IronFilm

For it to be full frame then f2.8 might be tricky ish to keep it super compact. But at the very least a 28mm f4 (i.e. roughly doubling the 14mm f2.5 specs) should have been possible!! (or heck, why not at least f5.6??? Why does it have to be f8 for goodness sake??) Maybe third-party lenses will have to come to the rescue to say the Panasonic S9 as a true "everyday walk around camera". Such as this pancake lens for only US$99 (manual focus only), 35mm f5.6: https://www.bhphotovideo.com/c/product/1628287-REG/7artisans_photoelectric_a006b_l_35mm_f_5_6_lens_for.html Or the Sigma 17mm f/4, or Sigma 24mm f/3.5 , or Sigma 45mm f/2.8, all are autofocus lenses: https://www.bhphotovideo.com/c/product/1757611-REG/sigma_415969_17mm_f_4_dg_dn.html https://www.bhphotovideo.com/c/product/1605137-REG/sigma_24mm_f_3_5_dg_dn.html https://www.bhphotovideo.com/c/product/1492965-REG/sigma_360969_45mm_f_2_8_dg_dn.html Or adapted M Mount lenses: Voigtlander 21mm f/4 or Voigtlander 28mm f/2.8 or Voigtlander 35mm f/2.5 or Voigtlander 35mm f/1.4 or Voigtlander 40mm f/1.4 or Voigtlander 40mm f/1.2 or Voigtlander 40mm f/2.8: https://www.bhphotovideo.com/c/product/483740-REG/Voigtlander_BA211P_Color_Skopar_21mm_f_4_0_P.html https://www.bhphotovideo.com/c/product/1781163-REG/voigtlander_ba379e_28mm_f_2_8_color_skopar_m_type.html https://www.bhphotovideo.com/c/product/326913-REG/Voigtlander_45BA245C_Color_Skopar_Pan_35mm_f_2_5.html https://www.bhphotovideo.com/c/product/1494427-REG/voigtlander_ba347c_nokton_classic_35mm_f_1_4.html https://www.bhphotovideo.com/c/product/355977-REG/Voigtlander_45BA246B_Nokton_40mm_f_1_4_M_Mount.html https://www.bhphotovideo.com/c/product/1378116-REG/voigtlander_ba342a_nokton_40mm_f_1_2_aspherical.html https://www.bhphotovideo.com/c/product/1695929-REG/voigtlander_ba324e_heliar_40mm_f_2_8_aspherical.html Or instead of Voigtlander, go with a cheap Chinese brand of lenses, TTArtisan 28mm f/5.6, 7artisans Photoelectric 35mm f/5.6 (same US$99 lens as before, but in a more versatile M Mount instead of L Mount), AstrHori 40mm f/5.6, 7artisans 28mm f/5.6: https://www.bhphotovideo.com/c/product/1711280-REG/ttartisan_f2856blm_28mm_f_5_6_lens_for.html https://www.bhphotovideo.com/c/product/1628285-REG/7artisans_photoelectric_a006b_35mm_f_5_6_lens_for.html https://www.bhphotovideo.com/c/product/1794221-REG/astrhori_a11b_40mm_f_5_6_lens_for.html https://www.bhphotovideo.com/c/product/1702411-REG/7artisans_photoelectric_a011b_28mm_f_5_6_lens_for.html Nah, as it is adapted M Mount (unless there is an adapter which grants AF to manual M Mount lenses?? I've seen such amazing feats accomplished with an E Mount adapter, has anybody done this for L Mount too??) The Panasonic S9 is however a massive improvement of any smartphone camera, and so long as they make it nearly as very easy to post immediately to social media as it's possible with your own smartphone, then perhaps the S9 still has a niche for the social media addicted content creators. The integrated gimbal the DJI Osmo Pocket 3 has is hard for anything else to compete against in this market niche. It's better than the IBIS of the S9 for sure! But for photographers, then the S9 is going to be more appealing than a DJI Osmo Pocket 3

I wonder if that indicates they've ceased production of this camera?

This DoP I just very recently shot a web series with (filmed on a Panasonic S5IIX primarily, sometimes with S5mk2 as a second camera as well) just uploaded a video with his initial impressions of the Panasonic S9: I was just looking at their prices a second ago! Absolutely shockingly expensive. Seems like a lot of the small mini sized cameras, not just the GM5 (but also the GM1, GX8, GX85, etc etc), from Panasonic are more overpriced than I thought they would be.

