Emanuel

Actually, I was making exactly the opposite point from the one you made it sound as though I was making : D when I mentioned Lumix alongside the Oly case ; ) The other point is simply that one lens isn’t necessarily the same as another ; )) While much also depends on the way the operator handles the camera, a lens with optical stabilisation can make a night-and-day difference... speaking as someone who uses glass with and without it every day on the FX series :- )

The lens can also play a relevant role in order to reach the result you intend or need : ) even though, Oly or Panasonic may overcome it indeed :- )

Luna Ultra firmware update... v1.0.283: I-Log monitoring, zoom and general operation have improved a lot, while the POV Head Tracker (one of my favs, as you already know ; ) now also works with the camera mounted upside down, with better control accuracy and standby power consumption on the detachable display has also been reduced : )

@newfoundmass@MrSMWFX30's stabilization is not necessarily bad at all... it requires a proper operator! : P Maybe @kye is serious up there, maybe not ; ) I am :- )

Not at all! Love my FX30, a bargain to say it simple ;- )

And I am far from alone on this one: https://www.digitalcameraworld.com/cameras/sony-rx10-v-review

PS: That 600mm reach makes it interesting if/when it costs less than a grand... mandatory then? OK, less than a grand and a half! : P Anything over $2K would put it in a different category, for sure. And not only for wild life... Nonetheless. Disclaimer: FX30 + 16-300mm owner here. Has the FX30 + 16-300mm killed the RX10 V? ; ) The FX30 gives you a cinema body: APS-C/Super 35, 10-bit 4:2:2, S-Log3, S-Cinetone, 14+ stops of claimed latitude, 4K 120fps, active cooling, dual card slots, full-size HDMI, better rigging options, better audio with the XLR handle, and interchangeable lenses. The RX10 V is now much stronger than the RX10 IV for video: 4K60, 4K120 cropped — probably around 1.43x vs 1.62x on the FX30 — 10-bit 4:2:2, S-Log3, S-Cinetone, LUT support, 4K30 USB streaming, digital audio through the MI shoe, and AI subject recognition, whatever that means... But it still has one SD card slot, a fixed lens, a tilting rather than fully articulating screen, no IBIS, and remains more of a high-end bridge/photo camera than a cinema tool. Sorry to be the party pooper but yes: the RX10 V has more reach, about +33% compared with the FX30 + 16-300mm combo, plus an EVF and slightly less weight. The RX10 V lens is faster in pure exposure terms, but once you factor in sensor size, f/2.4–4 on a 1-inch sensor works out at roughly f/6.5–10.8 full-frame equivalent. The FX30 + Sigma 16-300mm is roughly f/5.3–10.1 equivalent on APS-C/Super 35, so between 28mm and 100mm equivalent the FX30/Sigma combo can be up to about one stop better in equivalent-aperture terms. The FX30 already gives you a 24-450mm equivalent range with that Sigma lens, plus everything above, plus interchangeable lenses, for a similar price or even less.

100% correct : ) Nuts. - EAG

https://www.youtube.com/@CtrlAIDelete/videos CtrlAIDel is helpful, to say the least... Just look at this, quite vividly represented, shall we say. That V pretty much tells you where to look… : D Or this one, where you’re probably used to having their ad pop up right in front of your eyes: CtrlAIDel is a channel that investigates AI tools, crypto projects, and digital services by analyzing their claims, their creators, and their real credibility. Most online tools look convincing on the surface but fail when you trace who built them, what they previously created, and how consistent their results actually are. This channel focuses on: - breaking down AI and digital systems beyond marketing claims - exposing patterns behind misleading products and services - analyzing founders, companies, and past projects behind the tools - showing where trust breaks before money is lost No hype. No surface reviews. Only source-based analysis.

Found this guy — no idea if he is one of us EOSHD’ers : P but if not, it would be nice to see him here ; ) https://www.youtube.com/@TheGrowingPro/videos Seems fairly enthusiastic : ) Fascinating collection of stuff to dig into, and a bit of variety among all the new releases. He’s a fan of the GH series too, with some lovely thoughts on a few cams, opinions, ideas and concepts many of us share here (brand-agnostic as well, which is always a plus in my book), and he’s also into medium format! Maybe not the kind of fancy channel people are used to seeing pop up there ; ) but that can actually be a good thing these days : D Pretty much gets my vote ;- ) @Parker I've just watched the full 6:13 video you shared with us. Thanks for that, I really enjoyed it. Pity you haven’t kept going with more stuff since then. What happened in the meantime? To borrow from your own thread title: why not? :- )

Well, a bit hard to resist to 17-stops of dynamic range of the new D-Log 2, isn't it? ;- ) source More on that here, in the edit.

Now, about using it in summer... are we talking about a mild summer, or an actual summer that isn’t even properly hot, where the camera doesn’t need to suddenly remember it has thermal limits? Here’s a useful 45-minute guide: And last but not least, one of the best comparison tests I've found so far, if not the most interesting with a unique range of pros and cons is here, as well as probably the smartest use of a fine example for low light is there (serves as tutorial too). To those who still think this unique accessory called the POV Head Tracker is merely pointless/meaningless, take a look at what Insta360’s CEO Insta360’s CEO said on the matter, when he said he hopes “that one day everyone will forget cameras even exist” : o EDIT — Worth adding too: the new Pocket 4P/Pro filters are already starting to appear, alongside the brand-new D-Log 2 enabled by an equally new next-generation LOFIC image sensor. And what about noise texture or quality of the grain in D-Log and D-Log 2 when testing the ISO range? A 2nd test, colour included, plus a comparative analysis between the two and against S-Log3 no less*, from another reviewer here. BTW... Also not to forget the bitrate difference likewise highlighted by this old-school written comparison/review: Pocket 4P/Pro goes up to 180 Mbps versus Luna Ultra’s 120 Mbps, exactly 50% higher. The question is: what will be the real-world impact of that extra compression headroom in demanding scenes and heavier Log grading? * A 5-stop difference in D-Log 2 and a full stop in D-Log... a 4-stop gap between the two! Well, who would have guessed? ; ) + another test: compared with the full-frame a7 V [LINK] : X

A couple of my cousins did this a couple of decades ago : ) with Kodak disposable 35mm film cameras. No photographer, no wedding videographer at all ;- )

Love the way you put it! : ) As everyone of your posts BTW < 3 Thanks, always a pleasure reading you : ) Great-juicy-post BTW part II ;- )