eatstoomuchjam

I don't know - whatever "read noise (e-)" and "saturation (e-)" are, they seem much better on the Panasonic at the same ISO value in general (except 400?) and especially at the lower ISO's, they seem much better - and DR seems better at every ISO as well. "Does a bit better than a camera that many consider to be one of the industry leaders" is not nearly a condemnation that would lead me to say that Panasonic got it wrong. 😃

Yes, as ac6000cw said, a reputable brand from Amazon (or B&H or Adorama or any other decent-size online seller) should be fine - ideally sold by Amazon (since the "marketplace" sellers sometimes have differing policies from the main company).

What Alexis said. I'd need to measure and/or pop off the EF mount to confirm, but I'm not completely certain that an M mount is even feasible for the camera. The film plane indicator is surprisingly far back on the camera's body and the EF mount that it came with is fairly flush with the front plate of the camera.

Assuming that you're talking about the price of the lens that you have, sold item search on ebay puts it between $700 and $1,000 depending on condition. I'd guess that the simmod mount swap would put you near the higher end of the range.

SK Grimes is one of the most famous lens technicians, though sadly is priced to match - located in Rhode Island. https://skgrimes.com/product/repair-services/

I considered getting that back when I had the fp and fp-l. I'm just a bit too ham-fisted to trust myself to install it without destroying the camera. 😅

I'd still say that in a lot of ways, this is going to be a fantastic travel/vacation camera. If I slow down to think about it, when I travel, the Fujinon 32-64/4 was on my original GFX 100 - and now on my GFX 100 II about 90% of the time. As long as things are sunny, I'm usually shooting between f/5.6 and 11 for landscapes/urban stuff. Shallow DOF is not important in those situations. If you're on a scenic overlook pointing the camera at a valley with some mountains in the distance, shallow DOF is mostly useless (and half the time I just use my phone for this stuff instead of digging my camera out of the bag in the back seat or trunk - which might be changed if the camera is small enough to keep on me). When I change lenses, it's usually for portraits with the 110/2 (usually used wide open) and the 63/2.8 (smaller and a stop faster for use in the evening and for a smaller profile). The more I think about this camera, the more I'm excited for it to hit the used market - especially anticipating that Fuji will update firmware sooner or later to allow cropping in video mode (and hopefully 5.8k full width and 8k 1:1 modes) as well. Are there things I'd miss about swappable lenses? Sure. Would some of them be erased if Fuji release a small teleconverter and wide angle converter? Yes. If they don't, do I have a half dozen of them in a drawer somewhere? Probably. Are any of them any good? Unlikely, but... worth a shot.

Also interesting things I noticed when I actually read the manual for my camera (after trying to figure out a few things that were opaque, like why plugging into the rear USB didn't result in the camera showing up in the firmware updater app, turns out that only the left USB port over the assistant monitor works for that!) - - The 17K 65 doesn't have internal ND filters - The 17K 65 doesn't support the same high frame rates as the 12K, even in the same resolutions (Though the latter is a small complaint since the frame rates supported are fast enough for anything other than uploading videos to YouTube showing off your camera's 8K at 224 fps)

Looks like there are at least some 17K's in existence now and release must be imminent. BMD updated their Camera App and Resolve with support now - and they've also released some short films and BTS footage shot on the 17K. Let's see if this one also gets the body-only treatment (though I suspect that even the body-only version of the bigger one will run $15-20k) https://www.cined.com/blackmagic-ursa-cine-17k-65-footage-bts-davinci-resolve-19-1-4-gets-prores-encoding-for-windows/

Heh. Probably a friend. But... it can be hard to say!