The end is near: https://petapixel.com/2024/04/16/the-trailer-for-the-worlds-first-fully-ai-generated-film-is-here/ Kinda irrelevant. Even if prices jacked way up so that the price matches the costs, that's still going to be dirt cheap vs the price to make a film the traditional way. Plus you're just thinking about the costs today. What was the cost of a gaming machine to run Doom back in 1997?? Kinda pricey! $$$ What does it cost these days to run Doom? Next to nothing is the cost https://doomwiki.org/wiki/Can_it_run_Doom%3F

What the... HECK???? That makes no sense at all, unless they're planning to just let RED slowly die?? But when I read the article myself, I see it in a completely different manner: 1) will take time to integrate Nikon and RED together, might be years. There is a lot to do! So with all the other stuff on their plate, perhaps a Z Mount Cinema Camera won't be the first thing out the gate, maybe it will be one more cycle down the road. (maybe they want to make a BIG impact with it when they release it? Have awesome AF with RED) 2) they want to keep their loyal RED customers happy during these turbulent times, so "for now" they'll reassure them by keeping RF mount There is a very cool mod for a Fujifilm camera however: https://www.newsshooter.com/2024/04/16/old-fast-glass-ofg-custom-65-rehoused-fujifilm-gfx-100-ii-cinema-camera/

Yeah a headphone output would be nice, could use it as a quick and dirty back up, booming with just a cabled boom straight into the Deity recorder. But not a big deal it is "missing", as overall this is looking very appealing to me, might get one myself.

Yup, and maybe Nikon might only offer the very highest compression rate (and only that one option, no others) of redcode in a future Nikon Z30 mk2? Thus having it nominally a whole line up from bottom to top end all integrated together, but also keeping their cheapest entry level cameras "simple to use" (only one compression option for redcode) and giving more serious enthusiasts even more of a reason to upgrade to a Z6mk3 or a mythical "Z500" (the mirrorless D500)

Well I guess Sony is already doing that with Sony RX10, RX100 and even the RX0 have slog!! So yes, it would be good if Nikon does this too, make it very easy to mix and match together the full range of cameras in a professional workflow.

That only goes in one direction. Sony users jumping over into the newly beefed up Nikon ecosystem, who are bringing over their Sony lenses. But Nikon shooters can't go over to Sony cameras and use their Nikon Z Mount lenses. This one way directional traffic is a good thing for Nikon.

I'd suggest Nikon needs something a heck of a lot cheaper than the Z9 to capture the TikTok / IG / YT crowd. What I'd suggest is a pair of cameras: Nikon N3 (i.e. a Nikon FX3, and priced as such), put basically a large format Komodo into Nikon's spin on a FX3 body (i.e. it's "mirrorless" but with a better design for filming with, such as more mounting points, TC input, a built cooling fan, etc) Nikon N30 (i.e. a Nikon FX30, and priced as such), put basically a Komodo (but sticking with S35, rather than going with LF) into Nikon's spin on a FX30 body (i.e. it's "mirrorless" but with a better design for filming with, such as more mounting points, TC input, a built cooling fan, etc) What there needs to be is a very smooth transition from the low end no budget shooters all the way up to the highest-end productions. Sony is dominant partially because they've done this so very perfectly, for example a person could easily do this progression of cameras (either buying or renting them along the way as they progress): Sony ZV-E10 (or even older cheaper secondhand models such as a Sony NEX5 or whatever) => FX30 => FX6 => FX9 => VENICE Canon sort of almost did this themselves, which also contributed to their dominance as well before Sony took the throne, such as back in the day: Canon T2i => 60D => 5Dmk3 => C100 => C300 , with just the absolute very top end of the market after the C300mk1 was lacking from Canon back then. It's actually even worse now for Canon as they have with the RF Mount (example step stones here for a path of progression for a new user): Canon R100 => R10 => R6 => R5 C => C70 => ....nothing??? To have the RF Mount range of cameras for filmmaking from Canon max out at only the C70 level (which is a lot lower than the C300 was positioned at, relatively speaking back in the day) is a problem for Canon. I assume if a C300mk4 ever comes out, that will have a RF Mount and partially fix this issue? But Canon still lacks any answer for the VENICE (or BURANO). Nikon has a massive opportunity to do here something that only Sony has currently, have a perfectly seamless upgrade path from the cheapest entry level camera for your kid, all the way up to the cameras used on the biggest Blockbuster AAA Movie Titles, with no gaps along the way where users might drop out and be lost at. It's not just about career progression either, you're also making it easier for a mixed bunch of users to work together. I'm shooting a short film on a FX9 and I've got a mate starting out who has a FX3 who wants to come along to shoot a 50/50 mix of promotional BTS footage and B Cam setups for the film itself? Perfect!! Or we're filming a feature film on a couple of VENICE cameras but we've got a big action day where we want heaps more cameras to get all the coverage we need? (especially if there are crashes/explosions, it might be a one time only opportunity to capture these moments for the films) No problem! We rent out all the available FX9 bodies available locally to be the C / D / E Cams, and we buy half a dozen FX30 bodies (or even Sony RX0 cameras!) to position strategically to be crash cams (if we lose the cameras, no big deal! So long as we can salvage the footage from the SD cards). Or maybe a director is scouting locations or shooting rehersals with their own FX3 camera, and they capture some perfect magic lightning in a bottle moment that they wish to include those few seconds worth into the edit of the main timeline that was shot with VENICE cameras, again this is once again a lot easier thanks to all being kept in the Sony family. Or any of zillion other examples. If Nikon has all future REDs have a locking Z Mount, and their mirrorless cameras using redcode, and doing everything else they can to make the transition between them as smooth as possible (similar UI where possible, built in looks shared across them, etc) then Nikon can create a huge advantage for themselves.

