eatstoomuchjam

About as low end as the Ursa Cine 12K, yes. 😉 Just about all of the cameras that he mentioned are likely to have some representation at the local short film contest/festival I just wrapped up. (Also add Komodo/Komodo-X and Ronin 4D which I can say from personal experience are also represented)

That is true, but from everything I've seen, the Ursa Cine is also a well-designed tool with a pretty well-thought-out interface... and that comes from a person who hasn't been even remotely interested in any BM cameras since the OG pocket. In the high-end space, it's still likely to be almost all Arri all the time, but for us schlubs playing in the low-budget space, getting Arri-comparable quality out of a camera with good UX is pretty exciting!

Sometimes I do, but in that case, I felt that 90 minutes of videos was more than enough time to come to a conclusion on a camera that I wasn't likely to buy. I've repeatedly said that I think that people are being overly critical of it - it's a fine camera, I think. It's just not for me. At the point when I understand fully that something isn't, I don't invest more time in it. As to the rest, never attribute to malice that which can be attributed to social ineptitude and an uncomfortably direct nature that I do my best overcome, but fail often. DR on the R5 is certainly mediocre. I'll repeat again, though, that it's a 5 year old camera. If people aren't all that excited for a new relesae that can be said to be "a little better in some ways than a camera that came out 5 years ago," it is understandable. It's also why I didn't rush out to buy the R5 II. It's a fine camera, but not substantially different from the one that I already have.

When you say "latitude," do you mean DR on a Xyla 21? Or skin tones in an over/under exposure test? The C70 is fantastic on the former and a bit mediocre on the latter - cined rated it at 8 stops which puts it equal with a bunch of FF cameras. Impressive for an S35 sensor, but not substantially better than the S5 or S1H. That is better than the R5 or the or the A7 IV, though. Is it impressive for it to have a 4K/6K readout speed equal to the 5-year old Canon R5's readout speed... in 8K? It's a very usable number, and that's great. Anyway, aren't those modes line skipped or similar? Keep in mind that I don't think that the RS numbers are nearly as big a problem as some of the reviewers said, but it's also not great to act as though they don't exist. The camera is advertised as an 8K camera that supports 6K open gate. Those are the modes that many operators would consider using. I'd still take that as disappointment in a system he uses - sometimes we're more critical of the ones we love. I mentioned Media Division in my other response because they were the only one of the last group that I knew. I have no real idea who Ed Prosser is. I let 3 videos about the S1R II play in the background yesterday while I worked - PetaPixel, GU, and Media Division. By then, I knew that it was very unlikely to be a camera that would be $3k worth of improvement over the cameras I already have. There was no need to watch any more videos about it at that point. Glad to hear that Ed did a good job, though, whoever he is! 😃

Counterpoint... if ever there were a place to vent... (my own experience with them has been mostly neutral, but there was the time when I bought a camera from a man in Austria and they asked for the same paperwork at least 10 times)

From Adsense, the CPM depends on the genre and I doubt it's a ton for cameras. However, those ads that they read to you inline, where 1 minute out of an 8 minute video is an ad read, are potentially tens of thousands of bucks, depending on the audience size and the sponsor. Apparently online gambling and VPNs just print money and are willing to throw piles of it at influencers.

FWIW, I'd say that if Jordan is grouchy about Lumix, it might be more in the category of being more critical to the ones that you love. He's a long-term Panasonic shooter and he and Chris have been doing most of their videos with Panasonic for years now. I can't remember if Jordan's main camera is currently the G9 II or the GH7 - I think it's the latter. I'd be cautious with even putting faith in those folks, though - they're in a different categories than the straight-up shills, but I also can't remember a time that Media Division didn't like a camera that somebody gave them - and a company who gives them a camera for review can also be relatively sure in most cases that it'll be used to film some slick footage, often with a robot arm, that will look great for their marketing. This is why I'm much more a fan of getting a general pulse of real end user feedback vs putting too much stock in what YouTubers say. Gerald Undone is also the one who made a huge deal of Z Cam leaving a file in an unusable state (though you could send it to Z Cam and they'd fix it for you) if the camera lost power while filming and how it was completely unusable on a professional set for that reason, etc. His followers got so obnoxious about it that Z Cam finally had to invest engineer time in building a tool into the camera to recover the files instead of building features that 99.999% of the users actually cared about. By that point, a bunch of us had been successfully using our Z Cams for at least a couple of years without the dreaded power loss problem (partly because it supports redundant power - plug a V mount into the DC in and put a small NP-F on the camera, no danger of power loss). That and, y'know, just about anybody I know who shoots isn't a complete idiot and swaps the battery when it gets down to 20-30% (or at least gives the heads-up that after this shot, we need a swap - sometimes you let it get a bit lower so you don't break the flow). At the time, a few other vendors that he reviewed favorably also had problems with potentially-corrupted files if you yanked power while the camera was recording. He just didn't think to try it because most hybrid cameras don't make it easy to do that, vs an exposed np-f on the back of the camera. That whole thing was really similar to what you're saying about him preloading the complaints about rolling shutter. I can't remember, but if he treated that like the battery problem, he then went on to mention it every 15 seconds for the rest of the video, even when talking about unrelated stuff. In the case of Z Cam, he also then went on some big thing about how people felt "attacked" because they were Z Cam fanboys - which might have been true of some people, but the rest of us were just irritated that every time we mentioned our camera, some zombie would lurch out of the shadows to moan "what... about.... power.... losssssss??????"

