newfoundmass

Will this be edited in post or will it be connected to a switcher? If it's being done in post then you've got a lot of options. Pretty much any camcorder that allows you to custom white balance will work. I filmed lots of multicam shoots with the Sony hdr-cx580. It's an older camera, but it was decent in low light and worked really well. If they're doing it live then two GH5 cameras with primes would work. Even if they do the editing in post the GH5 is a great option, but I specifically say this because it has the full size HDMI out. If they prefer camcorders then the Panasonic HC-MDH3 is the cheapest camcorder you'll find that has a full size HDMI, at least that I know of.

I'm going to be able to play around with one in a few weeks but overall I'm pretty underwhelmed from what I've seen and heard. I know people who absolutely love it, but when really looking at it a lot of the things that I'd want are actually in the GH5II. 4K 120p would be nice, but I don't need it, especially since I've gotten really good results from using Topaz Video Enhance AI to upscale 1080p 120fps. ProRes is nice, but it'd be nice to have ProRes LT because 95% of the time I don't need HQ or even standard ProRes. The better stabilization, low light, audio controls, etc. are all very welcome but again they're not something I NEED. There's really just not a ton of reasons why I'd need to upgrade from the GH5 short of my GH5 dying, but even then I think I'd probably just buy a used GH5 or another used S5 before considering a GH6. That I'd have to rig a GH6 up with an external battery solution doesn't help its case. Maybe the battery life of the GH3, GH4, and GH5 spoiled me, but as an event shooter that likes to work as light as possible, it's a real bummer that the battery life is so poor.

I really wish we'd get consistent information on this. Some insist there's no overheating, while others say it overheats after 45 or so minutes even in air conditioning.

The 25mm doesn't get nearly the love that it deserves. It's affordable, lightweight, and think is very good optically for a lens you can find for $100-120 used.

My M1 Pro 14inch MacBook Pro runs through everything, no problem at all. They're incredibly powerful machines. Editing 4 camera multicams with all angles color corrected and tweaked is a breeze. I've never been able to do that without proxies before, at least not 4K. I went with a modest build, too.

I'm not knocking him for using a camcorder. I genuinely miss using them. But it's hard for me to justify investing that kind of money when their value on the used market is so low. With my mirrorless set up I have my lenses retain value and can be used when upgrading.

Tony Northrup said that he got 47 minutes before overheating indoors with air conditioning on fine mode. We'll see what others get. That's probably enough for a lot of folks, but not for me.

I miss camcorders so much, it's just hard not having a bigger sensor. It's also hard to justify dropping $4k or more to get one of the better ones given how much they decrease in value. At least with mirror less cameras your lenses retain the bulk of their value even though the bodies don't.

My guess is it's a little bit of both. The digital workflow makes it easier to match shots and create the stylized look that they want no matter the lens. I mean, I can set up two cameras in my living room, put two different lenses on them, and as long as I white balance them correctly I can get them pretty close in camera. Often times I don't even need to tweak them in post. Films these days also often have a bunch of different "looks", where back to back scenes could have completely different visuals and colors, so using a lens that gives a warmer look in a scene where you use warm colors probably isn't that big of a deal.

Thank you for sharing. What camera and lenses did you use? Just the Pocket 6K?

A lot of the older Fuji lenses aren't great for video. That's always been a negative when considering them. As they update their line up and make their lenses more video friendly that will definitely change. But it's really distracting when you see the stepping when switching apertures and even focusing.

Assuming there's not too much of a difference between adapted EF and native RF lenses, I'd probably end up using adapted lenses anyway on the R7, so I don't think it's a huge deal that the lens selection is limited right now. I'd maybe even get full frame lenses anyway, mostly primes, in the event I upgraded to a full frame camera in the future. I imagine the Sigma 18-35mm will be a popular lens on the R7, for example.

I get your frustration, and understand your bigger point, but @MrSMWcomes on these forums and is one of its best posters because he shares his actual experiences in depth. I don't think he's ever been mean or condescending to anyone. Maybe try being a little more polite to people like him that come on here and share their experiences?

