Davide DB

Updated rumors:

Yes, but I think Andrew is right, OM is rummaging the basement retrieving the last designs left by the original Olympus team and occasionally combing through and polishing old products here and there. For this lens they only managed to make the stabilization compatible with their camera bodies (!) and little more. It's amazing, they redesigned the tripod collar, WOW. Farewell Olympus, it's a shame because especially in wildlife photography they have a very solid user base. In this field, small, lightweight, high-performance cameras and lenses really make a difference.

In addition to the camera, three lenses were upgraded. Version II of their 100-400 zoom lens was introduced, which I was very interested in. I currently use the Lumix version a lot which is a terrible lens. Optically it is good for its price but can only be used with AF. the zoom and focus rings are practically unusable. impossible to get smooth movement, the plastic creaks and they go jerky. The optical quality of the new 100-400 OM zoom is the same as the old version (mediocre lens) but the big difference is in the stabilization: the first version had practically no stabilization because it did not communicate with the camera. This version interfaces with the camera's stabilization but... (the devil is in the details) the synchronization works only on OM bodies and not on Lumix cameras. Damn them forever! This is yet more proof of the uselessness of the M43 alliance. What is the point if the lenses and camera bodies are not 100% compatible among the various companies in the consortium? It really sucks, and despite investing heavily in the M43 system, I hope they fail permanently. Damn them!

This means that we will have a DOA camera with no possibility of sale. A Leica SL* in 2024 has reason to exist only because of the logo's appeal to enthusiasts and fanatics around the world. Panasonic has no chance. Sad but true.

Hi all, I have a good deal on this amazing tele lens with Canon EF mount and I would use it on a GH5 and GH5MII: https://www.juzaphoto.com/recensione.php?l=en&t=sigma_50-150 I would need a Metabones smart adapter. Any feedback on stabilization and AF compatibility of the whole kit? Thank you in advance

60p or 120p Full Frame? A competitive PDAF?

Can an apple (S1RII) fall far from its tree (Leica SL3)?

I know it's bad to generalize but I want to open 2025 by doing so. What is happening in the video, happened ten years early in computing and more specifically in the web. Huge numbers of people have had access to devices and skills that were previously restricted to a few people. Let's call it democratization, that is, a downward availability of resources. A fundamentally good thing that has triggered processes of competition and lower prices for customers. But if we look at the issue from the point of view of those who have (or had) an IT company with employees or maybe even freelancers but not off the books, the issue also had negative effects: any pimply nerd from his bedroom would make you a website at bargain prices that you with your company would never be able to offer. You will say, yes but the quality suffers. Yes we agree. but how many customers appreciate it or are able to tell the difference? for every wise customer there are ten who rush to buy at the lowest price and who gives a shit if the results are crappy. Now, in my reasoning, replace computers with video cameras and software engineers with filmmakers. Does that make sense?

My G.A.S. (Gear Addiction Syndrome) tells me that I would like to buy a new 1000 Nits monitor. That I would like to buy a Pana Leica 8-18mm with a 180mm crystal dome and related gear. Actually, since video is not my job but just a strong passion, I would just like 2025 to bring me time, lots of time to devote to my passion and do some filming that I have not been able to do just because of sheer lack of time. To film these corals at a depth of 70 meters takes a lot of time and dive buddies who are willing to be with you and wait patiently while you macro for 20 minutes standing still in one spot. To make this minute of video I had to make two dives lasting over three hours each against only 30 minutes to film. the first dive with a Lumix 12-35mm for the wide shots and the second dive with a Pana Leica 45mm macro for the coral details. Happy new Year

Are you ready for the announcement of a new class A+++++ air conditioner which will save the planet? Save the date: January 7, 2025

At the rate at which we are advancing, I believe that in a very short time these problems will be solved. Researchers have coined a term: A.I. winter, to describe the long periods when research faces insurmountable obstacles and basically does not progress. We are definitely not in one of these winters. As much as A.I. research has been going on for a very long time, the public has only begun to take an interest in it with the release of the LLM models to the public, but these are only the tip of the iceberg. Going back to Sora and his brothers, the big problems are: the fact that the clips generated are almost random compared to the request made and that for every request we destroy a piece of Amazon rainforest. Currently these models are supported only by the hipe around them and the huge capital investment but they are not sustainable in the long run because of the huge energy resources needed for their training and operation. This will be one of the challenges in the near future.

And there was no way to have the same clothes on every take. Impressive nonetheless. At this rate, another year or two and... we will become extinct 😄

Any question about upcoming release? (The elephant in the room)

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