To focus on Jordan/Chris for a second, in one of their recent videos (I can't remember which), the sponsor was a memory card maker (I think OWC) and the ad spot was them comparing that company's V90 SD card to a competitor's V30 or slower SD card and talking about how much faster it was. You could just about see on their faces how much they disliked themselves for doing it since they knew perfectly well that a comparable V90 card from a competitor would probably be about the same in performance. Chris also is always going off on how much "better" modern mirrorless lenses are than older DSLR lenses - which, y'know, for some things, maybe - especially if you have a camera that corrects certain aberrations in software... but the whole thing just seems like a play to steer people toward spending money on spending money on shiny newer lenses vs just buying completely acceptable (and in many cases beautiful) older lenses. Like, is the RF 50/1.2L sharper and better-correct in some ways, especially wide open, than the EF 50mm f/1.2L? Probably. On the other hand, I've had my EF 50/1.2L for about 15-18 years and any time I see something that I've shot with it, I'm not thinking "Man, if only that lens could be 10% sharper..." Anyway. The sad part for me isn't the existence if big-name YouTube personalities acting as a third-party marketing division for the camera companies. The part I find sad is that people who devour everything they say hook, line, and sinker. They'll show up on camera forums and lament that the company won't give a free company to their favorite influencer so that they can see "what this camera can really do." For the cameras that influencer does receive, they make a nice-looking video that looks... basically like all of their other videos with other cameras and they talk in glowing terms about the bullet points in the press kit that the manufacturer provided them. They declare that this camera is the one, the gem in their filmmaking crown, and that they will use it for all of their work henceforth. And two months later, there is another video about how they are switching to the next camera that they were provided. "R5 Mark II, why I switched" "Goodbye Canon, Hello Z9!" "Pyxis, the camera that will finally replace my Z9" "I'm moving on from Black Magic!" It also gets annoying because they will harp on how some feature of the camera/sensor is the most important thing for making a "cinematic" image (don't get me started on the useless term "cinematic") - and then their followers will start showing up to any discussion to declare that whatever camera is being discussed is unusable because it doesn't have that feature. When the Pyxis was announced, I made some joke about the specs of it - something like "Glad to see that BMD finally came out with a camera in 2024 that matches the specs of the Z Cam E2-F6 that came out in 2018." The response: "Does Z Cam have OLPF?" Just as long as the preorder pipeline is filled, the YouTube influencers have done their job. It's all about building the hype. It's kind of crazy how good a job they've done of making that a thing and how many people don't even wait until the camera is in the hands of real users before they start lining up to preorder stuff! I generally prefer to wait until real users get the camera - there are exceptions - the last time I did something like that was the GFX 100 II - since it was all but guaranteed that I'd get it. My GFX 100 was pretty beat up after years of travel, I have a lot of Fujinon glass, and the new one was small enough to travel with me.

D'oh! I meant S5. Thanks for the correction. 😅 For sure - make.art.now is a big Ronin 4D user which makes sense for his day job of extremely high-end real-estate videos and the occasional TV interview. I'd keep in mind, though, that this interview which was full of glowing praise for the Ronin 4D was sponsored by DJI themselves. I'm guessing that the camera's use in the film was organic, but as soon as DJI caught wind of it, they offered to throw a pile of money at the DP and Gibson to have them say just how well it worked. Though their experience is, from the 4 shoots where I've used the camera now, very true to my own - a well-thought out camera with good ergonomics (provided you have some way to mitigate the weight!) that comes out of the bag and starts making really nice footage immediately - and one of the only gimbal setups where "I'm swapping lenses" doesn't lead to tears and screams of anguish from the rest of the cast/crew. (Sorry for the topic drift, I just really like mine and I'm not fortunate enough to have DJI paying me a bucket of money to say it)

Envy!!

