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The weirdest bit is @Andrew - EOSHD in the center rear, similar to Jack Torrance in the old-timey photos from The Overlook...

My first thought was "I bet Rosco or Lee have something like that, but maybe not in the right size" and after a few minutes of searching, I found something from Rosco that's like that, but not in the right size. https://www.adorama.com/ro1081102024.html So there's hope, maybe that or searching for "graduated center filter gel" or similar would get you closer! Another thought would be to make something like the soft focus disc for an some types of large format soft focus lens - some examples here: https://www.largeformatphotography.info/forum/showthread.php?49632-Recommendation-for-Soft-Focus-lenses-for-4x5/page2 It wouldn't be exactly the same as varying the opacity of the film like in a gradient, but you could make an aperture that has a hard edge in the center with the edges around it perforated, but with the density of perforation decreasing toward the edges. It'd almost certainly introduce some interesting aberrations.

And this camera has the nice thick V-LOG image we know and love. Could decently shift WB in Davinci Resolve (using Chromatic Adaptation node) WHILE at 12,800 ISO and everything seemed clean to me. Panasonic really have made the end-game MFT cams with this and the Gh7. I love the body size. Yes its larger than say the older G85/gh5/gx85 gang. But it feels very compact with a small lens, yet i know if i put a big lens like the sigma 18-35 on here it would balance out. Seems very versatile.

Ended up spending a bit more and getting the Panasonic G9II! Found it for a good price. So far seems like the end-game camera for me. Only have done a few tests, but I kid you not ISO 12,800 is not awful on this thing and cleans up rather easily with some Temporal Noise Reduction in Davinci Resolve. Stabilization? Wonderful. E-stabilization high doesn't crop in that much, and it is rock solid. I love all the framerate and resolution options and open gate will be nice to have. And its so dang comfortable with MFT lenses. It came with a 12-60mm 3.5-5.6 lens; not a bad lens. It has a great range and has OIS so I get Dual IS. I will likely sell for the 12-38 2.8 though. But I think since this camera doesn't suck in lowlight, I can live with the 12-35 2.8 and save a lot of size and weight over the sigma 18-35. Build quality noticable step up from the Lumix S9. This camera is so good!!!

It could possibly be him, - they do look quite similar in black & white. The centre bottom dude is Cam Mackay’s great great great grandfather, Dances With Cameras. That one I am positive about. I think…

Hm, it seems to me rather like Jean-René douze-fps but I could be wrong!

I agree with all of that that. (My OM-1 also gets used for wildlife video, where the extra reach due to the small sensor is very useful).

I've been procrastinating and thinking about bokeh shapes, and have now realised that there are a range of bokeh shapes seen from time to time in various shows. Very bubble (not my favourite) Oval with top and bottom chopped off pretty severely Not sure if this is all the same lens, but all from the same episode - there's a variety of shapes.. Slightly chopped oval Very stretched and so little curvature they're almost rectangles and then whatever on earth this shape is Quite chopped off tops/bottoms but not quite vertical Thinking about it more, I went back to why I started being interested in anamorphic bokeh to begin with and I think it's the fact it doesn't match how our vision works, so it looks surreal. So while I don't like distracting bokeh, once the bokeh isn't round then it can be whatever shape you want it to be. Anamorphics just happened to have it stretched vertically, which I think is probably one of the most pleasing non-circular varieties, but it isn't the only option, and the more rectangular it is the more stretched it will appear, so I'm thinking I might aim for something that looks like a slightly rounded vertical rectangle. The other thing I have been contemplating is if I could make an insert that didn't have hard edges, but had graduated edges. The only way I could think of doing that is to get some sort of semi-translucent sheet material and cut it at an angle so the edges had a slightly translucent transition to being completely opaque, but I am not aware of such a material.

That sounds like a good decision to me 🙂 I own the original G9 and if the ergonomics worked for me I'd almost certainly own a G9 ii - but they don't... (same with the S5/S5 ii and a few other cameras I've considered). The modern trend for relatively thick, squared-off bodies means they don't fit nicely in my right hand, so I can't easily reach the front and top buttons without having to change my grip while recording hand-held.

Go to Times Square or Tokyo and you'll see endless 9:16 screens playing (presumably 4K or higher) video. They're massive screens. We're kinda derailing this thread, but it's silly to argue that open gate isn't a benefit for a lot of people. It's cool if you don't need it, but others do.

The bottom right dude, is that the notoriously dageurreotype-shy, Louis 'Rolling' Shutter?

I do wedding films and some other freelance videography professionally and feel the extra frame rate options and better high ISO performance in the long run will be worth it. So this means I’m not trying the underrated Olympus EM1X 😔but still super hyped.

