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I think this S9 will fit my needs perfectly. Electronic shutter doesn’t bother me, as I do video 99.99% of the time. I still have my old Nikon Z6 I can whip out for the very few times I get asked to do photo work.

Liquidation auction are overstock, b-stock, Amazon returns etc so there’s always a chance for something to just be missing lol.

Typical liquidation auction weirdness, the S9 body is in great shape other than a small scuff on the lcd, but the 20-60mm lens is entirely missing from the packaging lol…still a good deal as is still around $400 less than the body only S9s sometimes sell for on eBay. My EF lens adapter comes tomorrow then I can do some proper tests and first impressions. Will share those.

Yes. The imaging capability of the S5ii in a tiny lightweight package. By far and away, the best run & gun set up I have used to date with the Rode Micro. However, I will be trading mine as soon as I can afford to do so, along with one more lens (bringing me down from 5 bodies + 9 lenses to 4 bodies and 5 lenses) despite absolutely loving it and for a single reason, - that electronic shutter. Having down-sized my kit, I need this unit to work as a hybrid and shoot stills also, but low-light + LED’s = banding. It’s not excessive or super-heavy, but it’s noticeable and what put me off the Sigma FP and FPL when I tested them a few years back. I think the Nikon Z8/9 is the only current camera that doesn’t really suffer from this but it is a photo issue only. Well it can be a video issue also as I rediscovered a few weeks back when shooting 30fps subjects with an LED tree behind them and had not noticed I had knocked the shutter speed from 1/100 to 1/125 😏 Need to fix that now in post, if I can… But S9, whether you keep or sell it, I think it’s fantastic for video. Tempted to keep it as a backup, but it’s overkill with 4 main units and it would just gather dust, plus as a business, I love it for what it can do, but not simply as an object to own.

LOL : ) Clearly, it was opened under the wrong setting…

Both types of credits on imdb won't be a problem. In fact it could show that you have experience on set so you possibly could have a greater understanding of a film project than just your one area. It won't matter if there were some big names in the film.

In the meantime, that video got changed to private. Must have accidentally jumped the gun on making it public. Dang, DJI have a lot of leakers on this one.

In the meantime, here's another one: crazy reviewer, he doesn't give a damn for NDAs... No idea for you but to me it is a clear win-win, so bye-bye to my One X2... Let's not forget these guys are the same who have produced the Osmo Pocket 3. I agree with the guy. You risk to no lose anything when going with these people. Hard to beat them and their products IMO : ) Seems the time you can easily match these small capture devices to any other camera of your arsenal has finally arrived.

Looks like that was the same NDA footage from Benett Graezer that leaked on YouTube before July 31, not an official publisher review. The title didn’t really reflect the actual results, so it’s more of an apples-to-oranges comparison. DJI’s 10‑bit footage never showed those kinds of artifacts when handling heavily processed input on the X5. Either way, both sources have since disappeared from the web.

Context matters in film production. You have more context. What you possess through experience is an asset. --Might be a minor asset that doesn't really matter much, but it's certainly not a liability.

Sure, on the opposite. Right on the spot as @PPNS said :- )

There’s a whole language baked into those Hollywood classics frames: actors, wardrobe, blocking, lighting, set design… every element supports the tone. Even a single still says so much because it’s built around subject, not just color and grain. Also checked the Mexico & Tokyo Gawx videos. What’s cool there is how different the tools are (one shot on Fuji, one literally on an iPhone), yet both look super filmic. That’s not just the grade in DaVinci, it’s how he shoots. The variety of angles, the rhythm of edits, the way shots alternate between wide/symmetrical and close/intimate. There’s a real visual language there, and the music choices help carry the mood. Kinda Wes Anderson meets lo-fi travel doc. All of which kind of reinforces the point that gear and grading matters, but what you point it at and how you frame/cut it matters a whole lot more. Vintage lenses and power grades are dope, but the film look really comes alive when there’s composition, movement, and some intention behind the shots. As someone else mentioned above, it’s hard to judge when youre shooting plants or the kitchen. Nothing wrong with testing gear but cinema’s called motion pictures for a reason. If nothing’s moving, not the subject or the camera, it starts to feel more like still photography with a film LUT on top. You don’t need actors either, just find something with a bit of energy or make the camera do the work. For further inspiration, there’s a young travel filmmaker on YouTube whose shorts are very cinematic (albeit clean digital, not in any retro lofi aesthetic). I found him as I was looking for Canon R5ii 4K SRAW footage. This probably won't help you in the chased 35mm film anamorphic look aesthetic but in the end what really stood out is how mature his visual language and storytelling is, and his last video breaks down his inspirations and techniques:

After 4+ yrs of shooting on my trusty Nikon Z6 I decided it was finally time for an upgrade. I wanted internal 10 bit and better IBIS. I felt I had pushed my Z6 really hard and taken my due diligence to use it on tons of shoots and really make the most out of it, so upgrading felt fine to me haha. Originally got a Canon R7 and Sigma 18-35; I filmed a lot on a Canon R5 and loved it. I equally love the r7, decent lowlight for a crop sensor, great ergonomics and image, really fun camera to shoot with. But then I found the deal of a lifetime…a Panasonic S9 AND the 20-60mm for only $700?!?!? How?!?!? I’m fortunate to have a good reputable liquidation auction in my area and they happened to have the Panasonic S9 open box with this lens up for bid. I bid on it and won and am picking up today; if I love this camera, I return or sell the Canon R7. If I prefer the R7, I can literally sell the Panasonic for a profit. But seems like such an insane camera for the price even what it normally goes for on eBay. But $700 for this pair is insanity; I could sell the kit lens if I wanted to and be paying under $600 for an S9 body haha…now we are almost in what used to be Panasonic G7 pricing territory (my first camera). So pumped for this camera; I can overlook its flaws for how cheap it is for me. I never been use an EVF and I don’t take photos enough to really miss the electronic shutter or lack of a hotshoe. For me the excellent IBIS, full frame, lowlight, 6k open gate etc etc make this camera appealing. I ordered the smallrig cage with a grip; this will be my a-cam and I might keep my OG Nikon Z6 as a b-cam, since with the ninja v its full frame 10 bit image will match well with really any camera I get. But yeah, can’t get over how good of a deal this thing is. Picking it up from the auction today, will make a more detailed comparison post against my R7 and document what I decide to keep.

no one gives a rats ass about anything and most people in the industry have side hustles to survive or pay the bills.

Then, to go from the ridiculous to the absurd... But it's like that saying, all's well that ends well.. and Chopin seems to like it.

Sirui first light.... I'm not 100% sure I've done everything correctly, so take these with a pinch of salt. Also, the Sirui has a vND on it but the normal shots don't, so that might account for the WB and polarisation differences. The advice I heard was to set the taking lens to infinity and then focus with the adapter (single focus setup) but the AF on the taking lens seems to work just fine and Uncle ChatGPT says that setting the taking lens to infinity is more likely to be an optimal setting rather than the only setting that will work. Here's a shot where I set the adapter to minimum focus and then focused closer with the taking lens.. I don't think it's properly focused though, and the bokeh isn't squished much at all, so this is probably quite far from optimal settings, but also possible. Obviously I have a lot of testing to do, but if I can still use the AF to fine-tune the focus then that's even better as I can sort-of zone-focus with the adapter and then shoot quickly with AF like I normally do! Overall though, a very promising start.. despite it being so big and heavy!!

I guess to get the cinema look you have to do everything that feature films do, because if things didn't contribute to it somehow then they wouldn't be doing those things, so that makes sense. Whatever part of the look I'm chasing doesn't seem to require lights or even diffusion though, as demonstrated with the below video from Gawx: and to a slightly lesser extent, this one: Even this one still doesn't trigger my "amateur video" gag-reflex despite having many ultra-wide hand-held moving shots: They all seem to have this incredible texture and feel to them. In other news....

