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There are a bunch of weird 🔨 limitations on the R6 V. Nowadays, I'd expect a $2,500 video-centric camera to have shutter angle, at least. I'm not sure if a dedicated timecode port is a reasonable expectation, but in my mind, it should have one. Those would go al long way to making it a proper B cam to one of the cinema line cameras.

The battle of Resolution vs Common Sense was over long ago and us consumers were the losers.

The clearest sign yet that people's critical thinking might be in a dodgy place... 7K RAW on a content creator's camera with a tripod mount to shoot in portrait orientation. Now let's remind ourselves: Why do people shoot vertical video - because of phones How big is a phone screen - Erm, about 7 inches tall How much resolution is 7K in vertical format... 1000 dots per inch! What DPI are the best flagship phone displays? Well, iPhone 17 Pro Max is 2868 ×1320, so about 450dpi, and that is overkill already because to make out the individual pixels you need a microscope. Those Instagram stories never looked so good.

Well, that intern got Panasonic 20 hours of clear air, but the intern from Canon that chose when to announce the R6V only managed to get about an hour before Sony released the A7R VI, so I guess everything is relative! Still, they're all for different audiences and at different price points etc. A $1500 P&S vs a $2500 FF camera vs a $4500 67MP beast. I doubt many people went "oh no, I preordered the L10 but the Sony has higher resolution - pre-order cancelled!"

I think it's quite exciting, for someone who skipped the Sony a7r V for video because of the slow sensor and terrible rolling shutter in 8K, I can finally embrace it fully without any silly deal breakers. It's also going to really help the price of the original a1 drop to sensible amounts. Already the lovely a1 OG is <£2200 on eBay from Japan. This is highest resolution stacked sensor yet though... 68 vs 50mp, $2000 less than an a1 Mark II, DGO and a new, absolute chonk of a battery, plus new EVF - possibly the best ever on a Sony - and an EOS R5 Mark II price to match. Finally Sony are not deluding themselves that everything high-end they do should be 6 or 7 grand. Would it be nice if it had real-time LUTs, open gate, anamorphic and raw codec? Yes, but as an all-rounder it ain't bad is it? I am not in the least interested in 2500Mbit codec file sizes when H.265 looks as good as it does in 2026. S1R II for me is tempting for open gate and the LUTs, but it's got too many deal-breakers where the Sony hasn't. The mount, for a start. And the a7r VI autofocus I bet is stunning.

Looks decent and loved my A7RV, but I have nailed my colours to the LUMIX mast for what remains of my career. But if I did switch, it would be to Nikon. Or Leica. Or dammit, maybe even Canon. Or possibly Sony actually. The simple reality is they all make good shit these days. Remaining a Lumix bro, - it does what I need it to do.

Another stroke of Lumix’s marketing genius. They were hoping for a full 24 hours of limelight, but the intern responsible for product launches only had 10 fingers and 10 toes to count with.

It looks like a solid upgrade if you're in the Sony world and want your stills-first camera to have a bit better video. 67 vs 61 mp is 🥱. Internal video codecs are industry-trailing (H.265/H.264 only). The standout feature, for me, is 4K DGO video with only a 15ms readout - but if that were the only spec that I wanted, I wouldn't have sold my C70 (and it could do it in raw). Wish they would have done an 8K DGO - would gladly take 22-28ms readout speeds for the extra DR on scenes without fast movement. This seems to me like a camera that's designed to throw a bone to Sony shooters who might otherwise be thinking of jumping ship. It's fine, but not very exciting. I think Sony sent some spies over to the Canon headquarters to learn the secrets of the 🔨

To be honest, I really want one. I'll wait for it to come down to 3500 euros used, then I think i'll sell some stuff and pounce on it. The main weakness of the a7r V and Panasonic S1R II - the slower sensors and rolling shutter, is banished. The 1.2x crop in 8K isn't ideal though. Specs: https://www.dpreview.com/reviews/sony-a7r-vi-review

@mercer Canon just released the R6V, which is somewhere between the R6III and C50. Another option to consider...

Yeah, some pretty nice looking images from that lens. Realistically, on a consumer camera without RAW or Prores, the codecs are potentially going to be the limiting factor more often than the lens. I'm easy to please though, as my aesthetic leans towards the analog and emotive rather than the person building a personal database of all image sharpening techniques ever created.

It won't feature Ibis, probably, if they are about to keep the size. I could live with that.

I'm optimistic about it, but there are no guarantees. Also, if it has an MFT mount it might be more expensive rather than cheaper, you never know.

Any chance they're putting this out with a lens mount (and a little more affordable)?

I searched for "LX100" instead of "Landscape" and it seemed to work, with most shots meeting the criteria...

Well, they just launched the Canon R6V, so I hope Panasonic enjoyed their 20 hours of PR!