I love the EF 40, but as we both said yesterday, the edges are a bit soft. In that picture, the tree branches near the left of the frame are soft even without pixel peeping. For me, that's not a problem at all and I think it looks just fine. But for a lot of Internet people, they'd be whining about edge softness almost as much as they're whining about f/4 now. Just including this one from reddit because it actually made me laugh. "An F/4 lens is simply too slow to shoot with normal shutter speeds in so many situations." 🤣 This guy's normal situations must be "unlit street at 3am' or something since they don't seem to think that one will be able to get 1/40 at ISO 6400 on an f/4 lens. 🤣 Anyway. I'd have traded a bigger lens for another stop, but I still don't think f/4 is a big deal for this sort of camera.

The Zenmuse X5. Zenmuse seems to be their name for their integrated camera/gimbal systems. The current version is X9 which is used on Inspire 3 and Ronin 4D. This is my very old and not very good video about the Osmo RAW. After the initial boring part where I talk about the camera and all of its accessories at a table, the rest of the video is all me talking over actual footage. The Pocket 3 is fantastic and it has some superpowers that the other gimbals won't have. Like you can stand 30 feet away from it and control it with your phone, including choosing a person/object for it to track. Like on a recent short film, I clamped it on a gun barrel and set it to track the face of the actor who was carrying the gun around. As they moved the gun, the camera swiveled to track their face. It was a great look. I also have a cheap cable cam mount (Wiral) that, because it's cheap, can only carry a very light payload and it's a bit shaky while it does. Put on the pocket 3 and it looks smooth as heck. You will be stuck with a wide angle lens (no teleconverter, but there is an adapter to make it even wider), though, so depending on what you want to shoot, it might end up being a terrible option.

Depending on what you're trying to do, and depending on whether they can even still be activated or have a mobile app that will work, you could try the old Osmo Pro and/or Osmo RAW. I really liked the image from the Osmo RAW, but ultimately sold it because the fan noise drove me crazy. Otherwise, it made a really great handheld camera - and there was a 4th axis accessory for it that made the user (me) look like some sort of clown while carrying it walking, but the footage was crazy smooth. I never tried the Pro, but it'd probably look really good also - plus it used normal recording media and didn't have the tiny cooling fan that the RAW had. Anyway, the pro on the used market goes for like $500-600 and the RAW goes for like $900. For the money, since you already have the fp, I wouldn't do that. Though depending on what all you want to do with a gimbal, have you considered just getting a Pocket 3 for those shots? It's very good.

To the best of my knowledge, phone gimbals wouldn't be usable with an FP. Among other things, every one that I ever saw had a non-removable clamp for the phone. Maybe you could clamp the FP with it and secure it with bungees/straps, but I'd expect that to be a path of pain and suffering. DJI just recently released the RS4 mini. It's about $370 and supports about 4 pounds. I have no personal experience with it, but given that it's from DJI, I'd expect it to work well. For about 2/3 the price (about $250), there is also the Zhiyun Crane M3-S. Again, I have no personal experience with it, but I've had some other Zhiyun gimbals in the distant past and they worked well. Not sure what its payload is, but I'd guess it's enough for an fp + light lens.

I'm going to go on a limb and say that almost nobody needs 12K resolution for anything, ever. If working on a 4K timeline, people say there's a bit more DR with 12K footage vs 8K, but for most scenes, there's almost no way it's worth 2X the storage space to get it. 12K gives more ability to punch in too, but again, that's more of a special situation usage vs standard - being able to punch in 8x on a 4k timeline is really more parlor trick than frequently-used tool. Nearly everybody I've seen using the camera says that they consider it an 8K camera most of the time. I also poked at it a bit with my S35 Nanomorphs yesterday after realizing that the camera is also one of the best S35 cameras on the market, given that it has a 9K S35 mode that has the same DR/quality as the 12K modes and it supports 3:2, 16:9, 17:9, and 6:5 ratios in crop mode as well as in the FF modes. Now I just wish there were a way to get a Leica M mount on it - none of the mounts made for the camera (EF, PL, LPL) can take M mount with an adapter. I'm halfway tempted to just buy a cheap adapter for E mount to Leica M, measure the lens mount from the camera, and build myself an E mount to put on it. Or the same with RF. Especially if handing off the footage to someone else to edit, I find that it's very useful to frame things a little wider than I think is needed so that they have freedom to reframe in post. Plus on my most recent short film, there was a bunch of handheld footage and being able to punch in from the 6K master was huge. Camera op didn't track the actor perfectly while they moved? Punch in 20-30% and move the window within the frame, movement now looks much better. But again, 6K is plenty for that sort of post reframing. 12K is silly. Thanks! Now that I'm starting to get it rigged to a point where I think I won't be too annoyed using it, I'm antsy to get out and shoot!

