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Doh - forgot to list the 9mm F1.7 lens. That's the ultra-wide I'll be taking too. So the total count is one body, 5 lenses, my phone with vND. I was slightly conflicted about the "wide-angle night cinema" slot. The SB+50/1.4 is equivalent to a 71mm F2.0 on FF, so having something wider seems an obvious thing but I'm just not sure if I would use it. I've mentioned the 12-35mm F2.8 as my night walk-around lens, and when combined with the GH7 low-light capability it's a fine combination, but it's not crazy fast/bright and isn't the best "cinema" option around. The things I considered were: my TTartsans 17mm F1.4, which is small and light and despite being soft wide-open is probably quite cinematic my 14mm F2.5 which is small and light but is bettered by the 12-35mm on flexibility grounds being a zoom my Voigtlander 17.5mm F0.95, which is a great performer but is quite heavy my c-mount 12.5mm F1.9, which is similar FOV when you crop in to its S16 image circle my 9mm F1.7 combined with the GH7 cropping, which is fast but sacrifices resolution and doesn't have the DOF advantages of other options (although I am already taking it) SB + 28mm F2.8 combos, but it's hard to get a reasonable quality 28mm F2.8 in M42 mount and it's not that fast anyway I opted to take the 12-35mm (which I sort-of take as a backup lens to the 14-140mm zoom) but if I do end up wanting a wider fast lens for night cinema, I think I might just bite the bullet and get the PanaLeica 15mm F1.7 as it'll be light and have AF and be sharper than I could ever want. I looked at the reviews of a bunch of budget F1.4 or faster lenses around the 14-20mm mark but I'd never be sure if it was as sharp as I'd like, and spending money to get something that isn't that much faster than my 17/1.4 or that much lighter than my 17.5/0.95 seems silly. MFT is the wrong format for ultra-fast wide lenses, and I already have lots of options for something I might not use, so the whole thing might end up being academic anyway.

Getting prepped for my next trip and have further refined my setup. This trip is a quick trip to China, but it's also a test case for a trip I'm taking later in the year to Europe where the packing approach will be minimalism. Unlike the way I like to travel in Asia, the Europe trip will involve changing accommodation every few days, so packing and unpacking and hauling bags around will be much more of a pain, so I'll try and travel really minimally. As such, my approach for this trip is "when in doubt, don't take it" and see what I actually use. So the setup for this trip is: GH7 14-140mm F3.5-5.6 zoom, which I use during the day at F5.6 which means my 1-5 stop vND is enough 12-35mm F2.8 zoom, which is a great walk-around lens after dark Takumar 50mm F1.4 with M42-MFT Speedbooster (with bokeh insert) for "night cinema" iPhone 17 Pro setup (Neewer phone filter mount, K&F 1-9 stop vND, MagSafe Popsocket) The GH7 and zooms are self-explanatory, so here's the 50mm F1.4 setup. I have played around with "inserts" and ended up with a pretty extreme design, so this is a test to see if the vertical edges are too strong a look for me. It's made from the sticky part of the post-it note, and a layer of sticky tape over the top to keep it a bit more together. It sits between the speed booster and the lens, and I won't use the speed booster for any other lenses while travelling so this will stay in there and protected, so doesn't need to be that robust. It's a strong look in some situations and quite "painterly" in others, so I'll be curious how it goes. For my iPhone 17 Pro, it's a phone most of the time and a camera only as a backup, so I searched for a setup that would: Protect my phone from drops (I dropped it on the last trip and the screen shattered, despite it being in an Apple case - the only one available at the time... sigh) Still be right-sized for getting in and out of pockets etc Have a vND solution for when I want to shoot and use 180 shutter I'll spare everyone from the rant about the options out there (everyone wants you to buy into their "ecosystem" now) so I ended up with the Otterbox Defender Series Pro case, which makes the iPhone feel even larger than it did in the Apple case (which doesn't seem possible but is true), but seems very robust. The vND is the Neewer phone filter mount, which sort-of clips onto the phone (It's designed to screw onto and clamp the phone but you're clamping against the screen, so I wouldn't tighten it that much). It's designed for a naked iPhone, so I had to modify it (and the Otterbox case) slightly where it interfered with the Otterbox case to get it to sit a bit flatter. It still doesn't sit flush, but it goes on and seems to be fine. I haven't got around to actually taking it out to shoot with it, so that remains to be seen. I paired it with the K&F 1-9 stop vND, which boasts 18 layers etc, but doesn't claim to be a "True Colour" one like the 1-5 stop ones do. It doesn't have hard stops and I think it still gives the X at the max amount, but I'll see how I go. Not having an aperture sure sucks considering you're not really losing having shallow DOF. That is all combined with the MagSafe Popsocket as a safeguard. I've used the adhesive popsockets before and they're great for giving a much better grip on the phone, but I wasn't sure how strongly the MagSafe would be. The Otterbox claims to have magnets in it that strengthen the MagSafe connection, and this might be true. It feels quite sturdy actually, and I tested it to require 1.75kg of force to pull off, compared to the 1.45kg of force it took to pull it off my naked iPhone 12 mini. No idea what strength a naked iPhone 17 Pro MagSafe connection would have, but it's not terrible. Lots of compromises involved, but it's really my backup camera, and the Otterbox case is very grippy, so I'll see how I go.

