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People might laugh at me, but I don't care. I've been doing some walk-around filming with my G7 and 9mm Leica versus my S5ii and the kit lens. I'm absolutely dumbfounded how little the differences are. Here are my settings: Panasonic Lumix G7 - 4k 25fps (EOSHD ProColor Settings, with minor tweaks), super-fast stabilization in Final Cut (InertiaCam- smoothing (.1), continuous video AF on with it's small box in the center (yes, that's right and it didn't really hunt), A Mode, Auto ISO, handheld only, AWB Panasonic Lumix S5II - 4k 25fps (Stadard profile), no stabilization, continuous AF (mode 2), small box in the center, A Mode, Auto ISO, handheld only, AWB I kid you not, the images were very similar, minus the color which seemed better on the G7 to my eye. After stabilization, there was little difference. Here are some stills: It would appear the 2015 G7 is still the little engine that could. It weighs a whopping 540g less than the S5II and kit lens. I could add the 14-140, the 25 f/1.4 and perhaps a recorder or mini tripod for that difference. This is where M43 needs to go in the future: small, excellent value, with great features like 4k, PDAF, IBIS, 10 bit h.265, with a proper shutter and hot shoe. Even the previous generation(s) from 2015-2018 have so much to offer.

Oh yeah, but that's exactly the point I'm trying to make. 😅 Sony's sales are down right now because anybody who would consider buying one new did - unless someone else is paying for it, any savvy consumer right now is going to pick one up in excellent/like new condition (maybe even in the original box!) for a decent discount and only lose a portion of that new camera smell. It'll take the release of a new model with compelling features to jazz their sales numbers. Otherwise, Canon's riding the wave of a few compelling releases and Nikon, who was late to the game, has finally released a more budget-friendly line (relatively speaking, nearly $2,000 is hardly "budget" in any realistic terms). Of course they're both moving a lot more new cameras right now.

Mostly nope. Mostly because any ‘current’ model definitely not but interested to see what comes next, any time within the next up to 9 months max and how it compares and stacks up with whatever Nikon does next, especially this ‘ZR’. Then the ‘mostly’ kicks in as in I may have to pay full retail if that is the only option prior to a new season starting for me in 2026. I don’t need to do anything anymore re. kit and it has become a case of if I wish to with wishes being determined by what the future may bring…

Ditto, but I don’t want it enough to €2k+ per camera to trade for it!

I’ve started shooting mostly in open gate on my S5ii. It’s really very handy. If I had 6K 50p open gate I’d probably use it 80% of the time.

A few interesting quotes from the BCN web page where the chart orrginates from (my bold): Nikon is basically going for a 'pile it high and sell it cheap' strategy in the full-frame MILCs - but as the last to enter that market, they probably don't have much choice when up against Canon and Sony (Panasonic is almost a niche player but could easily suffer collateral damage from the battle).

Sure, and if they aren't releasing any new cameras, then that's unlikely to change. The pros and cons will remain constant! 😅

Not me, but that's mostly because every time, over the years, I've considered buying one of their MILCs the cons have outweighed the pros (for my use cases). So I've stayed completely with M43 cameras (mostly Panasonic) until very recently, when I bought an S9 as a smaller and lighter 'general use' alternative to my OM-1 and G9. I seriously considered an A6700 instead, partly because it has an EVF, but the better IBIS/stabilization of the S9 (and its recent heavy price reduction in the UK) swung it that way eventually. I'm a 50fps shooter normally (not for slo-mo, to get less compromised motion handling), so I regard the S9 as basically an APS-C video camera, hence comparing it to the A6700. Fuji are ruled out for me as they don't support plug-in power for external mics, and AFAIK Canon and Nikon don't currently have anything in that size/shape with IBIS. But I'm probably an outlier here, as I'm a 'video' person through and through, rather than a 'film' person 🙂.

Well its taken about 8 hours to charge one set of batteries. I took the opportunity to learn a bit more. The things i thought would be an issue weren't an issue and visa versa... after watching the zhiyun factory vids, i learned i downloaded the wrong app and then jumping through hoops to get the gimbal authorized was annoying as well. I did learn that putting the supplied riser plate between the camera and quick release plate somehow helps with balancing / jitters i then balanced it by eye, giving it small bumps helps to make sure everything returns to where you think it should be. Those locking axis switches are a great idea, can do one axis at a time and move on. If anyone buys one of these make sure you put the batteries in the right way as if you get it wrong, kiss your circuit board goodbye, seen that in one youtube, so i double checked that. I have it balanced with the lcd open, i may change the axis bracket to shorter style later, however for now i'll leave it as is. I started it up and no issues played with the pan and tilt. More tests tomorrow, late tomorrow maybe, as i'm a chauffer tomorrow, taking a mate to the airport. I also have the camera offset just enough that i can open the card door slot without moving the camera, although it is easier if i switch off the gimbal and lock the axis. One slightly annoying issue is when the e-m1 is on the gimbal once the eye cup is level with roll axis the lcd drops out that took 15 minutes to work out how to turn off the eye detect, now it works as expected. Seems like the motors are strong enough, i can press most buttons and change focus or aperture with out upsetting it.

