ac6000cw

From DPReview's 'Initial Review' - https://www.dpreview.com/reviews/sony-zv-e10-ii-initial-review So in 4K with digital stabilization, that's total crop of 1.45x (out of an APS-C sensor, so it's close to being a 12MP M43 sensor equivalent when digital IS is enabled). But it's cheap for a 10-bit 4K60p large-sensor camera and the 4K rolling shutter should be decent. (Why do Sony - and some others - persist in fitting low-res 1.04 million dot screens to their cameras? At least the S9 has a decent 1.84 million dot screen)

I like and use their cameras, but I think unless OMDS gets its R&D really motoring I suspect it won't be around long-term in it's current form - re-cycling older camera tech and doing mostly cosmetic makeovers of existing lenses isn't really a sustainable strategy if you're competing with giant corporations like Sony and Canon. It's been 3 1/2 years since JIP took 95% ownership of OMDS and we've had one new camera with 'new tech' inside it - the OM-1 (which was mostly developed before the takeover), a 'mark 2' warm-over of that, and one re-packaging of the E-M1 iii tech into a smaller body - the OM-5. This seems slow progress for a company with 1850 employees and a 'Share Capital and Capital Surplus' of 41.7 billion yen (USD 258 million) in March 2023. As for Panasonic M43 - it might surprise us, but I'm not hoping for much more than maybe a GX9 equivalent based on the S9 body with an EVF added. The G9ii/GH7 sensor would be great, but it might push the price too high - on the other hand that would be re-using the sensor and tech from those cameras so maybe not...

Yes, good point, I'd forgotten about the F3 - https://zoomcorp.com/en/gb/handheld-video-recorders/field-recorders/f3/ Less than half the size of the H4e but about the same weight (but you get 4-channel recording capability with the H4e). Now there are some decent mics around with built-in A-D converters and a USB-C connection (and all the recorders that can operate as a USB mic), I think it's time that video-orientated mirrorless cameras dropped the 3.5mm jack input and supported USB digital audio input devices instead...

The second link is to an in-line attenuator, the opposite of a pre-amp... Another option is to use a decent hand-held recorder with XLR inputs as the mic amp then feed the output of that into the camera. if you use one of the latest Zoom models (e.g. the H4essential) you can have a 32-bit float backup recording as well.

Oly/OMDS cameras I've used have an 'MF' function you can assign to a button - it stops C-AF and enables the lens focus ring. After you've done the manual focus, press it again and AF takes over again. When going from MF to AF it doesn't force the AF to re-focus so basically (if C-AF is enabled and the in-focus part of the image is within the AF area) the C-AF will hold your focus. Also in MF mode you can push the AF-ON button to force an S-AF re-focus. On my OM-1 I normally have video AF set to C-AF, then using the MF and AF-ON buttons I can switch between C-AF, MF and MF+S-AF while recording if I want to. (Oly/OMDS cameras don't have an AF-lock function, so the MF function is the next best thing - you just have to be careful not to touch the focus ring accidentally...)

The 'n-stops of IBIS' ratings are based on shooting stills. They are a comparison of 'how low a shutter speed can we hand-hold and get a sharp image' so it's about the image being as 'locked down' as possible. The behavior of IBIS in video mode is normally different, where usually it looks much better if it's 'floaty' to a reasonable extent. Also everyone holds and moves the camera differently, so video IBIS behavior that works great for one person might not work as well for another. You really have to try the camera and decide if you like the video IBIS behavior.

Yes, it's a version of the 'no one gets fired for buying IBM' situation - it's all about minimizing the (large) financial risks in high-end production. A very different situation from a one/few person production company doing filming and post-production in-house with their own relatively low-cost workflow (e.g. using Blackmagic cameras and software).

Sounds sensible to me - small, light, unobtrusive and take 'good enough' video and stills. The same basic reasons I'm about to go out for the day with a pocket-sized ZV-1 instead of my OM-1 (despite the terrible battery life and the annoying user interface).

Which MediaInfo visualisation is the best one to see all the extra info?

A few Oly/OMDS lenses have OIS and support Sync-IS (their version of Dual-IS) i.e. the 12-100mm F4 and some of the long and expensive telephoto lenses.

