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That is a very good analysis! Thank you!

Same here, I've always been super happy with the build quality of every Lumix camera I've ever owned. I am starting to wonder about the GH6 screen and if there is some sort of defect with it because I've seen several other people on various forums mention the same issues I had, and my second body gave me a scare just the other day when the image on the LCD was shifted slightly to the left (back to normal now....) This is exactly how my problems started on my first body and eventually the image wouldn't flip itself to the correct orientation, it would be shifted off center and would flicker every now and then before completely dying. The only thing I could think of at the time was having the camera in some light rain, maybe somehow the weather sealing for the whole screen mechanism isn't great?.. Who knows.

I've never had a Panasonic really break on me. It did happen to me with an Olympus E-P7. It had faulty IBIS. I sent it in and they eventually replaced it with an E-M5iii (an upgrade). I was super happy. Not it's the same service today.

I had the LPS Red service included with my GH6 when I bought it new, and unfortunately had to use it the next year when my camera screen started glitching out and eventually died. Other than the fast turnaround it was a huge headache and the communication from Lumix Pro Services was terrible. I had to pay out of pocket for shipping both ways, an inspection fee, and then parts and labor. The third party repair facility was great, but there was a glitch in the LPS system showing on their end that my camera wasn't registered even though I had proof on my end. I could never communicate with anyone at LPS efficiently and the email tag back and forth was incredibly slow and nothing was ever resolved and did not get the said warranty coverage. Maybe I'm the only one that has had this issue with them, but then again maybe this is why it's going away.

I had no idea it existed and send my stuff to a place in Paris and a company whose name I forget… And Panasonic Lumix told me to do this with no mention of these so called pro service so 🤷‍♂️

Didn't know A7siii has this saturation issue

1) This didn't go well for Sony when they released the QX100 and QX10 years ago. It also didn't work well for Olympus with the Air A01. Of course, none of them stuck a stupid bullshit "AI" label on the end of the camera name so who knows, maybe that's what was missing. 2) Fuck GenAI. Of all the things I want integrated in my camera, that's at about the rock bottom of the list. 3) Note that at least 3 of the 6 testimonials that they include (screenshot below) don't actually say anything positive about the camera. "That's very different" is not an endorsement. In fact, where I live, saying "that's different" is usually a form of backhanded insult. 4) It looks like it only supports wifi connection to the phone without a wired option. In a best-case scenario, screen lag will be tolerable. Go to any reasonably-crowded urban area, though, and enjoy the slide show and/or "connection lost" messages. 5) Even though they say you can choose from over 100 M43 lenses, I'd be worried about magsafe supporting any moderately heavy lens. Even if it does, the camera will be really unbalanced. 6) When Caira goes out of business, there will be nobody left to update the app and the camera isn't usable without it. Cross your fingers that Apple doesn't change some necessary API during an OS update. 7) Super early bird pricing is $695. You can go buy a used Panasonic G85 in like new condition for about $430. You can get an OM System OM-5 in like new condition for about $760 or in excellent condition for about $690. The G85 is cheaper and pretty good - at least on a spec sheet, they seem similar - a little bulkier, maybe. The OM-5 should be at least as good of a camera, also is quite small (not as small, of course, but very small by modern camera standards), and will keep working whether or not OM Systems stays in business or decides they want to stop making cameras. 8 ) Phone cameras are already very good these days. Mine is more than good enough for any of the sort of images/videos that they seem to be promoting on their site. If not, I'd probably just get a newer/better phone and not some janky add-on. 🙂 9) Small company + Kickstarter means you'll probably be waiting a good long time and/or never actually receive the order. Even though they say they have 500 mainboards already in stock, actually building and shipping hundreds of units is a really hard challenge that a lot of kickstarter projects don't take into account - and sometimes not even due to fault of the creators. My 4x10 film camera that I ordered from an established brand (Ondu) who already made/shipped lots of pinhole cameras for years beforehand took WAY longer than expected, at least partly because suppliers kept sending out-of-spec parts to them. The owner is a really great guy and we had some nice conversations when I asked my camera hadn't come despite that he said they were caught up on orders (turned out that their tool to collect shipping information lost a bunch of responses so he had to go manually collect them from a lot of people). So anyway - for me, Caira is a hard no. I'm basically the opposite of their target market, though.