Turns out I didn’t dream it. https://www.shutterdial.com However, what I did dream )or maybe they’ve removed the function) was that you could search by specific camera on addition to the focal length/aperture.

Ah, I guess that makes sense if it's based on lens coverage. At least there's OIS in the lens!

I may have dreamt this but either in Flickr itself or an external site that used it’s data, you were able to search by EXIF so you could look at the extremes of the lens range and in this case it would be to display all LX100 images at 24mm f1.8 and 70mm f2.8 which was a more informative way to do it. People can fuck up the composition and the processing but even they struggle to overcome the physics. Welcome to episode two of the series! Fixed. The EIS is an additional crop as far as I can recall.

This is less of a devil in the details than it might seem at first. Recording 4:2:0 in 6K (or nearly 6K) is going to be a lot closer to the quality of 4:4:4 when that footage is dropped on a 4K timeline. Long GOP only in those modes is not ideal, but it is a compact camera. Is that a moving 85% of the sensor? As in, does that allow turning on EIS without any additional crop?

Looks decent. Finally a small camera that isn't arbitrarily locked to 100Mbps (or 200Mbps if you're lucky) IPB codecs. I always wondered if the small form-factor would influence how much processing they could fit into it, or even IF the size influenced the processing at all.

So there are indeed some details in the video specs that will be of note to some. Internal RecordingH.264/H.265/MOV/MPEG-4 AVC 4:2:0 8/10-Bit 5674 x 2988 at 23.98/24.00/25/29.97/47.95/48.00/50/59.94 fps (200 to 300 Mb/s) 5184 x 3888 up to 23.98/24.00/25/29.97 fps (200 Mb/s) 4352 x 3264 up to 47.95/50/59.94 fps (300 Mb/s) 4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (100 to 300 Mb/s) 3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (70 to 300 Mb/s) 1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120/200/240 fps (16 to 200 Mb/s) H.264 ALL-Intra/MPEG-4 AVC 4:2:2 10-Bit 4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s) 3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s) 1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (200 to 400 Mb/s) Interesting to note that Panasonic have sidestepped the Micro HDMI bleating by just fucking it off altogether. Although it was playback only on the original anyway.

Like. Subscribe. True. I was referring to a fictional interchangeable lens version in the future, but for this one it seems like they've compensated for this in their menus as the focal lengths seem to all be in FF equivalents: I very much doubt anyone shooting with a zoom will be terribly fastidious about shooting with exactly 35mm (and not 40mm) but I could be wrong, and the ability to set that zoom switch to preset focal lengths will certainly encourage people to stick to exact settings. Absolutely. Although TBH unless you're shooting professionally (which this isn't the camera for) or doing something really specific (like shooting green-screens) then a downsampled and lesser codec is still in the realm of being passable for most purposes. Especially with software like Resolve bringing all kinds of processing within reach. I must admit that I find judging image quality from other peoples images to be almost impossible as you're likely just seeing average images of the most incredible scenes. I remember back in the early days of digital when almost all photos were completely rubbish but there was always one or two photos you shot that looked magical because the light was just right and the scene happened to make a great composition or the scene was rubbish and the colour profile was also rubbish but they happened to collide in a way that is creatively interesting. Unfortunately for me, that means when judging lenses I either have to replicate that focal length / aperture combination on my existing equipment or just buy the damned thing to understand what it's like to actually use!

What an absolute gem Looks like a real winner and very brave move because this will absolutely tank G9 II sales. As a G9 II owner, very happy with the GH7 sensor - I'm excited for this. Especially with it able to shoot 5K, although it does look to be the 2.2x crop variety rather than the oversized multi-aspect approach it goes for under-sized multi-aspect approach. That lens on the LX100 has always been the best compact camera 24-70mm equivalent. bar none though, so I'm not too bothered! If instagram crowd still go for a Canon G7X II after this comes out they want their heads seeing to.

The Leica variants of the Panasonic cameras like the RX100 always hold their value far, far better so the initial premium that you pay is offset somewhat when you sell it. Join me next time for another episode of “Flimsy Justifications I Present To My Wife When Buying Cameras”. The good thing about a fixed lens camera is that you can just forget about all of that. What you’ve got is what you’ve got. When the full spec for the L10 comes out then I would look for some devil in the detail regarding this as well in the video modes. I saw something regarding it being 4.2.0 in some modes and 4.2.2 in others for example. Not sure about numbers but the Flickr pool for the LX100/ii should give you plenty of visuals to evaluate it. As with most pools on Flickr for older cameras I’d recommend going back to closer to the end and working forward as the advent of faster internet has led to a proliferation of any old shit being uploaded. People were a lot more selective ten years ago 😂 https://www.flickr.com/groups/dmc-lx100/pool/with/55214982443