The great low light performance lends some credibility to the idea that it's using the same sensor as (or a very similar sensor to) the Ronin 4D. I don't have an FX3 to test against, but some reviewers had said that the 6K performed better or similar to the FX3 and the 8K seems even cleaner. If it's the same sensor (or a variation of it), that might be a reason that people would opt for the S1R II. The image from the Ronin 4D 8K is really nice.

If I had to guess, it's "try to stop the few photographers who are using Panasonic from jumping ship." At this point, almost nobody who is starting out is going to opt for Panasonic, other than as a value option - and those people are way more likely to go S1 than S1R II. Though even for those photographers, I'm not sure that about the same number of megapixels and vaguely similar IQ, but nicer (but confusing) video is really a "spend $3,000" sort of thing. So I guess I'm talking myself out of thinking that this is a good answer to that question.

I think we've disagreed about this in the past and we continue to disagree about it. The camera reliably performs, in that when it overheats, it warns the user and then shuts down. And again, at least in Gerald's 21C basement, that was more than 1 hour of continuous recording in the most taxing mode. He also got it to record for over 4 hours by using an external drive and external power, only shutting it off when it became obvious that it wasn't going to overheat. This doesn't mean that the camera is unreliable - it means that you should understand your gear and its capabilities before bringing it on a shoot. If you need to shoot continuous shots lasting more than an hour, use external power and an external drive. If not, internal battery+storage will probably be fine since the camera will have more time to cool between takes. Anyway. It's not a camera for me since it doesn't do anything better than cameras that I already own and I don't have any L mount glass, but if I were an L mount shooter looking for a decent hybrid camera costing less than the Leica flagship, I think it'd be a no-brainer.

If you're talking about Gerald's review, he said "An hour and 18 minutes." (about 18:30 in the video)

It's really interesting to me that he and others have mentioned that they think it's the same sensor as the Ronin 4D 8K, but that camera has only 16ms readout in 8K with DRE off and 32ms with it on... so maybe it's a variant of that sensor? Otherwise, the video modes are bit bewildering and confusing. Good on Panasonic for making so many of them, but I think the average buyer is going to go crazy with all of the asterisks. "So the camera can record in 8K?" "Yes." "So I'll plug in my external drive and start recording?" "Well, sort of. You'll need to use external power for that." "So I need external power to record in 8K?" "No, just to an external drive. With CF Express, you can do it in-camera." "OK, great. So I put in my CFE card and I'll just go start shooting 8K ProRes RAW." "Well, no. If you want raw, that needs to be 5.8K and with an APS-C crop." "Uhhh, how much was that Z8 again?" Meanwhile, the EOS R5, released almost 5 years ago, is over here happily recording 8K raw internally to CFE without a crop. And yes, overheating and without open gate and about 18 other things that the S1R II can do... but c'mon, Panasonic, a camera released in 2025 should have a battery that's powerful enough to allow recording to an external drive in full quality and if you're advertising internal raw, it should be at full resolution, just like what the competition are shipping, and have been shipping for several years. Is it cheaper than the competition? I suppose that depends. Compared to the Z8 and R5 II? Sure. Compared to a used R5? Well, no. Anyway, as for the RS and the overheating, they both seem to be a molehill that people are making into a mountain. Is 24ms great? No. Is it fine for most people? Yeah, pretty much. Is it bad for a camera to overheat after more than an hour in its most taxing internal recording mode? If you need to routinely run 2-hour interviews with a single take, yes, then it is not the camera for you. If you are pausing even for a minute or two between takes, will you overheat? I guess that remains to be seen, but I'm guessing no.

Hey, hey now! No putting words in my mouth!

Unless you're Matt's doctor, though, his weight is really not your concern. If he has health problems, it's up to him to decide if he'll talk about them or not. This thread was a lot better when it was trolling people about Dave Bautista and/or Perry Farrell. Let's focus instead on his lens reviews where he does a portrait shoot with it stopped down to like f/13 which will be diffraction limited on just about any modern sensor! Or on his thing where he has to bring 43 and 250 lenses in like 43 suitcases when he goes on trips! Instead of, like, a couple of GFX 100 II bodies and a decent selection of Fujinon glass! And if he really needs extreme telephoto, swap that out for any modern 61 megapixel body and the same focal equivalents as above + extreme telephotos. Or his pockets.

I kind of like the ultra-minimalist look/design and simplicity, but the $1,999 is way too high. Sell it for half that and... maybe. If anything, this announcement makes me take another look at the S9 and the X-M5.