Hi! I just saw this Kickstarter project: https://www.kickstarter.com/projects/cameraintelligence/caira-worlds-first-ai-native-mirrorless-camera It’s an MFT camera that attaches to the iPhone and uses the phone as monitor and for operation. I find it interesting because I have a number of MFT lenses and I always wanted a camera with the UI of an iPhone. I of course see the downsides regarding handling without physical buttons etc. The AI features are a nice gimmick, even if I don’t know how useful these really are… What do you think?

I did find a post that said it will still exist, but under the “My Panasonic” name. Maybe because no one was actually using it, they just decided to move the service under the Panasonic brand. Personally, I think they should just get rid of the Lumix name altogether and fully embrace Panasonic. That way, people would immediately know what it’s about and wouldn’t have to think about—or explain—that Lumix means Panasonic too.

Greetings Fellow Creatives, Been super busy, but managed to create a couple of new tracks to share with the community: "TRAIN TO 4th SECTOR" (LoFi) "OFF-WORLD DESOLATION " (LoFi) https://soundimage.org/sci-fi-14/ CUSTOM MUSIC FOR YOUR PROJECTS I recently finished a full custom score for "Warbound," a strategy-based RPG. Starting on a cool 2D cyberpunk game called "Futurika." If anyone needs some custom music created, feel free to reach out! https://soundimage.org/custom-work/ Have a good week! 🙂

I have a bad feeling about this, but does anyone actually use these services? What does this mean for Lumix?

Pixel binned raw 4k120 of ZR has the same amount of details of FX3, if not more, which is a native 4k sensor

Finally got ZR yesterday. After changing all the settings like I have them in Z6iii, except Zebras and Vignette for R3D, got to test it a bit too. 1st, the screen is really good, you can change almost everything needed via the touch id and new menus quite quickly and intuitively. Need to figure out still what I need to set on those 4 custom buttons really. The grip is tiny but feels ok in the hand. Still, with heavier lenses like 1kg 50 f1.2 and 135 f1.8 having the L shaped gage’s bigger grip seems to be a must, as it also has the Arca-swizz base plate for easy tripod use too. Quickly tested R3D NE vs NRaw to R3D hack with ISO 800 and 6400, and R3D NE was a bit cleaner in the shadows and seemed to hold the colors better too. The Z6iii EVF and all of it’s buttons in muscle memory seems still of course more convenient to use, but there is no going back to timy 3.2” screens after this. In various Panas and Z6iii I almost never used the screen. Cinema tools has made a false color LUT, propably have to buy and try that too, if setting the zebras to 245 for R3D highlights does not work like zebras at 255 for NRaw. The build quality seemed robust, but the shutter button needs a bit heavier press. Could not find the focus limiter in the menus either. Hopefully the weather allows to take both ZR and Z6iii outside, and see how the ZR handles, and what the footage looks like.

I think the mechanical systems that allow the back LCD to tilt behind the optical axis as well as opening to the left for selfie orientation are more complicated and require more parts than what Nikon is using in the ZR, and this would make the camera heavier, larger, and more expensive (would make it less attractive for many people, and it might not solve the problem it currently solves). Higher-end models will no doubt be made over time with different solutions to how the LCD turns into different orientations. The Z8 and Z9 offer a screen which does not tilt forwards (selfie orientation) but it does retain the LCD approximately on the optical axis.

I could never understand the "accelerated" manual focusing, it makes things just more difficult and unpredictable. Nikon fortunately have firmware updates to most of the S-line lenses (exception: 14-24/2.8) that feature what people call linear manual focusing (I'm not really sure what is linear in it, what it does is make focus ring position and focus distance correspond to each other in a bijective relationship at least within the power cycle of the camera). What's even nicer is that you can choose how much you have to turn to achieve a given focus change, so it is adoptable for different users and needs. I think the focus by wire should never have been accelerated by default in any lens. As for the priority on autofocus, mirrorless so-called hybrid cameras and their lenses are a bit more (still) photography-oriented than video, and so the needs of the stills shooters come first in most models. Autofocus is very useful when you want consistent focus on the eye, for example, or when shooting action subjects (again, stills). For some things (such as when multiple subjects at different distances have to be sharp in the frame, and the best way to achieve this is to focus in between them) manual focus is better but manufacturers chose to prioritize ease of use than the needs of skilled users. Lenses with mechanical manual focus are of course available, natively and via adapters, for those who prioritise MF.