There definitely a newcomers who'd be weighing up their options of what to get, and will now choose this new BMD camera. Less buyers for other systems = lower prices on the secondhand market. Simple Econ101 Also there are lots of people who went with ZCam or old REDs or such, specifically because BMD didn't offer what they wanted. But now BMD does! It's very disappointing it is only one SDI output. Should've been two independent SDI outputs! (or at lead have a second output that is HDMI) As the lack of this will make using this game on set rather restrictive. Am curious what a bag/field mixer/recorder from BMD would be like! Something even better than the Zoom F8n??

As I already power everything (Sony PMW-F3 + FS7 + my Mixing Bags with the recorder / receivers / etc in them) with BP-U batteries then this is great news for me! Unfortunately I'm kinda in the same boat. Especially as for a few years now then the videography has just been a smaller side line to me vs my main business of being a Production Sound Mixer. Plus with the crash in the media industry and the economy in general, I think I will need to diversify my work (to non-media industry stuff) and aggressively watch my spending (no more cameras). The good news though is that a lot of cameras that where in the $3K to $4K ish region of pricing on the secondhand market will I think be pushed down even lower by the release of a Pyxis. As why buy an old barebones RED DMSC1 body for $3.5K when you could get a brand new BMD Pyxis 6K with warranty for even less??? So those will tumble in price, which will in turn force down the prices of other secondhand cameras as a domino effect. (sub $1K Panasonic Lumix BS1H camera perhaps? sub $500 ZCam E2-M4?? Maybe, who knows. Perhaps once the BMD Pyxis has been out for a couple of years, and has kept up with buyer demand, and secondhand ones are showing up on eBay at even lower prices than RRP. Which will in turn put pressure on prices of everything else) A pity that Pyxis doesn't however have the interchangeable mount that the URSA Cine has.

I wonder the reasons.... 1) the crash of the media industry lately? Thus less money to spend 2) the economic recession in general? Thus less money to spend 3) the continuing rise of social media? And thus the fall of web forums as the place to be 4) just like with photography, the average affordable video camera out today is already "good enough" for filmmaking? (perhaps the decline we've seen in nerdy discussions about photography, will happen now with filmmaking too) Thus a ground breaking new camera no longer feels the same way as a ground breaking leap forward as before. As honestly, look at what we had before the P4K, it did make the P4K seem like a big deal! For its low price and great features. While today the PYXIS 6K is definitely awesome and at a great low price, but we already have so many similar-ish cameras at similar-ish (or cheaper) prices with similar-ish prices. And a lot of the great things in the PYXIS 6K are not things we necessarily need. It just feels like the leap forward from where the competition was beforehand was bigger with the P4K than it is today with the PYXIS 6K

Given the estimated pricing for the Nexus G1 vs the low pricing and great features of the newly announced Blackmagic camera, then I'd say the Nexus G1 project is surely now dead??

