlight view. • The histogram display is no longer available when starlight view is enabled. • Changed the video low-capacity warning so that it is now displayed in white on a red background when there is less than one minute remaining. The warning is now also displayed when recording is not in progress. • Users now have more precise control when scrolling through videos during playback using the progress bar. • When [AF-area mode] is set to [3D-tracking] and the human subject is large relative to the frame and multiple eyes are detected near the tracking focus point, the camera will assign priority for focusing to the eye closer to the point. • The RGB histogram is now easier to view when [Mode 1] or [Mode 2] is selected for d11 [Warm display colors] in [CUSTOM SETTINGS MENU]. • Fixed the following issues: - Photos taken with interval-timer photography could sometimes be underexposed. - Flash may not sometimes fire during focus shift. - The focus position unintentionally returned to the position saved using [Save focus position] if standby timer was expired while power was supplied via USB and a WR-R10 was attached. - Optimal exposure could sometimes not achieved in burst or focus shift shooting. - Pressing the AF-ON button immediately ended playback when [Playback] was assigned to [AF-ON button] and [Prioritize viewfinder (2)] was selected for monitor mode. - Shutter release was sometimes disabled when “Bulb” was selected for shutter speed. - Focus point selection using the multi selector and sub-selector was unavailable if a touch operation was performed using [Position focus point] when [3D-tracking] was selected for AF-area mode. - Fine-tuning values set in [AF fine-tuning options] in the setup menu did not apply while the subject is detected with [Wide-area AF (S)], [Wide-area AF (L)], [Wide-area AF (C1)], or [Wide-area AF (C2)] selected for [AF-area mode]. - With some lenses, the shutter release was sometimes disabled in burst photography if the lens zoom ring was rotated. Changes from “C” Firmware Version 1.00 to 1.01 • Changed the timing of the high-temperature warnings appearing when the camera’s internal temperature increases mainly during video recording. • Changed the position where the memory card high-temperature warning is displayed in video mode. • Fixed the following issues: - The battery would draw down more quickly while the camera was off if [ON] was selected for [Connect to smart device] > [Wi-Fi connection] in the [NETWORK MENU] even if [OFF] was selected for both [Bluetooth connection] and [Upload while off]. - Focus could still be adjusted using the focus ring when [Disable] was selected for a15 [Manual focus ring in AF mode] in the [CUSTOM SETTINGS MENU] if an option other than [Non-linear] was chosen for f9 [Focus ring rotation range] in the [CUSTOM SETTINGS MENU].

Looks good https://digitalproduction.com/2025/02/10/redcine-x-beta-embraces-nikon-n-raw/

More than making sense... It's like the refrigerator POV shots... Hitchcock once called it the cow's perspective when Truffaut asked him why there were no establishing shots for the trains with his movies...

You mean it is good at focusing sideways then? 🙂 I would choose S5 over anything pre-A7 III as well as 2012 cameras aren't my bag. Do you mean a7 IV? I just think the a7 IV is superior to the S5 in so many ways. And not in the small stuff but big... The autofocus. The viewfinder. The mount. The resolution. The lens adapters. The ergonomics. No-phase-detect-AF is a no-go for 2025. I just don't know why you'd want to put yourself through the inconvenience especially for video. For stills with native Panasonic glass you can usually get away with DFD just fine though. The Z6 is like $650 used now, probably one of the all-time great bargains as far as bang for image quality goes.

I’m curious how you find the grading workflow and latitude, especially compared to R5 log & RAW. I had trouble getting the log exposure right.. Check out the new RED luts, especially the technical one. By the way, latest Z9 update brings some cool stuff including shutter angle options. That should trickle down to Z8 pretty soon imo.

Forgive me because I've been terribly sick and am just waking up, but the rolling shutter only seemed really noticeable when dynamic range was on. For everything else it looked fine.

I have the 40mm f2 on my Zf and it’s a perfect match. Toyed with all kinds of options but nothing so far beats it for me. But re. the Z8, it was a VERY close call for me choosing the A7RV over it and what won it for Sony was: Cheaper ‘like new’ used Smaller & lighter Bigger sensor Mech shutter Best rear LCD on any camera Native relatively compact Tamron lenses…because there is some distortion adapted with the Megadap. But I do like the chunk and the build of the Z8 and am so glad I did not buy your Z9 in the end Andrew because I think the size & weight would have become an issue quite quickly. And I work out 🦾 Not a lot between the Z8, S1Rii, R5ii or A7RV and I’d be happy with any of them…except RF glass is still somewhat limited and pricey so the least fave option. A pair of Z8’s with adapted Sigma f2 primes could be a very nice option though…

I think he just makes cameras that he himself wants to use and feels there are enough like minded people around who will want to as well. And if not, well, they sell enough lenses to cover it anyway.

I would be very pleased if it was Tamron for their mid range compact & lightweight fast zooms, but I suspect Sigma would veto that.

Hopefully SLR Magic.

It's the only way to stand up against a fascist dictatorship, you can't do it like the democrats with their little slogans and signs, and Micro Four Thirds cameras... You have to have a warship, and a big bazooka on the front.

They still have three registered but unannounced camera. One of them is probably a fixed lens. One of the remaining two can be S1Hii.

1) good directors who actually know what they want and are flexible if whatever they want is outside the scope. 2) as many good crew members as you want who are better at the technical minutae than you. 3) realistic planning and budgetting from production

I’d rather have a phone inside the Sigma BF. But I bought a RED Hydrogen so what do I know…

Some believe Panasonic is on the verge of shutting down, a narrative that a few users continue to push. I suppose their decision to release the S1R II instead of an S1H II only fuels that perception. The main criticism of the S1R II is its rolling shutter—something even Panasonic has acknowledged, advising those who prioritize it to choose a different camera. Essentially, Panasonic can't win. Pack everything into a camera, and it's too expensive. Leave something out, and it’s not "the very best." The real question is whether it offers good value—and, like most Panasonic cameras (new and used), it clearly does.

I'm honestly a little shocked at the reception to the camera on some forums. It provides a fair bit of upgrades to both the S5ii and the S1R while still staying at a lower price point than the competition, and even it's own predecessor. It seems to me that every brand's offerings are more or less the same with little differences here and there while also offering their own distinct competitive advantages. I can't help but notice that many folks want Panasonic to do everything Sony or Canon does, PLUS their own thing. Or that these manufacturers have running checklists that they compare and contrast to each other line by line when developing a camera versus largely doing their own thing. I preordered the S1Rii so my bias is clear, but as someone heavily invested into the Lumix S system I can't see this as anything but a solid camera for their lineup.