I have now imported my iPhone footage and put it through the same FLC pipeline as my GH7 footage. As you may recall, I shot the "home video" parts of the trip with my iPhone 12 Mini, and part of the goals of the new FLC pipeline is to be able to improve the iPhone footage and match it better with the GH7 footage. Overall, I am pleasantly surprised with both the images and the user experience. With my phone in my left-front pocket and GH7 in my right-hand, I could extend the pop-socket out, pull my phone out, shoot with it, then put it back, all with my left hand and not having to even turn off the GH7. Having the ability to swap from shooting with the GH7 and 14-140mm to an ultra-wide in seconds is great when you want to capture the action in real-time: It has surprisingly good handling of real-world DR: It allows for quick and unobtrusive shooting in restaurants and cafes: which also gives some background defocus which is nice. ...and it is great for shooting in very cramped or crowded situations: I struggled shooting in the Myongdong night-markets just because the GH7 was so conspicuous and just not well designed for such things, however the iPhone worked quite well for those chaos-and-people-everywhere shots, and was great for shooting situations at point-blank range: In retrospect I wish I had shot more whimsical footage with it throughout the trip, but that's a note for next time. In order to see how the FLC is contributing to these images, let's compare some of the above shots to how they would have looked with a simple CST workflow (I did a CST to DWG, matched exposure, then CST to 709-A). FLC: 709-A: FLC: 709-A: FLC: 709-A: I find that it takes the digititis out of the images quite a bit. Another thing it does is hide some of the limitations of the iPhone too. Here's a shot I took from out the train window. It's obviously a very low-light shot and the iPhone NR was probably set to "armageddon". 709-A: FLC (with a touch of sharpening): Anything in post that applies across all your shots will help to unify them, and so having a slight softening applied to all the footage, as well as similar colour treatment, can really help to smooth things around any rough shots. I created my own powergrade using FLC I called "50mm" because I took the grain and softening settings from the 35mm and 65mm presets and set things to the mid-point between the two, effectively emulating a 50mm film process. I have more work to do, including working out what settings give what results once the footage has gone through the YT compression, but it's a start.

Er... i'm going to mess around and do some kind of rough as, unboxing video. It is undoubtably 4 years too late, but you have to start somewhere i guess.

That is a bit interesting, but I'd also point out that Sony have not had a major new camera release in what seems like a very long time. The A7R V is from 2022 and the A7S III is from 2020. At some point, the majority of people who are going to buy a certain model of camera brand new already bought it. Nikon, on the other hand, has released several exciting new cameras including the Z5 II which is "affordable" at under $2,000 and can do internal 4K raw. I'm assuming that the sales chart is for sales of new cameras. If it were for sales on the used market, there might be more of a Sony bias, given that those cameras have been on the market for a while. I'd bet that if they announce a new A7S IV with similar performance/features, but at 6K or 8K, there would be a huge spike in new sales for Sony. I could be wrong, though - to use this forum as a sample group, is anybody here, at this time, still waiting to buy any current Sony mirrorless camera brand new?

Sure, the S1II is nicer. One would hope so, given that it's 8 years newer than the GH5. But if shooting anamorphic, for instance, one might prefer the GH5 if using a 1.8x (end result is 2.4:1) to the S1 II (need to use 1.6x to get to 2.4:1. Anyway, if the use case specifically is "needs to be a hybrid sensor" and "needs to shoot 5k open gate," the S1II is clearly the best and maybe only camera on the market that one can buy. I'm still taking the position that the above combination of characteristics isn't hugely useful for most shooters. 😃

After watching that video yesterday, I gave some serious thought to picking the same glasses up for when I'm using my Ready Rig since the current solution of mounting a monitor to the Nimbus crossbar has the monitor bouncing around while I walk which is not perfect for what I'm trying to do. The price for the glasses they used isn't bad (about $300), but I didn't find any stock of the HDMI converter box thingie which is only $99. Some places had the newer/nicer one, but it's like $300. I'll be keeping an eye out, though - that seems like it could be a real improvement over what I have now.

I began my pro career with Nikon and my education prior to that was with Nikon and I was with them in that regard from 1987-2011. I am partially back with them now with the Zf and I think they are probably 1 camera away from me ending my career with them so will be watching out for the ZR with interest… I’d like to see Nikon regain their former glory and they do seem heading back in the that direction after a few dodgy years when some folks were predicting their imminent demise.

I think it's derived from the full sensor area. But I don't think it's really comparable with the S1 ii no-crop 5088 x 3392 3:2 at 60p. Neither of them can manage the full sensor resolution (S1ii 6000x4000, GH5 5184 x 3888) at 60p.

Those RF lenses are obscenely expensive. At this point they have become "man jewelry".

Woa, there goes my interest in subaquatic photography. A coupe of years ago I checked the Nauticam prices for my 7DM2. The gear costed more than my camera and lens!

What's interesting about Japanese market, which by no means representing the global market tho, is not Nikon taking the lead, which is a sudden jump by a single product, but Sony's steady decline, despite all previous generation alpha cameras they were selling at lower prices.

In fact, the Z5 II is VERY well priced. It made Nikon take the lead in FF sales in Japan for the 1st time in years.

My wife and I just got back from a trip to the Caribbean… Jamaica? No, she came willingly.

Oh you better believe it's coming, Canon would be foolhardy to leave a ton of cash on the table. As always, they'll let other manufacturers take the risk with their products and test if their is a market for it. Only then will they'll release a camera and gobble up the lion's share of it.

Yeah, just some minor changes (different mount, HDMI port instead of cable, zebras, false colour and focus peaking in firmware) would make this a nice little EVF.

*olive green