Come on John... everyone knows that anyone who wants better footage than a smartphone can provide is 100% totally fine with a camera the size of a microwave oven that looks like a Borg prototype! Being slightly serious though, it's easy to criticise, but as someone who wants flexibility and better sound options, this is FAR better than the previous options, so it's a welcome addition in my eyes. The worst enemy of progress is criticising everything that isn't perfect in every conceivable way.

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Lumix has involved themselves in gimmicks for some time now. Anyone remember OZO Audio on the G100? What about DFD Focus "technology"; and somehow, the Olympus cameras without PDAF (like the E-M10 iii, iv) did much better in CAF. At least this on-camera mic seems like an actual product, but I'm just not sure how useful it is since it's a rather large device taking up you hot shoe. I think I'll pass for that reason alone. Just give us 32bit with ANY mic internally, not a whole contraption on top.

Yes. This to me is just a somewhat expensive, limited use, vloggers device that has zero serious use case for my needs. I already have 2x Sennheisers that fill this role at €150 for the pair of them.

It's great they came out with something new, but I wish they'd spent their time elsewhere. This product just doesn't seem like a priority. If audio is the priority, I'd rather a set of 2+ wireless lav microphones that connect and record to the camera via bluetooth or wifi. Why hasn't anyone done that?

If it were half the price it'd be interesting but there if a lot of cheaper good gear out there. But it's good to see them innovating. I'm enjoying the S1mk2, I feel it's a big step up from the S5mk2. I hope it survives the summer! Panasonic now has quite comprehensive line up for all budgets.

Looked at and decided very quickly it isn’t for me, but good to see LUMIX making stuff they at least think folks want. What they really want however is an S1H mk II in an FX3 style body with the screen mech from the S1II and the screen from the ZR. Then they will truly win the crowd and strut like gods of low-mid film-making.

Panasonic just released a new on-camera mic. Looks like an excellent option for events etc where you want something small or something really flexible. I've watched a few YT showcases and for me, the best features are: It gives you 32-bit without having to have the external mic preamp box (and then adding microphones to that, making it larger again) It's small, much smaller than an on-camera shotgun mic You can quickly swap between modes (I assume?) it's powered by the camera It unlocks the ability to record >2 channels of audio into the files (one person said you can record left/right/mono/mono-20dB as a combo, and left/right/left-20dB/right-20dB as a different combo) It's definitely not magic and the laws of physics still apply. There don't seem to be any really good on-location stress tests posted yet, but there's a few examples. Media Division did an in-kitchen test to compare it to in-camera mics and lav and a DJI clip-on, and also applied a bit of AI voice isolation too to see how far you can push it: Dustin did some good tests including walking a 360 around the camera in each mode, which showed how directional it is, which seems pretty impressive. He also compared it to the Sennheiser MKE440. This shows the different modes out in nature: This is probably a complete revolution for a number of niche uses. Content creators would be one, where they're recording in noisy environments but still staying relatively close to the camera where physics will be helping them. Another is where the flexibility really helps, like shooting events where getting pristine audio isn't an absolute must but working super-quickly is more important and perhaps the 32-bit would really come into its own. This reminds me of how people used to talk about Panasonic when the GH4 and GH5 were around and people were saying that Panasonic just listened to people and then implemented the features that people would use rather than trying to be flashy and grab headlines. This will be an invisible workhorse for lots and lots of people.

Yes, it is. In a single word: context. :- )

There was! Huge headlines back on August 6, 1945!

I thought there was some breaking news for a moment then!