Looks like there are some RX1R for $850-900. I'd spend the $50-100 for 36 megapixels over 24, especially with a fixed lens - but agreed that's a great deal. The only real thing I'd like to see updated vs the RX1R/RX1R II would be 4K capture. The old ones were only 1080p.

It'll be interesting to see if any of them are a new sensor design. It's been a bit since Sony announced anything interesting in the consumer space. If not a new sensor design, if they'd just put the A7 V sensor in an old RX1 body and sell it for $2,800, they'd steal a lot of Fuji's X100RF thunder. One would assume that somebody in Sony's product management team noticed at some point that their camera was just a few years too early and now the market is crazy for high-end compacts.

A lot of people are complaining about the lack of IBIS, but as a couple of others have pointed out here, a leaf shutter is a great compromise for that in what seems to have been designed as a photo-centric camera. For markets like high-end tourism, this camera seems like a real winner. It'll take fantastic photos all day long of the family and the sites seen on tours - and a 4-stop ND filter will be great for blurring water on waterfalls, etc. Lack of extremely shallow DOF is also alright for that sort of photography - people like to actually remember the places they visited, no need to just have their face in front of a blurry soup of indistinguishable background blur. For video, a 4-stop ND filter is a couple of stops shy of ideal - if the camera could do log in ISO 50, it'd be great for shooting wide open at f/4 in sunlight - (1/48 @ 16->11, 8, 5.6, 4). Not sure what the base ISO in log will be, but one of posts above seemed to imply that it's only 100 in log? If so, that's alright too - shooting at f/5.6 on a sunny day ain't too bad. Again, pretty great for those clips of family/friends on vacations. If there's a 4K 1:1 crop mode as well as the 4K full sensor width mode, that'd be great too - turn that 28mm equivalent lens into a 55mm equivalent. Would I have preferred that they make the lens 1 stop faster? Absolutely. On the other hand, this is also pretty similar to their film medium format cameras, many of which had slow lenses and were (and are) still beloved. The lens on my G617 is, IIRC, an f/8. My old GSW 690 III was an f/5.6. Am I a customer on launch day? Doubt it. Even if I were inclined, my wallet is already crying from buying the surprisingly not-much-more-expensive UC 12K. Though I did buy that lottery ticket yesterday so... maybe? Am I a customer in a year or two when these are common on the used market? I could see it.

I'd say that the video and stills quality are both so-so, but I'm not breaking out a 1" sensor point and shoot camera from 2016 if I want the highest quality (And yes, the ZV-1 was released in 2020, but as far as I can tell, it's exactly the same guts/lens as the RX100 V, but in a "vlogger" body). 😄 (That said, the quality for both is definitely in "good enough" territory!)

The community, overall, seems to really like the Canon EF 40mm f/2 pancake. I can confirm that AF works well (using Fringer) and it has really decent edge-to-edge coverage. I'm not sure, though, that it'd satisfy the 100 megapixel-peepers that the GF series tends to draw. (I say "not sure" because lenses for me fall into the categories of "too sharp," "pretty sharp," "a bit soft," and "coke bottle" - zero interest in doing in-depth lens sharpness tests)

