Alt Shoo

The price drop for the BMPCC 4K could definitely hint at Blackmagic clearing out stock, but it might also be part of a strategic push to reignite interest in the MFT ecosystem. If they’re planning a newer version with Pyxis inspired specs while retaining the MFT mount, which I doubt, it would not only keep current users invested but also attract new filmmakers looking for affordability without sacrificing quality. Interestingly, a lower price tag on the BMPCC 4K could spur a resurgence in MFT lens purchases, which would help keep the standard alive and thriving. MFT has been quietly losing ground to larger sensor formats, so moves like this could strengthen the system overall by drawing attention back to its flexibility and affordability. I recently wrote a blog post briefly mentioning this very topic, how price cuts like this can reshape the market and reinvigorate interest in lens standards like MFT.

If I were consolidating cameras, I’d personally lean towards something that bridges the gap between hybrid and cinema functionalities. For me, it’s why I shoot with the Panasonic GH7 and the Ronin 4D. They work seamlessly together and align perfectly with my workflow. I’ve also got my eye on the GFX 100 series of cameras, which i’m so ready to create with. The medium format look is just unbeatable for certain projects, and it feels like the perfect complement to my setup. If I were in your position, I’d consider what role that “consolidation” would play. For hybrid shooters, something like the Z8 or a used Sony a1 is hard to beat for versatility. But if I were going for pure creative potential,(albeit slowly with time to think) the GFX 100, even the fp series would win for me every time. It really depends on whether you’re prioritizing flexibility or a unique look that elevates your work. What’s your gut telling you?

I think EVFs are great in controlled environments or bright conditions, but they can be impractical when you need peripheral vision or quick adjustments. As for the articulating screen idea, it’s clever. A larger screen that tilts, slides, and hides buttons underneath could be ideal if designed well and built to last. It’d keep things compact while improving usability. The rotating grip is another cool idea. Canon nailed it on the XC10 and their cinema cameras. Adding that to mirrorless bodies could make handheld shooting so much more comfortable. Camera companies should really explore these kinds of features.

Totally agree… gimbals definitely have their place, but they’re not always the solution for every situation. I’ve had plenty of headaches balancing the camera and dealing with all the extra components like monitors, cables, and batteries. It’s such a hassle when time is tight. That’s actually why I invested in the Ronin 4D. For those times when I need a specific stabilized shot, it’s been a lifesaver. I’ve been pairing it with the GH7, and together they’ve been a solid combo for getting great results without the endless setup. It’s nice to have that kind of versatility when the job calls for it. Also, props to you on planning to pick up the OSMO Pocket 3! That’s a smart move. It’s so compact and efficient for quick, stabilized shots. I think it’s going to be a great addition for those times you just need something simple and reliable.

Is Sony truly the main manufacturer for these screens? Sheesh, sensors and screens??? No good. I just picked up the GH7, and I’m thrilled about finally being able to record raw internally, such a huge step forward! But, it’s frustrating that I still have to attach an external monitor just to get a better viewing experience. I shouldn’t have to do that. The internal screen just doesn’t cut it when it comes to detailed monitoring, especially for critical focus or exposure checks. For all the innovation in the camera’s internals, it feels like the monitoring experience is still stuck in the past. It’s a bit of a letdown, considering how far we’ve come in other areas. Hopefully, the industry starts listening to what users actually need and steps up soon.

You bring up some really valid points, especially about the lack of innovation in the overall design. It does feel like camera manufacturers are stuck in this loop of “samey” designs, prioritizing compactness and physical controls at the expense of what could be a game-changing feature. A truly great built-in monitor. The idea of a “cartel thing” with Sony dominating the supply side of LCDs is interesting, and it wouldn’t be surprising if the industry politics are playing a role in why we aren’t seeing progress. But even with those limitations, it feels like there’s so much room for improvement. A redesign of the camera body to accommodate better monitoring could push things forward, but as you said, there’s a clear reluctance to break away from traditional concepts. I also think the hesitation to innovate might come from the fear of alienating loyal users who are used to the current form factor. But at some point, manufacturers need to take risks. If phones, drones, and even affordable monitors can pack in amazing screens, why not cameras? It’s frustrating because we’re not asking for flashy extras. Just practical tools that would make our work easier. Hopefully, someone eventually decides to break the mold and push for better built in solutions. Until then, we’ll be stuck rigging up and wishing for more.

Something is bugging me with camera manufacturers. We live in a world where our smartphones have these amazing high resolution screens. Super bright, super sharp, and packed with detail. Even affordable camera monitors that you can attach to your rig offer incredible image quality. So why don’t hybrid and cinema cameras come with built in screens that match this level of quality? And why are the screens they do have so small? I get it, manufacturers want to keep the cameras “compact.” But let’s be real. Once you start adding external monitors, cages, batteries, and other gear, that compact idea goes out the window. Your camera isn’t small anymore. It’s a rigged up machine A bigger, high quality built in screen could save so much time and effort. No extra gear, fewer cables to manage, and one less thing to power. It just makes sense, right? Cameras are getting better and better in every way higher resolutions, faster processing, incredible dynamic range, 32bit audio. So why not the screens? It feels like a missed opportunity. I’d love to see cameras that embrace bigger, brighter, and better built-in screens. It’s not just about convenience, it’s about making the shooting experience smoother and more efficient. What do you think? Would you prefer a cinema camera with a killer built in screen, or are you fine sticking with external monitors?