Again, this is an intensely wrong justification. And there's not a single tool that was ever invented that some person didn't immediately start misusing. It only took from July to August for my own country to go from demonstrating nuclear fission to dropping a fission bomb on a city full of civilians. The perceived benefit of "now people don't have to pay artists to do work" is not really a benefit at all and the massive harm caused of "society can't function at all without a shared view of objective reality" is much, much worse. That's before we even mention the other harms being done in the forum of pollution, water use, higher energy bills, and higher costs for many products due to datacenters gobbling up all available storage and RAM. So again, it's not "just another tool" so much as it's an "existential crisis for humanity."

When setting up the ZR with the camera-specific Smallrig cage, there is space at the bottom of the cage to pull the battery and cards out, if needed. I think the ZR's main applications are not in large rigs but where the small form factor is advantageous. Hopefully Prores 422 LT will be suitable as a compromise format to make the camera more useful for those who cannot use the RAW formats. I personally like to shoot Prores 422 HQ 4K on the Z8 and although the files are huge they are not quite as huge as (with that camera) the N-RAW 8.2K, and I like having built-in lens corrections applied to the video file.

Hey all, quick follow-up after having purchased the C50 and using it couple days. The customization is seriously one of the best parts. I have EIS toggle, S&F, teleconverter, display brightness boost, view assist, WFM, false color all on physical buttons so they're instant. Then the touch quick cine menu overlay lets me flip through frame rates, codec, resolution and recording settings super fast without leaving shooting view. It just feels like one of the quickest cameras I've used in real life. Open gate 3:2 is still my absolute favorite thing. The aspect ratio looks fresh and having that extra vertical headroom for reframing or pulling stills is addictive. Being able to shoot 7K open gate in 10-bit h265 at only 486Mbps in the lowest bitrate is a great data rate to resolution ratio. The digital zoom via the rocker switches is the other standout. Light press for slow creep, hard press for fast punch, with separate speed curves for each. It's so tactile and controllable, and it makes punch-ins on primes feel intentional instead of a crop hack. The top handle is really cool too. It gives better balance and a two-handed grip so handheld shake is noticeably reduced, especially low angles or longer takes. But what's even cooler is how modular it is. Snap it off and the camera becomes super compact for travel, storage or quick discreet shots. Having the choice is great. Still working on stabilization. EIS helps when it's on, but you get that slight crop and occasional motion blur artifacts unless I crank shutter angle to 90° or 45° (which I do now). EIS is disabled in open gate 3:2 so those shots are raw shaky until post. Gyroflow should handle it but I'm still having trouble getting it to recognise the camera or lens. Anyone knows how to manually set it up? Any tricks for getting the gyro data to load properly? Still in early testing phase but overall the camera feels fast, intentional and pro in a way that keeps me shooting. Cheers!

That’s a category error: the tool isn’t the harm, misuse is. You can’t break it. Go full Quijote aka Quixote (who is who? LOL Never mind X ) Much of this sounds like corporate self-preservation dressed up as principle. History has a name for that drift: corporatism. Well, something Europe flirted with in the 1930s ; ) It didn’t end well; Portugal even wore the label officially. We’ve seen where it leads. Who we claim to be is irrelevant; what we do is what makes us. We aren’t what we say we are. We’re defined by what our hands actually show. Or reveal. Identity is cheap. Deeds are the proof. Fear’s a bitch. - EAG

The smug "it's just another tool" takes are, without a doubt, the most offensively stupid ones. Yes, ignore the huge amount of societal harm that is inflicted by a tool that lets any jackass instantly create a nearly perfect deepfake of any other person on the planet, right down to their voice and manner of speaking, and it is indeed "just a tool." While we're at it, let's just give the average person access to thermonuclear bombs which are, of course, "basically just another weapon" and "only bad if someone blows them up ."

New technologies rarely arrive without some degree of pushback.

Another gem by @Henryo Really makes me want to pick up my bmpcc again soon. Anyway, such a treat to watch:

A Voigtlaender 40mm F2 pancake is coming, perfectly complimenting the ZR. If the Nikon had a viewfinder and a mechanical shutter I'd be tempted. Lucky me I can save my money.:)

While AI can be employed for positive or negative things, there's a bigger outlook at play for me. Robert Persig's famous musings are where I want to stand philosophically. His theories, and my limited understanding of them, are pretty much the reason why I ultimately view AI unfavorably.

Not that it is perfect by any means but I find myself reacting to it as if I was watching a real movie or a high quality video game - I bet music videos will never be the same or should I say will all be the same after people get their hands on the Ai video model (Seedance 2.0) from the makers of TikTok, ByteDance. If you need to render people dancing - this is the Ai video model for you.

Like a gun, it’s only as “good” or “bad” as the way someone chooses to use it. - EAG :- )