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I also had the GH6 for about a year, but I'm really considering getting one again. I'll probably do like @kye and use that 14-140 most of the time. I'm still debating in my head though. The problem is simple- there are just so many old smaller "good enough" cameras, but nothing small and modern that can do 4k120 in the system. The G9ii is the smallest. On another note, I'm not exactly how MPB decides to offload cameras sometimes. One day, there're 20 GH6 bodies and the next day none.

I've read that they are good. I had no problem with them the first time I owned one, I had a problem with the chroma noise that the DR Boost produced in the shadows. I bought it this time because it was so cheap and I wanted to be able use Arri LogC. It really is a phenomenal camera though. Now I just need to figure out my lens situation with it. I've been shooting full frame for so long, and I have a small(ish) collection of vintage lenses that the price of any good m4/3 lens annoys the hell out of me. I've been using a 7artisans 24mm that is pretty good for what I paid for it. But I need something else.

I thought the GH6 colors looked so good and a big step up from the previous generation. I've been eye-balling one (965 euros, brand new with the 25mm f/1.7). That's a crazy deal.

I love the colors on my cheap GH6... oh wait... I'm using the Arri LogC profile...

Honestly the color science from Lumix recently is one of the more underrated things they have going on. It might actually be my favorite currently, but people don't really talk about it much.

Um... you do realize what the nickname for this might be.

Sort of, yes, but it's only a 24 megapixel sensor. The resolution in super 16 mode or super 8 mode would be pretty low. You'd be at 4k in S35, and closer to 2k in M43. 1:1 crop mode on the GH7 would be one of best right now for using S16 or Super 8 lenses. You'd still have decent resolution and probably not be at 720p or less.

I meant, beside being a FF camera, give it a variety of formats/gates. Wouldn't that be a jam.:) @eatstoomuchjam

Ah, maybe, but I'm saying they could release this exact camera at the same price, but with a different brand/form factor and influencers would go crazy for it. I'm not even trying to create my dream tiny 4k camera that uses my C and D mount lenses (that might be the altcinecam thingie). 😅

Also from CineD "So here I am, happily setting up the camera for ProRes HQ, C4K, 4:2:2, 2.40:1 (4096×1728) internal recording, and what I noticed while looking at some family test footage is that the material looks a bit “lifeless”. I mean, it is beautiful and crisp, but much too “digital”. A short call with my dear colleague Gunther, who conducted our lab test, and I was able to confirm that what I see visually is also evident in our lab test. After a short discussion, we agreed that this camera is truly suffering from extensive noise reduction implementation in ProRes internal recording mode. This is why I switched to ProRes RAW (HQ) in this test." I'm mostly interested in the H265 and H264 codecs to keep files sizes reasonable on documentary projects. I hope these are not overly detailed too.

And 10bit Hlg or log, please. Call it the Lumix Bolex and a sister model the Lumix Bolex ND. Give it a S16, 16, 2/3, S8 and 8mm gate mode plus GH4 battery life. @eatstoomuchjam

Heritage is often very undervalued these days by some companies but they are idiots because nostalgia for the good old days (even if it wasn’t as good in reality) is HUGE. Should have bought out Olympus or Kodak…if either of those were possible. And then it is not simply enough to use the badge, but actually design some of that heritage into your product, marketing etc.

As usual, Media Division has one of the best review

One thought is that if Panasonic want to charge a premium for their cameras, especially in this day and age, there's a straightforward path to it. So Panasonic/Lumix marketing folks, if you read this, here is a free suggestion: Panasonic were never huge in cameras until the digital age (yes, I know there were 35mm cameras and no, nobody has nostalgia for the C-D353AF or the C-D900ZM). So find an old film camera brand that people used to love, but is no longer made. Some of the big ones have been eaten by the competitors (e.g. Hasselblad/DJI), but the people who bought Rollei are producing junk with the name - but you could also consider someone like Bronica, Agfa, or Ansco. Or hell, Voigtlander is all lenses now. Maybe they want to sell bodies too. Or for film, you could try grabbing Bell & Howell from the vultures who have been using it to sell crap - or maybe Mitchell or Aaton? Don't think I've seen a digital Mitchell. So let's say Mitchell. So buy or license the beloved film camera brand. Now tweak your SOOC colors a little bit. It doesn't have to be a lot. Just... enough to make the images feel a little more nostalgic to people. I dunno, maybe make them a little browner and a little lower contrast. I'll leave the interpretation of nostalgic up to your capable engineers. Next, instead of a body format based on the design of a 35mm camera, go for a retro-styled look more similar to a Bolex or one of the more art deco-looking super 8 cameras. Think less "SLR" and less "box" and think more "ellipse." Then move away from drab product names that are just a soup of meaningless letters and numbers. Then give a proper release to the camera without getting people jazzed up in advance for something it isn't. When you announce the new Mitchell Fox Grandeur Digital Cinema Camera featuring the exact same feature list as the S1 II, you'll have influencers across the spectrum talking about how beautiful it is and the rich heritage of Mitchell cameras.

This is the price of a Canon EOS C7O in France( new).

You really have embraced the French culture.

I didn't and would not pay for any of that so will now be having an affair with my secretary.

I think that all the S line has produced very nice images and colours. I say that as someone who has noticed that the S5ii is not quite at the level of the original S1 and S5 but it’s still great.

I think the price is the only real problem. If they were both 400-500€ cheaper they’d probably sell a lot. Maybe this tariff stuff has altered the prices and Lumix was simply unlucky as the are the first to have to consider this with a big new launch. I also agree that a 800-1000€ GX80 update with unlimited 4k 50p and maybe open gate would sell like hotcakes.

