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To save you bothering to watch that video (as pretty as the visuals are) here is what it ended up being about.

The JPEG engine seems to be about as competent at handling sensitive details as Trump's defence pick. The artefacts also depend on what the ISO is. Big difference between even just 80 and 100... Keep your eye on top-right square... ISO 80 ISO 100 And now at ISO 3200 the lines come back but still with smudgy areas where you'd least expect them to be. So odd... One thing present in all the pixel shift high-res shots is a horrific amount of over-sharpening compared to the OG S5, causing the dark black outline on text for example below... And all this on a photography orientated high-res model. Although to be fair the original S5 JPEGs have this as well in pixel shift mode.

https://www.photonstophotos.net/Charts/RN_e.htm After you selected the camera, click on the name above the chart, it opens the table As you see in R5m2 all points are triangles, meaning noise reduction on RAW at all ISO settings.

I don't know - whatever "read noise (e-)" and "saturation (e-)" are, they seem much better on the Panasonic at the same ISO value in general (except 400?) and especially at the lower ISO's, they seem much better - and DR seems better at every ISO as well. "Does a bit better than a camera that many consider to be one of the industry leaders" is not nearly a condemnation that would lead me to say that Panasonic got it wrong. 😃

https://www.theguardian.com/film/2024/dec/04/disney-snow-white-live-action-movie-cgi

Am sure this is the first and last time I'll ever see rifles being used to construct a diff frame! As on the weekend I was working on a friend's little short film, he was the Director / DoP / Writer / Editor / Gaffer / DIT / 1st AC / "Everything" (even acting in some of it!), except for Sound (which I of course did. Although I helped out a little teeny bit sometimes in other areas too, such as lighting). Due to the nature of the shoot (almost no crew, basically no budget, and out in the middle of nowhere) we had very limited amounts of gear at our disposal. So while a couple of combo stands with a proper diff frame was constructed for the first scenes of this film we shot down at the beach (which even that took a fair bit of hiking through the bush to get to), later on when we went further up the hill/cliff, then the heavier stuff was ditched. As wasn't viable to keep on carrying everything with us (and even a little dangerous? A little further on up from here is where one of our actors ragdolled their way down when they slipped and fell. Luckily they're still ok! Pity that moment wasn't caught on camera). Thus you see the improvised situation here! Making the best out of what we had at hand in the moment.

On DPReview you can check all the cameras added to their database https://www.dpreview.com/products/search/cameras#! Not including the niche ones, or weird re-releases of Panasonic compacts, I came up with this... GFX100RF / S1R II / Sigma BF / Powershot V1 / OM-3 / Leica SL3-S / Sony a1 II / Nikon Z50 II / Fuji X-M5 / Leica Q3 43 / Canon Cinema EOS C80 / EOS R1 / R5 II / Sony ZV-E10 II / Z6 III / GH7 / S9 / X-T50 / GFX 100 II / GR III HDF / Leica SL3 / X100 VI / OM1 II (7000+4500+800+5900+6500+900+800+7000+5000+2000+1000+2000+3500+5000+7500+1300+1600+2000+2500+1000+6000+1600+2000=77,400) All RRPs in Euros for the notable new cameras released in the past 12 months. 77400/23=3,365.217 If you take out the crop sensor models / APS-C, we get an average price of 4350. Who do they think we are? Oligarchs?

Anyone geeking out over the gorgeous lens choices of Season 3 of White Lotus? Season 3 shot on Sony Venice with DP Ben Kutchins. From what I can find out they used a lot of custom vintage Leica M glass from Zero Optik this season with maybe a handful of OMs as well. Last couple of seasons featured Zeiss Superspeeds, Cooke S4s, Baltars, Angénieux, Panavision Primos and Canon EF Zooms. Quite the buffet... A lot of people complain about the overuse of shallow DOF but it's creatively used in my opinion and only extreme in a handful of shots. Plus those shots are justified as a narrative tool in those instances. Tons of other shots with deep focus and the series always does a great job of establishing the exotic locale. I'm actually working a press event with HBO and the cast of season 3 next week here in Los Angeles and really looking forward to it.

At least it won't be 7 years though.

I'm in the UK too, and tend to go to Everyman. Sure it's a bit more expensive than Odeon, Cineworld, etc but at the risk of sounding like a tremendous snob, it keeps the riff-raff out. They show a lot of older films, too - I watched Mulholland Drive there last week. First time I'd ever watched a David Lynch film, would you believe!

The price is fantastic, and the autofocus looks very capable too. There's very little action under $1k with new releases so good on Fuji for keeping some excitement going. Latest image processor is a plus too. I would like to see what Small rig have in store, grip wise. A nice wooden grip please.