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100mm on MFT is definitely a pretty long telephoto for sure, but remember that in my case I had IBIS in the camera and the OIS in the lens both helping with the stabilisation. Depending on what camera and what lens you have, they might not work together like this, so you'll get less effective stabilisation. I find stabilisation to really be a bit of a gamble - you can get good comparisons from people and they're likely to be good information but until you actually test a setup yourself you're not going to know in what situations you can get a stable image. I've found that there are lots of things that can impact your ability to get a stable shot, for example all the following will have an impact: if you're tired if the ground is level and solid or not what sort of shoes you are wearing and if they're comfortable what pose you're in if it's windy your caffeine levels how tired you are if there are bright lights shining in your eyes (obviously) if you're moving or walking, but even then there are all sorts of techniques involved and how much practice you've had at them, etc Perhaps the best advice once you've bought your equipment is to practice as much as you can, know what you can and can't do, and have a backup plan in place for when it gets difficult.

handhold 100 mm on m43 is actually pretty good. I have several 50 mm standard primes. if they are stable enough for video use, it will great. em5 og is tripod like at 25mm, monopod like at 50mm, 100 mm is not stable enough for video work.

seems to me currently the best choice is s 5 2 x. I will follow up with s 5 3. if it incorporates gh 7's features, I will pull the trigger. I have a collection of mf lenses with different brands, formats, and mounts. I think l mount is ok for almost all of them. I hope s 5 3 has ibis similar to gh7 om1 ii.

I tried steadicam. I have a steadicam merlin. the problem is the difficulty to balance. also, I can not do camera angles I like. but if only for flow movements like walking or running, the footage is very pro like.

you are totally right, according to my research on ibis.

I have em5 og, 4 stop ibis

Being serious, looking forward to Monday. Rarely do I preorder a camera and half my gear I buy used, but based on considerable user experience and my needs…and on the assumption that it will suit my needs perfectly, I can’t see why it will not be that ‘no-brainer’ for my needs. Second choice would be a used Z9 and although I prefer the battery grip built in approach, it is still considerably heavier than a Z6iii will be with battery grip and the spec of the Z9 is arguably a little more than I need. My only ‘concern’ is a Lumix S1H replacement with Samyang 35-150 will almost certainly come out at some point and it makes more sense for me to have a fully L Mount set up, but there are no signs of the former… And why a ‘S2H’? Quite simply the best camera from a user experience I have ever owned, video AND stills. But it’s not that big a deal me using L Mount for video and Nikon for stills and I’d rather do something this year than not as currently juggling 4 cameras is problematic…

Which is exactly how I’m using mine. Originally for the former and now with the latter. No regrets over ditching the gimbal. None at all. It’s not like I was ever a big gimbal user anyway, but after going through 3 of the damned things and never enjoying any of them…in fact they were an utter PITA, now loving the ‘custom C3 gimbal setting’ on my S5ii at the flick of a switch. Using the 28mm wide end of my Sigma 28-70mm, in S35 mode, it’s more like around ‘50mm’ or something and early days, but suits my limited needs.

In my ideal world, that is how I would work as would pretty much any pro. For my line of work, mainly weddings, and shooting hybrid 100% of jobs, I don’t because it’s not practical, so I have a ‘go to’ instead. 5600 outdoors and indoors in very well lit (natural light) rooms and 4000 indoors less well lit rooms or after dark. I’m chasing one thing and one thing only and that is consistency. I’ve tried auto WB a couple of times and nah, it can change multiple times within the same scene and can be even more of a disaster than having the wrong WB. Consistency, for me anyway, that is the thing.

On the IBIS front, we've gone from taking out micro-jitters to gimbal replacement. IMO nothing truly replaces a skilled steadycam operator. However, if you're one man show, the Panasonic S5ii/x has the best IBIS in the business in June 2024. Sony is far, far behind for out-of-camera gimbal like shots on their FF bodies. Nikon and Canon still have issues with warpy corners on wide shots (the majority of shots for "gimbal replacements"). Coming from M43 and used to Panasonic and Olympus systems crushing FF bodies, I was amazed how Panasonic did it.

It looks like a camera. That’s one box ticked 😜

Right now, it’s probably the S5ii. You can adapt at least Canon lenses, but not sure about anything else. Definitely not anything ‘new’ such as Sony E, Nikon Z or Canon RF. The IBIS though is first rate in my opinion.

Those who ignore philosophy as science will struggle to identify any branch of it, namely aesthetics as something non-existent. If it is non-existent, why the hell there's any need to learn or even think about it? : D - EAG

A nerve wrecking affair extra ordinaire.😂 I would pee horrified Smileys into the sand afterwards. @kye

LOL Loved the way you and @PannySVHS address the arena BTW ; ) Speaking of devil, Paul Lockhart, a mathematician, someone who uses an extensive knowledge of mathematics in their work, mathematicians so to speak but also everyone of us simple mortal users, he once stated: "Doing mathematics should always mean finding patterns and crafting beautiful and meaningful explanations". Understanding is the ability to catch sight of something aka comprehension. But also sympathetic awareness/tolerance. Yet, math is a language, just not the only one. Math is basics. One doesn't necessarily exclude another one outside. Trouble comes when people see the things solely built on rankings. They lose the sense of ridicule. - EAG

Best Ibis from a full frame camera, S5II. I have not tested it but youtube shows plenty examples. I find Ibis on the GH5 and GX85 more reliable than on my S1/H. It works very well most of the times on the latter but sometimes, possibly with adapted stabilized lenses such as the Canon 24-105, it can unexpectedly feel a bit too jittery. S1/H stabilized a 200mm very well for my needs when panning a protagonist handheld, to answer your question. Do you have a dslm camera with ibis? If not, GX85 from my experience is a good starter or Olympus EM10III.