Lens was Oly 12-200mm, used at the wide end (maybe between 12 and 15mm). No lens OIS. With IBIS at +1 level you get some jitter with fast camera movement, so level 0 would be better for that. Enabling EIS in the camera should handle walking much better. If I was going to use the 'walking' parts of that video I'd probably also add stabilisation in post. (I don't normally do 'walking with the camera' stuff, but I happened to have that recording).

For an example of walking with the OM-1 using just sensor-shift IBIS, see my post here - https://www.eoshd.com/comments/topic/87236-how-do-om1-mkii-or-even-om1-dci-4k-video-quality-comparing-to-gh7-or-even-gh6/?do=findComment&comment=713229

Just added a clip of walking along using only sensor-shift IBIS (probably on the max +1 video stabilisation setting) in the 'IBIS_walk' folder (OM1_walking_with_IBIS_P8260305.MOV) It's quite wide-angle so has a fair amount of corner warping, but I really like the way it becomes very stable as soon as you stop walking.

Personally I doubt we'll see a GH7s. More likely (if they think it's going to be profitable enough), they'll put the sensor and processing of the GH7 (minus IBIS and mechanical shutter) into the BxH1 box body to create a BGH2. Or not bother and just update the BSH1 into a BSH2 with the guts of the S5ii/S9 inside (minus IBIS and mechanical shutter). How about an S9 without IBIS but with some active cooling as a small/light FF crash-cam - replace the foldout LCD with a much thinner fixed screen, with the fan behind it (GH6/GH7 style)?

I think they did. As a semi-disruptive startup company, RED didn't manage to dominate their market so instead they've sold out while there's still some value in the company.

I assume the crash-cam market is meant to be covered by the BGH1 (which has the 10Mp GH5s sensor) and full-frame BSH1 pro video 'box' cameras.

...and the (analog SD video) 'Sony Video8' 🙂 It's quite an eclectic mixture of cameras in the bottom half of the 2021 list. The Sony A7S is also relatively popular - I wonder if those are actually all the original, FHD, 10-year old version, or if it includes the later versions with 4k video?

As the 4032 x 2268 RAW video is listed as [FX] (full-frame) in the tables, I think it probably is down-sampled - a couple of pages from the Z6 iii manual:

From the GH6 manual: I see what you mean about 5.7K versus 5.8K. I wonder if the extra image/video processing needed for 5.7K (about twice as many pixels per frame as C4K) is reducing the processing power available for IBIS control, so it can't react as quickly? As an illustration of what I said in words in an earlier post, below is an image circle with 4:3 (yellow), 16:9 (grey) and 17:9 (red) rectangles inside it. Note how the corners of the 16:9 and 17:9 rectangles are further inside the circle than the 4:3 rectangle (the full 5.8K 'open gate' aspect ratio). In reality, the usable image circle is larger than needed to contain a 4:3 rectangle - if it wasn't, sensor-shift stabilisation of 4:3 'open gate' video or stills would be impossible without vignetting.

Yes, it's interesting how people react differently when you have a mic with furry on a 'proper' camera, even though there might be several other people in the vicinity taking photos and video with their phones. As I don't usually have people as the main subjects in my video, I often try and find a filming spot away from them to avoid the issue. At least now that video shooting is so ubiquitous, it's been a long time since someone wandered over and asked me 'what's that furry thing on the camera for?' 🙂

After allowing for the 11mm vs 12mm FOV difference and slightly different overall brightness of the two, both images look much the same to me. The Samyang 12mm image is a little bit softer (and has a blue lens flare in the middle of it), so I'd probably lean towards the Sony 11mm due to better contrast and sharpness.

Just educated guesswork, but that might be because it's using the full sensor area (instead of a vertically cropped area in UHD and C4K), so the IBIS can't move the sensor as far while staying within the image circle of the lens. Assuming the horizontal field-of-view is the same in 5.7K, UHD and C4K, the corners of the frame will be closer to the image circle limit in 4:3 than in 16:9 or 17:9.

From the GH5ii manual (there are equivalent modes when the camera is set to 50 Hz or 24 Hz 'system frequency') :

Guys - please just stop all this childish personal insult stuff. It's boring and adds nothing to the discussion.

I suspect when I shot the 25p video I forgot to change the shutter speed from 1/100 (180 degree shutter for 50p) to the 1/50 needed for 25p. That would make it look stuttery/jumpy. All of the video samples were shot handheld, with only sensor-shift IBIS enabled (probably at the highest, +1, stability setting).