Davide DB

Yes you are right. I don't have a clear idea of why. It occurs to me that the basis is always the number of pieces produced. I don't have the numbers to state that, mine is just speculation. Off the top of my head, S5XIIs sell more than a GH7, so the initial investment is spread out over more pieces. Perhaps the same is true between the Canon R7 and R8.

market shrinks > costs shared among users > higher prices

For my jobs underwater I'm totally on M43. My focus on new Panasonic releases is generic in understanding how much this company invests and how well it holds up in the future. I had a chance to try out the GH7. Mine is a specific interest in autofocus but I must say I was not thrilled with it. How it works depends so much on the lens used and in the M43 system many standard lenses are very old and never updated except in firmware. I would like to change but I am staying in the window at the moment. Accessories for underwater video cost much more than camera and lens.

Lumix is doomed Full Stop

Let's say that the product is so unique that the price simply reflects the commercial aspect. I mean it is mainly aimed at an audience that wants to take a whim off and look cool. BTW I agree, Voigtlander!

They seem to be accumulating wood for an upcoming fire. Still can't tell what color the smoke will be....

Does it mean that on R5 bitch while shooting in Log I cannot have a simple REC709 LUT on the display? I need an external monitor with a LUT loaded? 😕

Speaking about old (non cinema) lens I saw a couple of post from Filippo Chiesa on FB about these Hong Kong lens NONIKKOR 🙂 https://artralab.com/#page-4

http://www.marcocavina.com/articoli_fotografici/Nikon_Cine-Nikkor/00_pag.htm https://www.savazzi.net/download/manuals/Cine-Nikkor.pdf

This small review of the 24-135mm Nikkor "cine" lens perhaps nicely sums up Nikon's somewhat awkward steps in this segment. https://thecinelens.com/2024/10/31/nikon-announces-new-24-135mm-f-4-cine-lens/

100% agree. Lower cinema segment. Here in Europe, upper cinema segment is Arri Arri Arri and a pinch of Sony Venice. But my Question is: once you have this amazing Z-mount Red cinema camera, which Nikon lens will you use? I mean cinema lens. Correct me if I'm wrong, I'm not talking about Z-mount third-party suppliers but Nikon native cinema lenses. It is true that in theory Nikon has a very long tradition in lenses but basically they are all photographic lenses. Lately they seem to be creating a cinema line but Canon is light years ahead. One market segment where the Reds are still the undisputed queens is wildlife documentaries on land and underwater. 90% of BBC and high end documentary operators use Red for 8K and high framerates. Canon CN zooms are the bread and butter of these productions. Hard to imagine convincing everyone to switch to Nikon. More adapter rings? Hummm

I know you were dying to know 😄 https://ymcinema.com/2024/11/28/nikon-and-red-the-z-mount-cinema-revolution-coming-in-2025/

Yes but it is a trick that can work for occasional use. As I wrote in the A6700 thread, in investigating the use of AF for wildlife video, I am finding that it is difficult to find reliable feedback. 99% of videos are for photographers. And I find that many features are not applicable or totally missing for the video part. Not to mention that even the lens manufacturers are not assuring or denying the very performance that is bandied about for video. In short, when you see rave reviews for AF everyone assumes that what you see applies to the photo and video departments (there is usually a YT star in and out of the frame with his stupid head) but for the latter there is still a long way to go.

S1s were introduced in 2019. The A1 in 2021 and in 2024 the new iteration with the A1II. Panasonic still standing still. Everything has happened in the meantime. But with cameras already on the market like this, the Z8 and Canon's new R's, what does Panasonic have to invent to keep up? If indeed a second generation of the S series ever comes out, how long ago did they start designing? The market seems to be flying by comparison.

Not to nitpick but. The photos are wonderful and so are the almost static shots but the cheetah chase doesn't seem like a good choice to advertise the autofocus. There are several moments that are heavily out of focus. I have seen much better done by wildlife operators with Red and manual focus. It seems to me that the operator's handle is beyond question. Edit: I'll put my hands out: they might be in focus but they look blurry because of the heat emanating from the ground. IMHO not a good example anyway.