If you want your images to be sharp, in your editing program there is a control called Sharpness. This is used to increase the sharpness of the image. To get sharper images you would increase this control until the images are as sharp as you like. If you're shooting 1080p or above, sharpness has nothing to do with resolution.

I just got the 14-140mm F3.5-5.6 Panasonic zoom lens, and in combination with my GX85 they do DualIS which utilises the IBIS and the OIS together. I'm able to hand-hold up to about 100mm, which is same FOV as 200mm on FF. The problem of stabilisation is that there's no standard for testing, and each person has differing abilities to hold a camera steady. If you're able to rig the camera in a way that makes it steadier then that will significantly improve your ability to get stable shots. For example, having the camera on a small tripod and using the tripod to brace the camera against your body, or using the string trick to hold the camera to the ground, or using a strap to pull it away from your body and stabilise it that way, etc.

Maybe you need two... one to have the battery fail and the other one to be rolling and catch the moment!

I'm not proving your point. The picture is fuzzy, and there isn't a single definition, but these things do exist. Take "the film look". If you ask people what the film look is, you will have arguments until the end of time. Any attempt to define the film look will fail. However, that doesn't mean there is no film look... imagine two scenarios: Scenario 1: I shoot images with an 8K sensor at base ISO, Zeiss Otis prime, sharpened h264 codec, 709 profile, and I edit in a 4K timeline without colour grading, and upload to YT. Scenario 2: I shoot images with a 2K sensor at ISO 800, Contax Zeiss prime wide-open, in RAW, and I edit on a 2K timeline and in post I apply a Kodak 250D and 2383 colour transform, I add grain, I add gate weave, and I upload to YT. I then show both videos to 100 people. Probably all of them would say the second has a "film look" to it. Just because you can't define it doesn't mean it doesn't exist. If I then shoot images and I add a film-like contrast curve, some grain, some subtractive saturation, soften the edges slightly, and do a warm/cool split-tone, people who saw it might start to say it's got a "bit of a film look". It's the same with the medium format look. Or the Kodak look. Or the S16 look. Or the Technicolour look. Or the Wes Anderson look. Or the Tarantino look. Or the VHS look. etc. These things don't have a single precise and universally agreed definition, but it doesn't mean they don't exist. Or it might be that you're not seeing it. That's fine, no-one here is even remotely close to seeing everything in the images. When the top cinematographers, colourists, editors, production designers, etc all look at things they all see things we don't. I mean, if interior designers can walk into a room and see the influence of late-18th century French sensibilities in a room, that leaves the rest of us practically blind by comparison, right?

Producing art of our penises or with our penises? It's been not too long, when I peed a Smiley into the snow. I didn't even take a Selfie of me and my happy snowface though. At the moment I disguise working in a crew, maybe never really will again. @PPNS I created my own recreational filming challenge which I have been doing for six days in a row until last week. @eatstoomuchjam has asked me what kinda "challenge" we could do when I was suggesting to do one. As being too picky about thinking of something exiting for everyone and myself I just created one for myself: unrigged og Bmpcc, with four internal batteries, 25mm Tevidon or boosted 28mm Pentax F2 non Hollywood. Tell you what, art happened infront and with my camera whenever the battery quit working.😊

@lsquareif you want a scratch mic with your DWM-XLR2 to get decent-ish ambient audio, then get the Deity SMic3S if on a very low budget, or the Sanken CSM1 if on a medium budget. https://www.bhphotovideo.com/c/product/1830582-REG/deity_microphones_dtm0304d11_s_mic_3s_short_shotgun.html https://www.bhphotovideo.com/c/product/1404643-REG/sanken_cs_m1_super_cardioid_short.html Unless they're specifically doing 360VR videos, or maybe some other niche usage (I dunno, creating audio library with lots of different format options??) then usually ambisonics is not a good idea for ambient recordings.

For Colour Management, I recommend biting the bullet and learning it once and learning it properly. That video is just over an hour, but it's worth it. The alternate approach is what I did, which was to watch shorter videos that give you random puzzle pieces in random order and basically just confuse the absolute crap out of you. I was really bad at colour grading for years until I started watching the professionals give thorough explanations of things, and the confusion lifted and I was able to get things setup and start getting the results I wanted. You know how professionals make things look easy, and can do great stuff with a few clicks? It's because they know how things really work.

Egos are a bitch. A bloody trick. The competition of dicks is of no use as a methodology for learning.