Even so, that would be a MAJOR announcement. I look forward to the next generation of the RED Komodo having not just a Z Mount, but also being priced the same as Nikon Z7 What about making them for PL Mount???

Panasonic does tend to implement and do video a bit better in their versions of the cameras than Leica's

Over on Nikon Rumors, a commentator posted this summary: http://disq.us/p/2y0773n Doubt it, that would be a big waste of the $$$$ they spent to buy RED.

What reassurances would you be needing? I'm not a RED user myself these days (although back when I was still more seriously aspiring to be a DP, I was the DP a fair few times with a RED camera), but if I was then I'd be seeing this as good news. Because now you've got a small niche player having the backing and support of a major global company. (well, by camera manufacturer standards) Hopefully some of Nikon's reliability and customer service abilities will rub off onto RED itself? Maybe Nikon's huge manufacturing capabilities will also lead to lower prices for future REDs? Maybe we'll see a sub US$4K Komodo?

Gee, I hope you never discover what the sports bureaucracy in other sports get up to.... Name a Top 10 finisher (not just in the TdF but any Grand Tour, or heck, even any of the Classics) from that era who you're certain wasn't ever taking drugs? I feel as a fan to be stressing and worrying over who was or wasn't is a futile exercise. Just enjoy the racing for what it is. (and got to admit, the racing during that era was a lot better!) I never said that. Oh sure, and Óscar Pereiro has never had any doping allegation scandals around him! /s 😅😂🤣 If you fully believe he's totally clean then I have a bridge in Brooklyn to sell 😉 This proves the point about how totally different Lance Armstrong has been treated, as a scapegoat and a punching bag for the entire world's media (not just cycling media) to beat up upon. (just to be clear btw, I'm no great fan of Lance Armstrong specifically! In fact his existence kinda annoyed me back then, as Armstrong prevented my favorite rider from winning any more TdF titles!! If not for Lance, then I think he'd have gone on to win even more titles than Lance did. Oh well) (also just to be clear: yes, what he did is wrong. It's wrong to dope. But when you consider the broader context, I find it impossible to get as super hyped up furiously mad about it as so many others seem to be. It's merely disappointing, not some kind of greatest scandal since Watergate)

What high profile professional sport does not have drug taking? The only reason cycling gets so much flack is because they're a hell of a lot more transparently open about it & the media actually talks about it. Which it would be good if other sports & the media did this too! Had more open transparency and discussion. (for instance, have you ever heard of Mohamed Katir? Or the Chinese female distance runners of the 1990s?) Which is what the sport of cycling is. (especially in that era) You're proving my point here. You can't give out all the wins to anybody else but Lance Armstrong, thus it is utterly farcical to remove it from him when you've got no remotely good options whatsoever to replace him with.

@Dave Maze (David Altizer) just posted about the Nikon purchase of RED:

As a hard core fan of cycling racing for many years, I'm quite lukewarm over this, don't really care. If you somehow believe Lance Armstrong doesn't deserve the wins, then who does? 2nd place? No. 3rd place? No. 2nd place? No. 4th place? No. 5th place? No. 6th place? No. etc etc etc It indisputable that USA Postal during that era was the king at the sport of cycling (well, at least the #1 when it came to TdF wins, which to the casual external viewer is all that seems to matter. Even though the sport of cycling is so so so much more). Just like Red Bull is right now for F1.

RED will probably make a competitor to BURANO, even if only tangentially so. (such as an updated RED V-RAPTOR) And RED is now part of Nikon, thus it would be Nikon making it. What does that have to do with RED??? (I can't watch that video due to copyright)

Panasonic 70-300mm f/4.5-5.6 is only 790grams (sub $1K to buy too!). But I presume that lens is too slow for you?

At least Nikon gets recognized as part of the "Canikon duopoly" (although in the mature mirrorless era, Sony has broken that duopoly). But I agree, it seems Nikon got seen as the forgotten poorer stepchild in that duopoly. Even though Nikon has produced so very many ground breaking / top tier stills cameras themselves, such as the Nikon D700 / D3 / D800 / D750 / D500 / etc Good point. Nikon has got a bit of an old fuddy duddy branding of stereotype cameraman photographers. So maybe a little bit of the bold brash youthful branding of RED mixed in could be "a good thing"?