Depends on the editor and how "basic" you mean. On my M2 Max, Resolve does a decent job with 8K raw lite and chugs a bit with 8K raw standard from the R5, also depending on which decode thingie I choose in the raw processing tab. Canon's 8k raw standard is notoriously brutal. (Though proxies are always an option!)

I dunno, from the post from the other day, it sounds like it's not not video-centric to me... > Apple ProRes RAW HQ can be recorded internally at 5.8K at 30p on CFexpress Type B cards or an SSD hard drive connected via USB. RAW videos can even be output to external recorders in 8K via HDMI. It'd be a little weird for Panasonic to include 5.8K PRR and 8K raw over HDMI on a more photo-centric camera. Seems more like a camera that's really trying to target the Z8/Z9 and R5 series, the do-everything hybrid camera that can take high resolution photos all day and switch to professional 8K video modes with no other equipment. The GH7 is the only other Panasonic camera that I can think of which can do internal raw - and they'd call that a video flagship.

If you blinked sometime around 2002, you missed the X2. 🤣 Anyway, if they made a video-capable Foveon or they're using the same sensor as the basically-confirmed S1R II, it could be a really interesting camera. But if it can still only record 8 bit internally, an 8K sensor puts it in a category where the EOS R5 is smaller once the camera is rigged up for 12-bit recording and/or with an EVF. For me, if they released a new fp or fp-l which was exactly the same as the old one, even with the same sensor, and they enabled 12-bit internal recording at 4K, I'd grab it. Make the PDAF work as well as Panasonic and I'd RUN to grab it. I love the form factor - just would get bummed out that by the time I had it to record in the quality I wanted, it was substantially bigger than the R5 next to it which could also record 8K.

With the right monopod, it's not that hard. With something like the Cobra 3 from iFootage, it takes a fraction of a second to change height. It sounds like you have a really specific use case based on your subject matter and your preferences for how you shoot. In that use case, rolling shutter is super important to you because the combination of IBIS+OIS on your body/70-200 lens leads to wobbly jello footage. As you are seeing from this thread, not everybody shoots that way. For most people, higher RS is fine. And keep in mind that is coming from a person with 3 GS cameras (Komodo X, Komodo, and E2-S6G). GS might lead me to choose them over my other cameras, but other things might lead me to choose the Ronin 4D - and with that, I will sometimes opt for the ~30-31ms readout mode that has higher dynamic range vs the ~16ms mode with standard dynamic range. I have yet to hear a complaint from anybody when I hand over the footage. One thing to consider for your use case is the use of something like a Ready Rig or Easyrig and a heavier camera body with a shoulder pad. The footage is more inherently stable when using a heavier body and with more points of contact.

I got a similar mount from another company to suction cup the OP3 to my car (and then shortly after, Tilta announced their mini-hydra for cars, darnit!). I haven't tried it yet, but I'm champing at the bit to give it a shot in Spring/Summer and maybe get back to vlogging some of my visits to old mines (more likely, recording a bunch of footage of it and then never editing the video, like my last several expeditions). Anyway. You should probably just buy it if you see a sale. It's really very good.

If you view footage on a vectorscope, all human skin tones fall along a line between the reds and the greens (unless exposed with rgb light or whatever, this is assuming standard lighting). If they skew too far to one side, the skintones look green and sickly. If they skew too far the other way, they look pink and feverish. Too saturated and they look orange. Not saturated enough and they look pale. That's what is meant by "correct skin tones." When I was shooting Sony many years ago (like A7r -> A7s II era), I almost always had to drag them back from being too green. I hear they improved a lot shortly after I exited the system. And yes, I've shot positive film for years as well as negative film. One of the drawbacks that just about any photographer will say about positive film is that it lacks dynamic range, as you said. It's also why a majority of movies that are shot on film are shot with negative film. As to the rest, technical discussions of image quality are only useful (in a filmmaking context) if they support artistic and subjective goals. If you are an industrial technician looking for a new camera to put over a conveyor belt to detect defects in microchips as they go flying past, then by all means stick to a purely technical discussion of camera capabilities. The rest of us will be over here trying to make art with our limited skills and pseudointellectual ideas of what's important in filmmaking. 😉

I've been seeing a lot of buzz this morning that Sigma have a new product announcement coming on February 25 and that it'll be for a new fp model. This unverified teaser seems to indicate that it'll be an fp body with a Foveon sensor. https://www.l-rumors.com/fake-or-real-teaser-for-the-worlds-first-sigma-fp-camera-with-full-frame-foveon-sensor/ Full frame? Video capable? Details are scant, but maybe it'll finally be time for Foveon to go mainstream! OR, at least, a little less obscure...