at certain point, the lens industry is more for other things than the iq. canon l lenses are a good example, dust free, build quality (fine for me on this), af, optical is (fine for me in certain situations). they are working horses, but not creative tools. use another example, vintage voigtlander heliar lenses are so good for portrait. not sharp, but good enough, great oof, just right on the spot for human faces, even better in bw. even 50 years ago, they did it right.

If only they had opted for the S1H/S1RII/A7RV style mech 🙈 It’s not a dealbreaker (for me) but might just have sealed the deal for me as this kind of fundamental, but so easily could have been included. I work exclusively off the LCD for both photo & video and simply prefer it behind the camera, in line with the lens and not on top or off to one side.

Seems like another hidden cost of the internets obsession with AF. The more everyone screamed about it from the rooftops the less that manufacturers cared about anything else. The worst thing about the camera industry is the BS that the online communities prattle on about. Now we have clinical lenses and megadollar-megapixel cameras that fill up your card in 10s flat with 8K 60p RAW and require all kinds of Film Emulation in post to get rid of the sensation that digital scalpels are being hurled into your eyeballs when you look at the footage. No wonder vintage lenses have never been more in-demand. ...or vintage point-and-shoot cameras or digicams for that matter.

I was shooting 4k 120fps on my Lumix GH6 today and ran into a weird issue I've never encountered before and I have owned the camera since it was first released. I shot about 15 clips with no issue before this problem occurred and then all of a sudden when I pressed record I was met with a wall of pulsating pixels in the viewfinder (see photo grab below). I stopped and started recording again and had no more issues for the rest of the day (30-40 more clips taken in various frame rates/codecs: 4k 120 4:2:0, 4k 60 4:2:2 long gop, 4k 60 4:2:2 All-I 600mbps). Camera setup: Lumix GH6, Leica APO-Telyt-R 180mm f3.4, Metabones smart adapter, Tilta NP-F battery plate w/ NP-F 770 (charging camera via usb-c) Curious if anyone has any thoughts on what could have caused this or if you've encountered it yourself.

If it comes from China, why would they care about Patent. Even I think Portkeys are doing a stop base false color system in their new monitor. I think it uses different colors and is customizable. It ill be difficult to patent something like that outside of the US.

Its just a name, probably because the guy who made that believes it works like EL. True EL Zone needs license from its patent holder. Yea, I use the app and some videos have English subtitles. The strange thing is there is no real ISO at 400. With log video, ISO 800 is the same as ISO 100 in still mode. There is lower ISO below 100 in still mode but they're known as fake ISOs. For example ISO 50 has the same amplification as ISO 100, but fools you to give the sensor one stop more light.

Since RED says the colorimetry and gains are different in R3D NE vs. N-RAW, this seems to support that. Nikon traditionally has done a white balance adjustment before storing the values in the RAW file, and the raw conversion software has to know what processing has been applied in order to correct the WB. My guess is that RED might not do that (to preserve consistency across the different cameras storing R3D files) and so the colors are different in the different raw formats. RED also does not adjust sensor gain between intermediate ISO settings, as far as storing values in the raw file is concerned, apart from the two base ISOs, if I understood this correctly, and this approach is also used in the ZR R3D NE. Nikon applies different gains to the data also at intermediate ISO values when storing data in N-RAW files. So, the two formats work somewhat differently and are intended for different postprocessing pipelines.

Do you use the app, I see like English subtitles. I am also asking myself if it is just noise to at least 11.9 to 12 stops. As the SNR 2 is about the same in the ISO 400 and 800 coverted to R3D. And then at 6 minutes you get that image with the tomatoes from the conversion of NEV to R3D. And perhaps you can just get back the DR in the Nev version with a simple curve, or the R3D has much more DR.

I see it is written ELzone, is it the ELzone system, or do you think it is traditional false color?

The difference is noticeable even by looking at the image Thats funny to be honest Even colors are different I think Davinci is responsible for all this.