Picking up the g9 II today.

Decided to get the best of both worlds and splurge for a used Panasonic G9II. A cheap gh7. Got the gold build quality and ergonomics and decent high ISO performance and great IBIS etc etc etc. Just makes so much sense for me as an a cam.

All paid for by Pathé and everyone on the trip etched postcards home saying “Game Changer”.

I also posted Cam Mackeys video earlier in the thread, which shows vertical TVs showing video at 2m07s (linked to timestamp): Also at 3m55s he shows an ad for Dior that is vertical video too. I don't know the delivery resolution was and I don't think he mentioned it in the video (unless I missed it?) but he does mention the value of having extra resolution to provide sharper images to the client, so it's obviously a consideration for him and his business.

The vertical resolution of deliverables is only part of the equation. As I mentioned earlier in the thread, another consideration is FOV and DOF. It's actually a crop-factor problem. Just as it's harder to get shallow DOF on smaller sensors, a FF sensor that shoots 16:9 only has a vertical crop factor of 1.185 compared to the same sensor shooting in 3:2. Also, sometimes there isn't room to just back up:

I'm pretty sure that in 1927, as photography became more accessible, all the great scientific and mathematical minds of the time converged in Paris and after a fortnight of rigorous collaboration they proved mathematically that one can, in fact, never have too many cameras.

You posted multiple photos of kiosks displaying photographic stills which was not relevant to the conversation at hand. Had you shown an example of 4k video being displayed vertically on topic with the current conversation I would have been interested in further discussion. In no way did i ever say or claim to be an expert in anything so please do not put words in my mouth. I was simply sharing my experience of delivering content professionally for numerous production companies in Los Angelas and Tokyo. if you don’t find that relevant, feel free to disregard. Funny, i was asking honestly if anyone has been delivering in vertical 4k delivery and you proceeded to interject for some reason despite having no relevant addition to the conversation. I also wonder why so many people need to respond and feel the need to play the “expert” and contribute nothing meaningful?

I don't really know what to say.... The post I was replying to said they hadn't seen 9:16 displays in public so I shared some images. The fact you haven't experienced the need to deliver 4K 9:16 videos doesn't mean other people haven't. Why is everyone so interested in being an expert about what people they've never met are required to deliver for companies they've never heard of in other countries they've never visited?

Oh shit, I have too many cameras.

For 10 years I have been traveling globally shooting docs and magazine content. Years ago I streamlined everything down to 3 cameras plus mobile phone. Similar to your categories above but trying to reach a modular “swiss army knife” style of kit. I got pretty streamlined at one point with crop sensor cameras and speedboosters all sharing the same mount. 1. The do it all 6k/8k flagship but focused on video. Maybe rigged up with Raw recorder as needed and bigger IO unit for better audio. 2. The high res stills camera that still shoots solid 4k or better video. 2nd angle in interviews and used for product photos or studio portraits. Photographing media and printed materials for later use in documentaries. 3. High end compact street cam. Third angle for interviews when needed and BTS. Nice to have as a backup in the camera bag in case something goes wrong with the other gear. Pocketable and fast for intimate and candid shots. Stealing low light B-Roll and mounting up in the rafters for high angle shots or in car interiors. 4. iphone 15 pro camera for BTS and quick stuff in the moment. Rigged up next to the A cam for vertical social media stuff. it’s nice being able to have 3 lenses and crop modes for S35 to give you a multitude of focal length options. Pair that with speedboosters and you can really cover a lot of ground with a small bit of kit. I would now add the Vlog cam as necessary these days so either the iphone does that job or maybe a Osmo pocket 3/4 in addition to the above. These are combos I’ve been playing with. Lumix S1H Lumix S1R Lumix S9 Fuji GFX 100ii Fuji X-H2s Fuji X-M5 Sony A1 Sony A9iii Sony ZVE1 Leica SL2 Sigma FP-L Leica Q2 Sony A7CR Sony ZVe1

Almost all of these simply display photographs mixed with animations done in Adobe After FX. It is very rare to see 4K video being displayed on these vertically. If there is video being displayed it is generally 1080p max. Everything I said before about resolution, crops, shooting, horizontal and extracting vertical still applies. I’ve worked on several campaigns that display things similarly for hotel lobbies and they all ask for final 1080p files for ease of playback.

I suspect the OP is a bot, but it’s an interesting question nonetheless. I only need one type personally and that is a compact, hybrid, hi res monster because with that I can do it all. And am, so 😛

I’d prefer the OM-1 for stills and the S9 for video but the OM-1 is a vastly better built bit of kit.