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Minor point - the S9 *does* have a 3.5mm mic input jack (but no headphone jack).

It's hard to say which one is better - they are both excellent but behave differently. I think the OM1 is better at working out what you a doing e.g. are you panning (when it lets the stabilization 'flow') or stationary (when it tries to hold it static). The amount of crop the OM1 adds in e-stabilization is less than the S9 adds in 'high' e-stabilization mode, but the probably S9 degrades the image less in that situation. Really, the big difference between the two cameras (ignoring the lack of EVF and mechanical shutter plus the limited physical controls on the S9) is that the OM1 is maybe 80% stills and 20% video orientated, where the S9 is more like 60% video and 40% stills. The OM1 is very well built, feels great in the hand, is fully weather-sealed etc. but you'll curse it's video limitations at some point. For example, to get the sharpest video you need to use 10-bit mode, but that is *only* available as 4:2:0 HEVC in either HLG or OMLog400, and you can't adjust anything in those modes. The 8-bit modes are basically the same as the E-M1 iii, but the output looks a bit cleaner. There is no way to save custom sets of video settings - the custom sets only work for stills, but at least most settings are kept separate between stills and video modes, including button and control wheel customizations.

Yes and that’s why you favor the horizontal and either rig up a second camera/phone or shoot in a higher 6k resolution. Honestly, extracting a 1080p vertical crop from 4k is fine for 90% of my clients still in late 2025. Anything that needs more resolution or attention will be extra cost and have special equipment devoted to it. Turning the camera sideways, open gate mode with vertical frame markers only, etc… Still a lot of the time I shoot open gate and just crop square 1:1 for social media. No extreme vertical crop and no 16:9. That leaves lots of room at the top for logos and banners and then the bottom most of the time has subtitles so it’s already wasted space. Also keep in mind with the photo #1 below, That aspect ratio will not ever be used to that orientation with the stuff I shoot. Anything 16:9 or 2:39 gets turned sideways and fills the screen so it’s just for illustrative purposes below only. New AI plugins will actually take your 16:9 horizontal video and then actively and dynamically keep the subject in the vertical frame in the center. You shoot horizontal and don’t bother paying attention to vertical crops. Later in post it solves it. (in theory)

Well said and I agree completely. I know every generation feels like the younger one’s “don’t get it” or are doing strange things, speaking weird and have terrible music LOL. But I do feel like this time it’s different. The golden era of the internet is over and we now have Search engines that only try to sell you things, apps that spy on us, prices fluctuating depending on when you view them or what credit card you’re paying with. Advertisers and Influencers creating content just to engage or rage bait us into clicks… It makes sense that Gen Z and Alpha would celebrate the early 00’s. Vertical content became a thing because people scroll so fast they’re not going to bother to turn their phone sideways. A producer friend of mine just started working on a new Vertical Tiktok series, (yes that’s right) That plays out over 25 episodes at a whopping 7 minutes each. The pacing and editing have changed to be all about the opening hook and then some quick story beats before a mini cliffhanger. The youth are not drinking or watching TV or movies so we’re seeing some very interesting new ways to have to sell things to them. I hate it.

I don’t know about when you’re in Reality only needing three cameras but here in Delusionville it’s eight minimum.

My personal kit resembles OP categories, though I'd add some refinements to those categories for my use case: 1) The "on-set" IO cam: This is "usually" the big daddy unit that that has all the ports and power needed to get through a shoot day with 3+ crew. It usually is going to be some box-style or camcorder-style body that has SDI for others to monitor. Solid body. It should be designed (or rigged out) to last several hours without the need to hot swap batteries. Size rarely deters build options/needs since this unit will be on sticks 80% of the time. This cam usually has the most robust codecs, media, and IQ, though it isn't a given due to modern mirrorless units closing that gap. Not always the first option for the solo operator, depends on shoot needs and client. 2) The "fill in the gaps" hybrid/gimbal cam: to be used for all abstract shots that could benefit from a lighter/smaller body. Handheld + IBIS, gimbal, steadicam, overhead shot, second angle...this fills in the use cases where the big camera can't. This unit is usually faster to boot up to and operate, might have some kind of PDAF autofocus system, etc. This camera is also first pic for any "videography" jobs that require you to float around. This cam preferably has the same lens mount as the first camera. Usually a box cam or low mp hybrid mirrorless. A much better tool for vertical shooting, (smaller body to flip, open gate etc) 2b) The hybrid stills monster: Basically the hybrid camera from before, but with an emphasis on photography features. So your hybrid flagships that can produce images of the highest fidelity (R5/II Z8/9 A1/ii S1rii). They don't have to be 30mp+, but it seems most flagships are anyway. 3) The quirky character cam: The one most people have to ask "what is that" because its rarely seen out in the wild. The one that looks like its more of a struggle to operate because of some quirky compromises or functions in design...but that's the pull. Whether it be the operating ethos, the IQ, or both, you don't expect others to understand why you use this camera because it's just for you. ( 4) Smartphone. Yeah, I'm definitely finding myself intercutting more and more iphone prores LT footage with the other cams for most videography jobs (3rd angle, pick up shots etc) and nobody bats an eye...not fun to operate AT ALL but I cannot deny the IQ coming from phones nowadays relative to the time it takes to set up the shot (literal seconds). Any shot with deep focus and adequate lighting can be handled by the right phone if you need it in a pinch.

The farther I get from it, the more I yearn to go back to using my old XH-A1. Just for fun, but also ... kind of a really great IQ under good conditions.

He is to me. Also, welcome on your increasing visits to hermit-town. It's nice here.

Question for you guys. OM1 with 12-40 IBIS performance vs Panasonic S9 with e stabilization on high. What is better?

It’s a great combo 👍

Is this why they alegedly rebranded the Osmo Pocket 3

Maybe will do that. Seems like a fairly affordable setup, the OM1 plus 12-40mm. I keep going back and forth with cameras at a rapid pace haha. May be best to rent tbh just to figure out what I really want.

Seeing this a lot in the wedding industry; a few shaky clips of Super 8 digitised and people go nuts for it. Same as for a handful of blurred OOF images. I have couples asking for it but there are lines I won’t cross for the sake of my artistic soul. Unless they want to pay me a lot more money and then the devil can have it…but sadly they won’t pony up for that so go elsewhere. People have ever-increasingly short attention spans and values. For instance, just 2 years ago, I had 100% take up from clients offered a free book from their wedding. Only 5 acknowledged receipt, never mind thanked me for it. I was selling these books just a few years prior for €500 and after stopping that due to massively dwindling sales to the point where it was a PITA, to do so, brought them back as a relatively low cost (to me) marketing exercise. Last year, approx 95% take up of the offer (all they have to do is confirm current address which I already have and contact number in case the courier needs to contact them) and even less acknowledgement of receipt. End of this year, just 12 months later, just 4 of this years clients ‘accepted’ a free ‘€500’ professionally printed book from their wedding and not a single one acknowledged receipt, never mind any kind of gratitude. It’s a shit show; attention spans, attitudes, just basic manners and going back to ‘The Game’ (but the bigger one as in the entire industry and what you have to do to simply survive) I’m happy I’m on a countdown to get out of it because whilst it’s not exactly ‘soul-destroying’, the joy of any of it is being sucked out of it year on year. I’m not a doom & gloom kind of guy, but the whole World is a bit of a shit show and getting worse so I am actively pursuing avenues to be an increasingly lesser part of it. And I just found out, Santa Claus is not a real person!

One step back or just a tad wider it would end up the same. I have dual frame guides running to always remind myself to allow for a just a little more room if I need to pull some vertical content and no ability to shoot a second take specific for socials. How often do you deliver 4k or 6k vertical video? So far to date 1080p is always what I’m delivering for meta and tiktok. Optimal file sizes and load times. They’re just going to compress it all to shit anyway. It’s always changing anyway. For the longest time it was square on instagram and only in the last few years did vertical reels take over in popularity with tiktok. The younger generation is actually against high res video now and say it looks “too slick” and like they’re “being sold to”. Now i’m being asked to rough things up and i’m not even kidding… “shoot it with a 90’s camcorder” we’ve lost the plot.

I currently own an E-M1 iii and OM-1 (mk1). I'd just get a used OM-1 and the 12-40mm F2.8. It's just a great combo for handheld video. If you want even better stabilization, use the 12-100mm F4 instead as that supports Sync-IS (Oly/OM equivalent of Dual-IS), but it has the downside of extra size and weight. Having recently acquired a Pana S9 I still think Oly/OM has the best stabilization - it's almost uncannily good sometimes - but the S9 runs it pretty close most of the time. Main difference for me is that the S9 needs more decisions about which stabilization modes to use in a particular situation, whereas with the OM-1 + 12-40mm I usually enable sensor + e-stabilization (M-IS 1) to minimise corner-warping and set the stabilization level to +1 and let it work out the rest for itself. With the 12-100mm the Sync-IS means sensor-shift only stabilization (M-IS 2) is much more usable at the wide end and stabilization level 0 is usually enough (which is more flowing/less sticky).

Having owned (and sold) a lot of the high-end stuff I have given up a bit on the idea of an 'end-game' camera, because limitations breed creativity and part of the enjoyment of camera tech is experiencing 'camera culture', all the rich tapestry of ways to get an image and how different tools inspire different shooting styles, altering the creative vision. So when you lock yourself into 1, or even 3 capable models, you always yearn for something more weird. Well, I do anyway. Everyone should have an old beater camera for instance where carrying flashy experience gear makes you nervous. I always feel tense with an expensive camera, if an accident happens, or it gets nicked, it'd be a fucking disaster. Everyone should try an old CCD model, they do have a different look. I recommend original Canon 1D with Panasonic APS-H CCD, Minolta 5D or a Canon Powershot G10. And the reason you can't stick to just one format is there's so many nice and unique lenses for other sensor sizes. Actually that's where a Sigma Fp-L comes in handy with the crop modes and Cinema DNG 4K even at 2x crop for the Super 16mm look and C-mount lenses. I'm still in favour of small sensor options, like a Panasonic G9 II or Olympus OM-1... Full frame look is not always what you want.

I think that shows that Lumix has several bargains on the second hand market and you can pick and choose according to your needs.

This logic rings true for so many cases. "With just a little bit more you get" will make you end up at 2k. In this case (S5 vs.S9), I think some people would pay more for the S5 over the S9 (and it's PDAF) to not have the limitations of continuous lighting only and no indoor shots at high SS of 1/100 (no banding in PAL regions)... never mind the weather-sealing, mic port, better IQ (in 4k, especially with RAW) and EVF. Doing it all again and a lower budget, I'd probably get the S5D + 18-40 for 799 euros (new with 5-year waranty). After, I'd get some awesome Konica lenses.

In my latest review of my gear, I started taking note of things I want to use but haven't found a use for. Certain things have an X-factor and in creative endeavours it's useful to listen to that voice. Equipment can be inspirational sometimes.

I suspect that most people will have different "categories" depending on what they're doing, but I absolutely like the thinking behind this. The more we can make sense of what we do and how we do it, the more clarity we can get and the faster we can get a kit that works and then focus on using it. As I only shoot personal projects, I don't need a work camera, so my main category is my run-n-gun travel camera, the GH7, which is used exclusively hand-held. For daytime use it's the GH7 with 14-140mm zoom, which has incredible stabilisation, and the zoom lens means I can capture almost anything I can see. It also has an integrated fan, great image quality, strong codecs, etc. For night use I can use the GH7 with 12-35mm F2.8 and get great neutral images. For funky night cinema I can pair it with fast primes like the Voigtlander 17.5mm F0.95 or Speedbooster with Takumar 50mm F1.4. The second camera is (of course) my phone, which I recently upgraded to the iPhone 17 Pro from the 12 Mini. The combination of Apple Log, internal Prores HQ, and the 0.5x / 1x / 2x / 4x / 8x cameras makes it incredible for travel. I'm waiting for a good vND solution to come out. Apart from the low-light, it's basically an all-in-one solution now. Some time ago smartphones replaced my waterproof camera category which was previously GoPro / Sony X3000 action cameras. I used to have a fourth "category" which was a backup camera and used for time-lapses, but now the iPhone is good enough in the unlikely event of something happening to the GH7 and I don't really shoot time-lapses anymore so I don't really need one, but I still have an "itch" for something else. Random thoughts: It could be something very retro, like something with poor video quality that was nostalgic in some way, and graded to look either digital or analog electronic or film My OG BMPCC and BMMCC and GF3 all come to mind for this. It could be something very stylised / attitude like being super fisheye or 360 or something It could be something very niche in how you'd use it, like it could be mounted on something for a unique perspective, or could be on a pole for strange perspectives.. or even something like an action camera that you wear on your wrist and take a 10s clip every 15 minutes, or pocketable camera that you record a clip with every so often. The whole point would be a tool that would make me use it differently to how I normally use / think about shooting, and therefore be a fun and creative addition.