- RX100 V / ZV1 - I almost never pick mine up, but every time I do, I end up smiling. Everything is so fast. - Mamiya 7 - Near-perfect ergonomics and usable handheld due to being a rangefinder with leaf shutters - Just about any of my large or ULF cameras - for the opposite reasons of the M7. Using a camera that needs to be set on a camera with framing and composition done on ground glass is inherently slow and meditative. - Ronin 4D, but this might be new toy syndrome - but the flex unit and gyro control with the high-bright remote are really fun

The stuff I'm selling for it will include the E2-F6, the C70, and the Zenmuse X9-6K (since I upgraded to the 8K) - as well as a bunch of accessories that I'm not using anymore. I'll be using it for short films and my upcoming first feature. I do nothing with stock footage. The appeal of it is that reviews seem to put it in a category similar to Venice and V-Raptor, but the body-only config costs $7k (plus $100 for the battery plate - and I'll get the $200 top handle and I expect to buy the $1600 media module at some point since $200/TB is actually better than high-performance CF Express cards, etc). As of right now, I expect that I'll be using 8K mode most of the time since that's already overkill. 12K... maybe for some scenic/nature stuff or for VFX?

I was going to wait for a trade-in, but I found one in stock somewhere so I ordered it and it showed up today - so my "trade in' will be more of a "sale" to the store where I sent it - or at least, a sale + trade-in toward one of the media modules since their price is actually pretty competitive in terms of TB/dollar. So far, my impressions are "wow, it's chonky," "WTF do you mean there are no Arri locating pins on the top handle screwholes," and "wow, this camera gets warm." I'm running V mount right now since I don't feel like buying a series of expensive B mount batteries. The V mount plate supports 14.8v and 26v batteries. A YouTuber confirmed that the Nanlite 14.8v-26v V mount converter works with the camera so I grabbed one of them too. Confirmed that when I plug in my normal V mounts with it that the camera lets me choose fps > 60. I expect that it'll be a thing I keep in the bag for those rare times when I might want slow motion. I didn't even try recording it (and there's almost no way my media will handle it), but I smiled for a second when I set the camera to 8kp224 (2.4:1). That's more than any of my other cameras can do... in 4k. Anyway. I need to rig it better. My first stab at it is clunky and really back-heavy since I'm using two v mounts - the one on the camera to power it and a second Tilta plate with some d-tap and usb-c ports because when I plugged them into the main battery (A Smallrig VB212), the camera started to complain that it thought the battery was low (probably because of the voltage drop from powering the focus motor, handwheel, and Pyro-S). I have dinner plans tonight and tomorrow so it's unlikely that I'll do any test shots outside of the house + yard before Thursday (and realistically, probably this weekend!), but I'm excited to get out and put the camera through its paces.

The whole time I watch it, I'm going to scream "but the rolling shutterrrrrrrrrrrrr" at my screen. What a bunch of incompetent filmmakers, using a camera which has either 16, 20, or 32ms readout speeds depending on which model and mode is being used! They ruined the whole show for everybody watching!! It's all anybody is going to be able to talk about!!! 😉

Some are a bit faster. For instance, the non-EDR 8K readout is 16ms on the R4D and it's 20 or 24 or something like that on the Panasonic. But otherwise, yeah - most of them are really close. You've been able to see a bunch of R4D footage in cinemas - including parts of Civil War. If Flight Risk is still in theaters, some parts of it were on it too. Oh, and there is apparently BTS footage that shows it being used for F1. Though I'm not sure if it was the 8K or the 6K that was used on them. RS isn't too different between them, anyway. You're likely the target market for Panasonic. There's not much with the S1R II that would inspire somebody to move to L mount, but if you're already there, I'm sure Panasonic see it as a bulwark to prevent further defection from the system. The only overheating I saw in any tests was in the most stressful modes - and after 1 hour. To me, any criticism of the overheating is basically silly. If the long interview needs to be 6K open gate and 2 hours long, then yeah, it's not the dream camera. Good. People talk lots of shit on forums, but that's all most of it is - especially me. 😅