I kept this secret for almost 15 years because it wasn't about music, but now I’m looking for interesting features, short and docs to score, maybe it could be useful. Before becoming a film composer I was a stunt double and background actor in a film with famous people involved. The producer is one of Ferrari(2023) producers; costume designers also worked for Sarah Jessica Parker; I'm in several scenes with famous italian actors, and one of them collaborated with John Debney and Diane Warren. We have been together for a month so I could live the film making experience from inside, how it feels and how angry directors could become :D even if I was an actor and not musician (I was stunt double of a musician character anyway :) You can clearly see me in some scenes as myself and as stunt.

I couldn’t say for sure as it was 6-7 years ago, but it was mentioned that I believed it had some kind of sensor issue.

Just as a matter of interest. what grading did you suggest for this knowingly faulty kit?

I've sold them probably 15k+ over the years and just sold them 2 bodies and 4 lenses and they upped the quote on the 2 bodies even though I selected 'Excellent' for my OG quote, raising what they were going to pay me by nearly €150. I was 'happy' with the OG quote and wasn't expecting another cent...but I'll take it with thanks! No going back now, I'm now officially 100% L Mount. Didn't think that was going to happen and just 3-4 months ago, I would have said I would probably be 0% L Mount in 2026. And before some wit says, "you still might", even if you're paying, I don't think so, - never had a better set up and can't fault it other than one more tweak too the exact combo of bodies and lenses to make. There is nothing else comparable for me that exists at this time and if it did, it would only be a sideways move at a lot of expense, ie, pointless.

Greetings Everyone, More new free tracks are ready for you on my Fantasy 12 page: "DREAMY HOLLOW " (LoFi) "FOREST WEDDING " (LoFi) "KINGDOM IN DESPAIR" (LoFi) https://soundimage.org/fantasy-12/ As always, they're 100% free to download and use in Mp3 format with attribution. I hope some of my tracks are helpful! 🙂 OGG GAME MUSIC MEGA PACK - OVER 1400 TRACKS (AND GROWING) https://soundimage.gumroad.com/l/ylyre My Mega Pack contains over 1400 music tracks (and growing!) in higher-quality Ogg format. Great for video games, films, podcasts and more. This is a bundle of my genre music packs: Fantasy | Sci-Fi | Funny/Quirky/Weird | Puzzle | Chiptunes | Action | Dark / Ominous | Horror / Surreal | Misc These tracks sound almost as good as my original WAV recordings, but are much smaller in file size. Perfect for video games. Ogg tracks also loop better in game engines than Mp3 format. THE PACK THAT GROWS WITH YOU I add new music all the time and send users updates so you can download my newest tracks as I release them. As always, enjoy, stay safe and keep being creative!

Oh yeah, most definitely true! When I used Parsec in the past, it was when I was playing around with game streaming and that's often more latency-sensitive than something like using my video editor, though I'll also need to see how it is for frame-perfect transitions/effects that I want to align to audio. But for me, the use case isn't to reuse underpowered machines to backhaul to another machine - my M2 Max is powerful enough for anything I want to do (though I'm likely to buy an M5 something after they're released since my warranty on the M2 will probably be up around then) and I can just pick it up and carry it with me. For me, it's more about putting the editor on something with fast access to the underlying storage. Even though wifi has come a long way, it still sucks, in my experience, for editing high-bitrate footage from a nas (proxies would help, I'm sure). I'd be likely to still do color (and maybe fine tune audio/video sync edits) with the laptop on a wired connection through the dock, but as a silly example, I did a 48 hour film project a few weeks ago and at some point, one of the people is hallucinating some burnt toast talking to him. We ripped a little mouth in the bread. For the 48, I just warped the image for the hallucination, but now that I'm working on the extended cut, I'm animating the little mouth to move with the words. I suck at vfx since I barely ever do them and don't like them much so it took me a bit over an hour to get the first 3-4 words done. The next clip has about 10-12 words. They should go a bit faster now that I figured out what I'm doing, but... still probably a couple more hours. I'd rather do that lounging on the couch while watching a movie at night vs hunched over my desk. Maybe Parsec is my shortcut for that. That and there's another part with a transition that I can't nail down to where I like it, would rather play with that while comfy on the couch too.

Looks like someone decided not to wait for the embargo to lift before posting his review: