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Fuji: OG X100, X Pro2, XH1 Lumix S1H Nikon Zf plus really loved the OM-1 for the brief time I had it. Just not the results it produced. In my hands anyway…

I'm not really seeing any difference between any of them; S5, S1H, S5ii. Yes there are some very subtle differences such as that from the S1H is a teeny weeny bit softer due to the OLPF, but otherwise, nothing for me. There's some chatter about over-sharpening. I don't see it. There's some chatter about moire. I'm not seeing that either. Highlight roll off and blah di blah, - what are we shooting here with these things? Are we really comparing the results from our humble mirrorless cameras with Hollywood lighting, productions, lenses and budgets? I'm not, - to be even remotely in the ball park is hilariously ridiculous. Here's a screen grab from my S9 which is my principal run & gun unit, from last weekends wedding I am currently editing. A pretty dark hole of a room for bride prep and unless anywhere near that window, then screwed. It's SOOC and not touched it in any way; exposure, WB...nuffink. 6k 30p shot at 1/50th, 4000 iso, 5000 WB, Freewell ND 2-5, exposure otherwise eyeballed on the rear LCD with the wave form I rarely look at.

NX1 A7s mk1, GX85, GH2, GH6, LX100mk1, S1H Any Sigma foveon, agreed

Nice work @Jip-Hop I was working a few years ago with MotionCam devs on the Discord, really nice guys. The app has come on a lot since then. So much to get into. I tested around 30 or 40 phones with it at one point. Personal favourites were the 6K capable Moto Edge+ (2020 version) with large 1/1.33" Samsung sensor, similar to Xiaomi Mi 10 Pro, both really cheap phones now on eBay, and the Oneplus 8 Pro did well with it too, 4K/60p and the dev's favourite... For a month or so I became completely obsessed with discovering the hidden raw video talents of telephones... Went round Berlin's Saturn stores and installed it on a few models there too 🙂 I had the RED Hydrogen to play with too, but that one's a bit old to support it. Xiaomi 14 Ultra is a perfect tool for it, but yes the guide is much needed to get the settings optimised for it. If you wanna collab on anything just DM me!

What are your most treasured pets (I mean cameras) that somehow buck the trend with the cutest personality. Personally, mine are... And the X-Pro3 DURA with all that expensive titanium and unusual screen design. Following closely behind... Panasonic GM1 and the batshit crazy Sigma Quattro series, including the SD mirrorless. What's yours?

When there is a tan version with a little bird logo on it, it will shoot the most awesome video you have ever seen and you will gotta geddit.

One way to think about it is that if you put on the 14-140mm then you can just think of it like a camcorder, BUT (unlike a camcorder) you can swap to a different lens in those rare situations that come up from time to time. The 14-140mm with its seriously extended focal length at the long end, combined with the reasonable high-ISO performance of the GH7, means that it can do most things, but in those rare situations you're not stuck. Having an ultra-wide is really handy, especially for travel, and having a fast prime is really handy for low-light situations. Having a vintage lens can also be a fun addition too, when you want to go from having a normal look to having a dreamy or nostalgic look. In terms of shooting travel, I shot several different 'genres' on my last trip, and I actually found it to be quite straight-forward to do (I had wondered if it would just be too confusing / overwhelming but it didn't turn out to be). So you could easily swap between a few options for those different genres. I really feel like the GH7 + 14-140mm has all the advantages of a camcorder or an ENG or doco setup where I just use it and don't think about the camera almost at all while shooting, but then I can swap lenses when the need arises.

I wondered the same thing. I noticed when I activated the code, I could also deactivate. And it states to keep the activation code handy in case I need to reinstall after a firmware update, so I think you may be able to use it for one device, but I'm not certain. The code may forever be tethered to that serial number.

oh God, that's beautiful! < 3 What an artist we have there! We need more stuff of this! : ) Who cares about new features when the old ones are already prone to shine? : P We need shooters and art coming from, not much else...

The M8 had an APS-H sensor so crop factor of 1.3

No kidding? @Andrew Reid I love the colours people are getting from the M8 sensor. Some classy classic read from a photoblog favorite of mine. Those colours in these shots, bw as well! https://blog.mingthein.com/2012/07/12/revisiting-the-leica-m8-a-cheap-entry-into-digital-rangefinders/

Darn. They really work hard to make this camera look bad with their color grading and uninspiring filming. Cinealta F3 amateur work looks stellar on the other hand. Tells us a lot about the shooter and the camera. Whereas none of the S1II videos I've watched so far show me much about its image quality. Tells us nothing about the camera but everything about the shooter. Maybe watching cammacky will give some insight. But that guy sells every camera equally well.

I just saw a video with the S1II, shot for a big review site. It was a rather lazy display of cinematography, in concept and realisation. Shouldn't working for a huge review site be rather inspiring for the tester to do the cameras justice when using it in the field! They don't make it easy for us to want to buy a camera. Good!:) Nikon Z6III for 2100 Eur new, now that is a whole lotta camera for that price! Maybe there are some convincing comparison videos between Z6III and S1II with convincing video work. Names are both kinda equally meh.:)

I get wanting open gate for ratio changes, but 60p? Am I missing something where everything is slowed down 2.5x? Most of what I see is still presented at normal speed, give or take. Or does the excitement mean that this new camera will be the harbinger of a new era of everything online seeming v e e r r r y y y y s s s l l l o o o w w w?

Oh yeah definitely quite a number of them want 60P opengate so they export all kind of ratio.

If you're in any sort of mass production, FPGA is substantially more expensive than ASIC - and a lot more power hungry. It's one of the reason that the Z Cam E2 series was so power efficient. It's all ASIC. On the other vendors' cameras, things like H.265 encoding are mostly done with a dedicated coprocessor so it's super-duper efficient. It's one of the reasons that you'll rarely see any of them add a codec post-release. Dedicated silicon is also why encode/decode can be a lot faster on the computer, depending on which processor/GPU is in play.

Could just be a simple capacity thing, maybe Towerjazz or other non-Sony suppliers just can't pump out as many finished sensors? Maybe their yield rate from each wafer is lower than Sony's, so it makes more sense to do smaller formats as you lose less from each wafer when there's defects? Who knows. Maybe BlackMagic using FPGA processors instead of ASICs, which I believe is cheaper, is part of their low pricing? Also why their cameras are so power-hungry compared to a mirrorless or Sony Canon etc cinema cams processing similar amounts of info (actually, way less processing for BM cams, as they're not compressing down to h264/265 etc). Anyway, my prediction with pricing is that we're going to see prices rise across the board from here forward due to the tariff issues. Pannyboi just had the bad luck to be the first to launch a post-tariff camera so right now they look bad/dumb/greedy, I bet in a year everyone else will have caught right up.

I have a question about this. If you use it on a GH6 and later upgrade to a GH7, does it still work or do you have to purchase it again? I guess the value of the GH6 would be slightly more in this case, but it would be better to be able to uninstall and reinstall on a different body if you upgrade, rather than paying 200 euros every time you upgrade.

I dunno - the V-Raptor [X] sensor seems to be a marvel of modern engineering - and while it's designed by RED's engineers, the semiconductor manufacturing is done by TowerJazz. And quite good, if not marvelous, the Komodo and Komodo-X sensors are also made by them and they are fantastic. Plus the GH7 sensor is, from everything I've heard, really really good. My guess is that it's largely a cost-based decision. The off-the-shelf part from Sony has much better economy of scale and it's "good enough" for most things. It's sort of the basis for the Z Cam business model - integrate high-end (though inexpensive) off-the-shelf components and write good software to glue them together. The entire E2 series is basically a wedding of Sony sensors with... I think it's Hisense? Anyway, with another off-the-shelf circuit board. They shove those things into a box and put a lens mount and teeny tiny screen on it. The majority of their R&D is in software. It's not hard to imagine somebody in Panasonic management looking at a price sheet and saying "We could integrate this TowerJazz sensor for $1,200 and get 10% better performance than the Sony sensor which costs $600. Either way, we're going to sell the camera for $3,800. Will we get enough extra sales based on 10% better performance to make up for a $600/unit shortfall?" That's even more the case when you are also supporting budget cameras like the S9 which basically demands a commodity sensor which will come from Sony. So you already have a team of engineers who are familiar with the ins and outs of Sony's sensors and having them also support (or having a different team to support) TowerJazz is also going to be expensive. I have no insight into the actual costs of either vendor, but if you're Red and were selling the Komodo for like $6,000 or $7,000 when it was first released, spending an extra few hundred bucks per sensor ain't so bad because you have enormous margin. BlackMagic are the real outlier here. They seem genuinely less interested in turning a huge profit per unit with their cameras. It's not to say the high end where they use Fairchild isn't expensive, but I'm still a little bit boggled by the UC 12K which, at $7,000 is a lot, but less than 2x an R5 Mark II. Other than the fact that my car's suspension groans when I set the camera on the passenger seat, that is. Well, that and offloading footage from the media module. They really need to release a single module reader with USB-C. Having to offload directly from the camera over 10gE is really silly. It means I'll have the CF Express module in my bag most of the time, just in case we need to offload on-site.

So it's not like they were reliant on Sony, but maybe Tower Jazz can't produce something beyond a certain level that is no longer competitive with more modern stacked or BSI stuff? 🤷‍♂️

And for the GH6/G9ii/GH7 sensor too, I believe.

There are dozens of us!

Easily doable even with the Z mount, but I doubt Nikon goes so big. So far, nobody among Japanese camera makers have implemeted 5 inch display into their morrorless bodies. Its like a taboo over there. Maybe because they think it ruins the ergonomics of the body.

Can you say all of that again in one of Camera Conspiracies 'flashback' skits please. Whilst wearing a blonde wig. Money waiting if you put it on YouTube.

What I would like is: A. The frame markers and 6k 30p open gate (preferably 50/60p) from Lumix, plus, B. Ability to burn in RED luts, plus, C. Zf or e Mount, I don't mind which as all my e Mount lenses mount near natively to Zf mount, plus, D. FX3/30 style body. Ability to shoot stills not required, but if it can, fair enough. Mechanical shutter optional, - I don't care either way. No EVF, don't care. Must have good IBIS. Must be relatively compact and not require any rigging out, ie, primarily, a really decent flip and rotate screen a la A7RV/S1H/S1Rii. Could be a Nikon Zr... Could be a Sony FX2... Unlikely to be anything Lumix because the lens options are still just a bit lacking for me.