Andrew Reid

Maybe the Leica SL line hasn't sold very well they were non-committal to it hence the old sensors. I agree any higher-end Panasonic from now on has to be at least as good as a Z6 III, and that is being generous as the Nikon doesn't cost $3.5k

All confirms what I have been saying about Panasonic soft-quit of high-end camera market! Leica are charging $5300 for essentially same sensor as a 2018 Sony a7 iii (the 'basic model' at the time, and 7 years old now). Panasonic have been unwilling or unable to find a replacement better spec / faster 24 megapixel sensor in all of those 7 years since the original S1 which again has the same fundamental sensor as the a7 iii, with phase-detect AF turned off via licensing agreement. The SL3-S is another me-too full frame mirrorless camera which cannot stand apart from the competition in any meaningful way. If Panasonic could design a proper camera body, they'd do an SL3-S with lighter materials and a bit smaller, like Sony do, but for half the price. Then it would be fine. As it is, whole thing is a mess and I don't think it's going to sell. Also on the SL3, the 60mp Sigma Fp-L and Sony a7 IV sensor is from a similar era, 2018-19. So unless Panasonic is reserving the latest sensor technology for their cameras and Leica in the region of $5-7k gets the old shit, which doesn't seem to make much sense, I don't think we'll be seeing any high-end cameras from Panasonic this year or potentially ever.

I use the word in jest of course but there is some truth to it Why is a camera as powerful and obviously NOT obsolete as GFX 100 worth only 2k? It is the largest and highest resolution sensor on the market in a 'normal' mirrorless camera, and the best built body with best EVF, and so on... a true $10k professional photographic masterpiece. Whereas the X100 VI is a very cool pocket camera, I don't understand why the image quality of the GFX 100 is worth $0 premium over it... Alas, I will never understand the average photog.

This is a bit like how SLR Magic started off isn't it? I agree it would be a very nice thing... would they sell? Hard to say. C-mount seems to have been a bit like the vintage anamorphic bubble... The early adopters and adventurous production houses gobbled them all up, created a price bubble, but then abandoned beauty for practicality and easily replaced professional Chinese cine lenses. It would be great if Pentax could get their act together and do a Pentax Q size body with a GH7 sensor in it. And market two versions... one for photographers, and one in a slightly different but also very tiny form factor as a Digital Bolex type cinema camera for pros...

The GFX100 devaluation is hard to understand. This was a $10k camera, and although nearly 5 years old, nobody seems to want one. Hence the crazy low prices. They all want the crappy GFX100S which feels cheapo, with a much worse viewfinder and build quality. Something I will never understand about the used market is how a GFX 100 can be worth X100 VI prices and that something as ordinary and humdrum as a Canon Powershot G7X from 10 years ago can be in such demand that it regularly goes for over $800. You have to say the average customer is a bit of an idiot. Good for us though, with all these bargain 100 megapixel 4K cameras!

The SL3-S spec will be interesting because it will show us if Panasonic has been able to get a new sensor supply in their current drought. The Panasonic SL3 has the old Sony 60mp chip, which is slow and has a lot of rolling shutter. It doesn't have the latest stacked sensors of the Canon,Nikon,Sony flagships. Will the SL3-S reuse the same old a7 III / Z6 II / Nikon Zf / S1H / S5 II sensor (with phase-detect enabled)? Or will it finally go beyond to at least a partially stacked chip aka Z6 III? Or will it be something completely different like a Panasonic Organic MOS chip?

Leica have to pretend that their cameras are Leica, not Lumix rebadges.

Oh yes I forgot he was complicit as well in hyping it.

Who remembers when DPReview platformed his "camera" https://www.dpreview.com/news/2936447826/cinemartin-launches-fran-cameras-with-8k-global-shutter-and-raw-support Not a shred of journalism to find out about the guy before they encouraged us all to hand over our cash.

He wants a crash to happen to benefit his rich pals. He won't think twice about upending the economy on a global scale. Get your nice smartphones now before the next round of inflation hits!

A quick present-day update... Here is the Sony a9 which doesn't have S-LOG, which was originally a decision to protect the A7s line. It does however shoot very good oversampled thick 4K H.264 100Bit files that are some of the best I've ever seen even given the relatively high compression by today's standard. In the graded version all the colour casts are gone. A lot more shadow detail. I'm really happy with it and starting to think missing S-LOG isn't such a bad thing.

Ages ago I made some LUTs for the standard rec.709 pic profile on my Panasonic GH4 and LX100 which did lovely 4K, alas this was before V-LOG came out. The LUTs were correcting the standard dynamic range files to make them appear more Canon-like in terms of colour science (Panasonic and even Sony have come a long way since). Digging out these comparison shots... If you view these full size and download the originals, take a look at the book cover in particular. Just shows how even a small change in contrast can dramatically improve tonality in the mids and skintones. This is why I think there should be more SDR LUTs for standard pic profiles. It's amazing what difference they can make and how much you can do with an SDR 8bit 4K file.

Great info @ac6000cw As you can see from the DPReview OM-LOG400 test chart Olympus went for Bart Simpson 701 Space... Big yellow-green shift in the reds and skintones. So any LUT which addresses this before adding further grading would be a nice find.

1.0x crop full frame 4K Cinema DNG frame: 1.3x crop (oversampled from 7K to 4K) Further crop-mode 4K frames all the way to 2.5x crop: Still a native 4K resolution RAW video file at the end... As you can see there is a slight bump in detail between 1.0x full frame and 1.3x crop mode when the oversampling kicks in but given the pixel binned full frame, it ain't bad is it? And this is why the Fp-L beats the OG Fp for me... that juicy 60 megapixel sensor.

Welcome to the forum sir!