Time to open a new business in Port Huron.

They're everywhere, and are often just normal TVs rotated 90 degrees In shopping malls Some are pretty big Some are pretty tall too, presumably for narrower spaces Outdoors Bus stops In shop windows etc.

I meant to mention that the cell phone was attached to the camera cage's coldshoe. Open gate is great for creating shorts in post, but for quicker turn around putting a cell phone on your camera and shooting clips that can be quickly posted is a great option.

I live very close to the border... just sayin'.

I don't quite see it that way; if social medial platforms are viewed on a computer, the browser takes up all the display area available and fits the content using the whole window, this can be vertical or horizontal or square for that matter. Basically only when the social media is viewed on a mobile device do some apps and websites default to vertical viewing, but that's a limitation of the device basically, and the typical way people default to using it. Originally instagram photos were square, not vertical or horizontal. Some social media platforms assume that a video is shot vertically on a mobile phone, and for a time it wasn't even possible to shoot in horizontal oritentation and have the social media site or app display it correctly; it would always force it to the vertical format. This, however, is incompatible with the way most news media sites present videos, which are horizontal only, mimicking TV. When these news media sites then displayed social media videos or cell phone videos, they would not be able to technically display the video as a vertical, instead they generated blurred sides to the video to turn the vertical video into horizontal. This is all a bunch of nonsense really. Vertical videos make it difficult to show the context and environment in which something is happening. This is why cinema and TV are in landscape orientation: it's better for displaying the content. Photos have been always shot both vertically and horizontally (probably most still horizontally, for the same reason as video), as the continuity can be broken in stills and one can simply flip the camera quickly to vertical and shoot some (portrait) shots that way and return to the landscape orientation to show context; in video, one can not do such flipping without causing problems to the viewer. Books and magazines naturally lend to images in portrait orientation or in some cases, square; for displaying a landscape image in large size one would need to use a double page spread, which of course is commonly done, but it does create some issues if an important part of the image is in the mid section. What's more the verticals in (still) photography were traditionally not anything remotely like 9:16 but 4:5, 3:4, and 2:3. I think seriously social media apps and sites should consider making the vertical format something like 4:5 rather than 9:16 as the latter is just not very good. It's too narrow. Device fitting inside a pocket in an extreme limitation. Clearly, if the main reason vertical videos are requested by advertising clients is people looking at their mobile phones in tube or bus, or wherever, the quality loss from cropping from 16:9 is hardly going to be visible on those tiny displays. Sure, the angle of view is narrrower but it's always going to look awkward having such an extreme aspect ratio in a vertical image. Interesting to hear that there are now high-resolution displays which show video content in public. I can't remember for sure seeing such things myself, though it's possible that I have seen it but didn't pay attention to it. I would be very surprised if those displays are as elongated as 9:16 though. It just doesn't make any visual sense to use such an extreme aspect ratio for vertical content when there is a choice to stick to 4:5 or 2:3. And when those much more suitable aspect ratios are used for the vertical content, the cropping from landscape 16:9 is less extreme and easier to manage.