Impressive stuff. Even more impressive that they enabled this for all their second generation Pocket cameras. The P4K is what, 3 years old now? Adding that huge of a feature on that old of a camera is pretty awesome.

They need to switch AF if only for the PR/marketing. The issue I have is that a lot of people spew the "Panasonic auto focus is useless" stuff without having used it. They're basing it off of YouTubers that only had the camera for a brief period and who did unrealistic tests. It's different when it's @herein2020, @MurtlandPhoto, or you saying it because you guys have used the cameras, learned how to work around the limitations, but ultimately decided that AF was necessary for your needs. My work would greatly benefit from Sony or Canon AF. But Panasonic ticks every other box, giving me things that I value more. All cameras have limitations, unfortunately, it's just a matter of finding a camera that matches most of your needs. To bring this back to the R7, that's part of the reason I am complimentary about this camera even though it isn't perfect. Assuming the overheating isn't an issue, the R7 is a really good option for a lot of people like me that shoot events. And it's competitively priced. An event shooter could buy 3 of these and have a really strong multicam set up for under $4,000. That could be a huge deal. I was leaning towards leaving Panasonic because I have concerns about its long term viability if it doesn't improve the AF and eliminate that stigma. To me, the long term viability of a company matters when investing in equipment. I don't want to sink money into a camera system that could be gone in 5 years, leaving me SOL if I need customer support, etc. Getting such a good deal on the Lumix S5 though got me to stay, at least for now. Things could change in a few years, but until then I'll keep getting the most that I can put of these cameras.

Thank you for sharing. Was that Korean or Japanese? Is that where you work? That's cool if so!

While appreciated, you shouldn't have to spend an extra $150 or whatever to get respectable battery times because BMD decided to again use a small battery.

I'n guessing the battery life is an issue.

I don't have the time to watch this morning, but the title mentions something about gyro data? I'm guessing to help with stabilization in post? That'd be pretty cool. I go back and forth on picking one of these cameras up, but ultimately the cheap feel of the body and ergonomics just don't do it for me. I don't understand how a company that has such an elegant UI can also have such poorly designed camera bodies.

To the OP: Have you considered maybe the EOS R? It has a 1.7 crop in 4K but the 1080p is really good and is Full Frame. Has good AF and Canon's digital stabilization is better than the IBIS in the Sony and Fuji. Plus you can adapt EF lenses and get near native results.

Honestly for stills you really don't need the latest and greatest. The exception might be for sports and wildlife. Most photographers I know still use older DSLRs, especially older photographers who have the mentality of using their equipment until it doesn't work anymore. I've tried to use that same mentality when it comes to video because at this point anything that has come out in the last 5 or 6 years is still very good. Had I not gotten such a great deal on the S5 I'd still be using the GH5, G85, and GX85 set up. I'd also add that the proliferation of people doing weddings has made that aspect of getting booked more stressful than the actual work itself. I took last year off due to COVID and being immunocompromised, and it screwed me quite a bit because it allowed others to slide into my place. I'm not mad, I'd do it again if I had to, but it has made getting back to pre-COVID levels pretty difficult.

I've had very good results shooting wide open with the kit lens on the S5, too. I really do wish people would actually try using and learning these cameras before repeating how bad the AF is. It sucks that you need to learn to work with its strengths like that but it's very doable. Back button focus is also very helpful.

The XT3 doesn't have IBIS but the A7III's IBIS isn't very good anyway. The Sony has better AF, but the Fuji blows Sony away as far as image is concerned. I think Fuji is the way to go. The Panasonic S5 with the kit lens is even better if you want to spend a little extra.

Eh, 8-bit 4K having a 15 minute record limit definitely is a deal killer for me.

That's the thing that I kinda hate about camera companies focusing on 10-bit 422. That was absolutely one of the things that got me to go with the GH5, but I don't need it for EVERY project. 420 is fine for a lot of my work. Heck, I don't mind 8-bit for the jobs where I don't need to do much, if any, color grading. The more options the better, IMO.