I get it, but here’s the thing, while Panasonic’s marketing for the S9 does mention the casual shooter, the features they’ve packed into it are clearly aimed at more advanced users. That’s where the confusion comes in. Panasonic seems to be trying to appeal to both casual users and professionals, but the camera’s actual design and capabilities are more aligned with the needs of the pros. It’s a bit of mixed messaging. They’re promoting it broadly, but in reality, the features go far beyond what most casual shooters are looking for. The launch only added to this confusion by targeting the wrong lenses and reviewers, which didn’t align with casual users. So, while the marketing might say “casual,” the S9’s functionality clearly points to a more advanced audience. And that brings it to another frustration. Panasonic’s split between MFT and L-Mount. Instead of unifying their systems, they’re pushing L-Mount for full-frame, which leaves Micro Four Thirds users feeling a bit sidelined. It would’ve been smarter to find a way to make L-Mount lenses compatible with MFT bodies via an adapter. Sure, there are technical challenges, like the difference in sensor size and flange distance, but companies like Metabones have shown that it’s possible. If Panasonic had figured out a way to bridge the gap, it would have been much easier for users who are invested in both systems. Instead, we’re left juggling two separate ecosystems, which doesn’t feel necessary when both could benefit from more seamless integration.

Let’s be real, Panasonic isn’t targeting the casual shooter with this model. They’re aiming at the semi pro and advanced enthusiasts who need high end features, and dropping the price too low would undercut the value of what it offers. Plus, Panasonic hasn’t been silent. Look at the release of the GH7. This clearly shows they are investing in high quality gear and advancing technology, especially for video professionals. They’re not just coasting along. They’ve made it obvious where they’re headed with their recent releases. As for capitalism, it’s not just about keeping up with market trends. It’s also about knowing your market. Panasonic knows who they’re building for, people who need reliable tools for serious work. Yes, companies need to innovate, but that doesn’t mean dropping prices on premium products. There’s always room for new shiny tech, but the truth is, the features that cameras like the S9 and GH7 offer will remain relevant for years. Sure, things move fast, but you don’t need a new camera every year to stay competitive. The quality these cameras deliver is more than enough for most work, even as tech advances. So, while we all want more affordable options, Panasonic is sticking to its guns, building tools for those who need them long term rather than chasing short-term trends.

It’s easy to jump to conclusions about a lack of hype for the Panasonic S9, but that doesn’t necessarily mean it’s not selling. I’ve found a few YouTubers who reviewed the S9, such as in this review where it was tested over the course of a week with a focus on how it performs in the field. The reviewer didn’t hold back on both the good and bad points. As for the lack of YouTube buzz, it’s worth noting that just because a camera isn’t flooding review channels doesn’t mean people aren’t buying it. Some users may be busy using the camera for actual shoots rather than focusing on making reviews. The S9 is packed with professional features like LUT integration and 6K video, which are meant for creators who are likely more interested in putting it to work than reviewing it. Finally, B&H reviews alone don’t fully represent the bigger picture. Many people don’t leave reviews, even if they’re satisfied with the product, and a lack of complaints online can often mean that users are content.

Lowering the Panasonic S9 to $999 wouldn’t make sense given what it offers. The S9 has a full-frame sensor, which delivers better image quality than the APS-C sensor in the Fujifilm X-M5, especially in low-light. It also has 6K video recording, in-body stabilization, and advanced video tools like LUTs, making it ideal for hybrid shooters. The X-M5 is more affordable because it’s built for enthusiasts with fewer high-end features, like a smaller sensor and no IBIS. The S9 is an entry into pro-level cameras, not an entry-level option.

Was trying to edit my other post to add more of my thought, but I guess I was too late… As a camera tech aficionado, I’ve noticed gear buying has become more about status than skill, even among so-called “professionals.” The pros I’ve learned from? They stuck with their equipment for years and still delivered incredible work, focusing on mastering their tools instead of chasing every new release. That said, I’ve evolved too. I used to scoff at autofocus, but now, as a one-man band, I need gear that lets me concentrate on composition and sound without worrying about missed focus. That’s why any new camera I get has to have dependable autofocus. I’m leaning toward the GH7 for its 32-bit audio. Its perfect for solo shooters. And while the X-M5 has stunning image quality, I’d only consider it if the autofocus could keep up. For now, the tools I have are more than enough.

It’s curious that there’s so much frustration over the lack of a new Panasonic release when the current lineup, especially the Lumix S series, already works well for most users. If your camera is delivering solid results, why panic over something new? It’s not like your S1H or S5 II suddenly stopped producing high quality images just because the S9 didn’t trend on YouTube. And speaking of YouTube, the lack of hype doesn’t necessarily mean poor sales. It could just mean the people who actually own these cameras are out doing what they were meant for… shooting. Not every user is interested in reviewing specs and chasing the next best thing. Sometimes, when things work, they just work. Are people really going to drop a system they love just because they haven’t heard the next announcement yet? Sounds more like a patience problem than a Panasonic problem.

Panasonic’s history of aggressive discounts around Black Friday is worth keeping in mind. Last year, for example, we saw major price cuts on their S5 models, some up to $800 off. If the S9 follows suit, it could make the choice between it and the X-M5 even tougher, especially for anyone prioritizing video features and stabilization. That said, Fuji’s value proposition with the X-M5 remains strong, lighter, more portable, and a mechanical shutter are huge advantages. It’ll be interesting to see which camera wins out for those looking to invest during the sales season. Anyone else planning their purchase around these upcoming deals?

The Fuji X-M5 looks pretty exciting, especially for the price. The open gate sensor is a big plus for anamorphic shooters. The lack of in body stabilization is an issue. As for autofocus, Fuji’s “AI-driven” system sounds promising, but I’m waiting to see how it performs in real-world scenarios before getting too excited. I’ve got my own thoughts on how it compares to something like the Panasonic S9, especially when it comes to autofocus and video. But what y’all really think? On another note those film simulations look good for quick work.