I feel for them a little bit. Full-frame mirrorless camera with a 24.1MP partially stacked CMOS sensor Powered by a Venus Engine for fast processing, refined colour and low noise Over 15 stops of dynamic range with Dual Native ISO support 1.6x faster Phase Hybrid AF system with 779 focus points and AI tracking Records uncropped 5.1K open gate video at up to 60p and 6K at 30p Supports 5.9K 60p and 5.8K Apple ProRes internal recording via CFexpress C4K and 4K video recording up to 120p in 10-bit for high frame rate capture 10-bit HEIF captures rich tonal detail, smaller file sizes and HDR-ready stills Real-time LUT preview and false colour for on-set monitoring Features 8-stop in-body image stabilisation without crop 32-bit float audio recording achieved via optional XLR adapter Dual card slots with CFexpress Type B and SD UHS-II support Supports direct USB-SSD recording for high bitrate capture and fast offloading Compatible with UltraSync BLUE for wireless Bluetooth timecode sync Blackout-free electronic burst shooting up to 70fps for fast action capture Tilt and vari-angle 3.0-inch LCD with 1.84M-dot resolution 5.76M-dot OLED EVF with 100% frame coverage and high refresh rate Dust and splash-resistant body, weighing only 800g Includes a 3-month Capture One licence in the box After producing something with that spec, they're entitled to be a bit like.. By the same token, we are probably entitled to say "we might have been a couple of years ago and if it was cheaper". I've said it before but the S5ii continues to be Panasonic's problem child in that it raised expectation for the 2nd generation of cameras and at a price that was pretty surprising. That camera got the upgraders from Panasonic's MFT cameras (myself included) and this new one is asking the question "2x the price, 2x the camera?" for both the holdouts of to the MFT system and those who already moved up to the S5ii and are looking to go up again. I think it probably is 2x the camera for some people but I can't see anyone who isn't in the L mount prison (and that is what L mount is) walking into a shop and paying 50% more for it over the Z6iii let alone paying the 10% more than a lightly used Z8. Hard reality is that they are not Nikon, Canon or even Sony and they're going to struggle with flagship cameras. Annoyingly for them, they can create the cameras that will attract a premium price technology wise and produce a fine image as they've been doing it for years with Leica branded versions but, again, when it comes to the other type of image they aren't Leica. They have the opportunity to do a FujiFilm and offer an alternative but they've left them to it to pursue two companies that absolutely out heritage them and another company that they are at the mercy of when it comes to sensors. This will all end with someone at corporate HQ dispassionately looking at the Lumix division and striking a red pen through it. Exactly like what happened to Samsung. Cameras that I think they could look at doing to offer some difference would be : New GX80 with the bulk of the GH7 inside or at the very least the GH5 and then not charge a stupid amount of money for it as it should be possible for sub £1000. A Super35 bridge camera with a 7x or even 5x zoom, no compromise video internals, ND and then not charge a stupid amount of money for it as it should be possible for sub £2000. Essentially a grown up version of the FZ2000. I'd buy either of those and I don't think I'd be alone. Currently, Lumix are like the smart, quirky indie girl that you fell in love with and now ten years later she's got hair extensions, fake tits, a trout pout and two ton of fillers because she wants to be a Kardashian.

It's definitely a fair question. Fuji's is definitely not perfect, judging by my GFX 100 II, but it's generally usable. That seems similar to what I've seen/heard of the S1R II and S1 II (Media Division did some pretty decent real-world tests and... they weren't outstanding) And I'd put DJI's in a similar category, though it also requires the most comfort/familiarity, especially with the Focus Pro which uses a second camera with a second screen for control and because it's LIDAR-based, has a limited (but useful) range where focus even works at all. They're all better than Red's, though. Red's is in a category that I'd describe as "almost usable, but will probably break your heart if you try to rely on it." 😅 Sure, and Fuji with the GF 100RF as well at 5 grand. Though it's also not clear how many of them they're actually pumping out of the factory. It doesn't seem like they're shipping in thousands upon thousands of units.

From what I have seen, yes, but then I am very happy with that from the S9 and S5ii so I would expect to!

Has anyone noticed the colour science looks rather good from the S1R II and S1 II. There's definitely positives going on with it, and credit to the Japanese engineers. What a shame it has been priced and marketed with all the creativity of a wet sponge.

The negative chatter is a real thing indeed. They have this decade long hard fought reputation for good prices and then destroy it in a blink of an eye. It also means the real 'street value' of the used S1 II bodies will be much lower than new... As in much. Which means it will be impossible for most people who want an S1 II to justify spending £1000 more on a new one vs used one that has been a shelf queen with a shutter count of 400. Panasonic is in a losing battle because the fewer quantities that ship, the higher the pricing needs to be to turn a profit. This is a game they can't win as the higher the pricing, the less they sell, and the even higher the pricing will be on subsequent models. The whole camera industry has fallen into this trap in fact. The margin must be enormous on that bill of materials. Meanwhile the big irony is... Sony can't sell enough of the a1 II at 7 grand. It has been out of stock forever. So whilst there is undoubtably a lucrative market for expensive pro cameras, Panasonic isn't in it as they have no real flagship or cutting edge sensor supply.

It looks pretty good because unfortunately CineD has not tested the 5,8K raw downsampled to 4K yet, I wonder if there is a possibility of backed-in NR inside of the Prores Raw files.