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Of course, Lumexa😎 S16 gate on the S1II would be around 2100 x 1250px, considering a 2.88 crop factor and a 1.66 aspect ratio. That's not too bad, better than the og pocket. Mft sized gate would sport around 3000px in width.

Step right up, ladies and gentlemen! One more round, one more ride!

So what is this supposed to be, - like a hybrid of the FX3 and the A7iv because it’s not cinema camera as such because it has a mech shutter? Interesting because I have always likes and preferred this body style over the more traditional DSLR type.

I doubt anyone will find the Sony price excessive. Somehow Sony seems to have appled this delusional pricing to their smartphones too, and that's one of the reasons that they're nowhere among the top 5 or perhaps even the top 10 smartphones in many markets.

I went with the GH6 again for for a few reasons... 1. Official Arri LogC profile - it's even embedded in the metadata, so FCPX reads it as Arri footage. For someone who will probably never shoot with an Alexa, I must admit it's a stupidly cool thing... 2. ProRes 3. IBIS 4. Flip up screen Honorable Mention - I didn't realize how good the preamps in it were going to be. With good mic placement, some of the audio is perfectly usable.

Just when u thought S1II price is a bit excessive, Sony is upping the game with the same 33MP sensor but add $1000 extra for a new body.

They look at who the purchaser is and if it’s @Andrew Reid they deliberately make it disappear. Just to annoy the fuck out of him. Because they can.

They give them to DHL and they go missing.

Yeah the spec is the least of the problems, and props to the crafty engineers in Japan for the wide ranging feature set. The problem is it's equivalent in spec to the Nikon Z6 III, but that came out 1 year ago and costs £1999 new now, in the UK. That extra £1000 for the Panasonic, the average bloke is going to question what for. Sony a7s III also very close in spec, but that came out nearly 5 years ago (and itself was a bit late, a big gap from the a7s II)... At least the S1 II is 6K, and 24 megapixel... as 12mp seems very long in the tooth now. The EOS R5 is also around £1999 now... at least used in good nick... That we know had a trouble start to life. But the spec still holds up today and for £1000 less than the S1 II you're getting 8K RAW, 45 megapixel, Canon colour and so on... 2022 was the time to launch this... Getting it out before the same sensor comes along in a cheaper Nikon, would have been a half decent plan. I think the S1 II is aimed at existing Panasonic pro customers. It's almost if they have given up trying to appeal to the rest who are locked into a non-L lens mount. Also interesting is that the S1 II didn't form the basis for the SL3-S, and Panasonic didn't give Leica the fundamentals and sensor from the S1R II. A big change in strategy, that. Lightly used Z8 is now £500 less than the S1 II new, and you can slap E-mount lenses on it. The other problem I have with it, is that I really wish they'd add a bit of Fuji-style flare to proceedings, I am so bored of all cameras looking and feeling the same. And in terms of ergonomics the S5 II body was always going to be a cheaper feeling a7 IV. The buttons are not as well laid out, the jog wheel is spongy and the finish of the magnesium alloy chassis makes it look and feel shiny and cheaper than it actually is. Where's my Fuji looks like this... Yeah this is what I fear too... Which is why I'm so harsh on them. They need to be doing a lot better than they are, strategically, creatively and everything... And this of course, is a different angle to take on the S1 II than most people who buy it will take... They just want to shoot with it and explore the new features, and fair play to 'em. Honestly the GX80 and GX9 are mega popular on eBay with the instagram crowd, they definitely all these years later are proving to be what people want in terms of a small body design. The LX100 also, has seen hefty used price inflation.

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.