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I do wedding films and some other freelance videography professionally and feel the extra frame rate options and better high ISO performance in the long run will be worth it. So this means I’m not trying the underrated Olympus EM1X 😔but still super hyped.

Picking up the g9 II today.

Decided to get the best of both worlds and splurge for a used Panasonic G9II. A cheap gh7. Got the gold build quality and ergonomics and decent high ISO performance and great IBIS etc etc etc. Just makes so much sense for me as an a cam.

All paid for by Pathé and everyone on the trip etched postcards home saying “Game Changer”.

I also posted Cam Mackeys video earlier in the thread, which shows vertical TVs showing video at 2m07s (linked to timestamp): Also at 3m55s he shows an ad for Dior that is vertical video too. I don't know the delivery resolution was and I don't think he mentioned it in the video (unless I missed it?) but he does mention the value of having extra resolution to provide sharper images to the client, so it's obviously a consideration for him and his business.

The vertical resolution of deliverables is only part of the equation. As I mentioned earlier in the thread, another consideration is FOV and DOF. It's actually a crop-factor problem. Just as it's harder to get shallow DOF on smaller sensors, a FF sensor that shoots 16:9 only has a vertical crop factor of 1.185 compared to the same sensor shooting in 3:2. Also, sometimes there isn't room to just back up:

I'm pretty sure that in 1927, as photography became more accessible, all the great scientific and mathematical minds of the time converged in Paris and after a fortnight of rigorous collaboration they proved mathematically that one can, in fact, never have too many cameras.

You posted multiple photos of kiosks displaying photographic stills which was not relevant to the conversation at hand. Had you shown an example of 4k video being displayed vertically on topic with the current conversation I would have been interested in further discussion. In no way did i ever say or claim to be an expert in anything so please do not put words in my mouth. I was simply sharing my experience of delivering content professionally for numerous production companies in Los Angelas and Tokyo. if you don’t find that relevant, feel free to disregard. Funny, i was asking honestly if anyone has been delivering in vertical 4k delivery and you proceeded to interject for some reason despite having no relevant addition to the conversation. I also wonder why so many people need to respond and feel the need to play the “expert” and contribute nothing meaningful?

I don't really know what to say.... The post I was replying to said they hadn't seen 9:16 displays in public so I shared some images. The fact you haven't experienced the need to deliver 4K 9:16 videos doesn't mean other people haven't. Why is everyone so interested in being an expert about what people they've never met are required to deliver for companies they've never heard of in other countries they've never visited?

Oh shit, I have too many cameras.

For 10 years I have been traveling globally shooting docs and magazine content. Years ago I streamlined everything down to 3 cameras plus mobile phone. Similar to your categories above but trying to reach a modular “swiss army knife” style of kit. I got pretty streamlined at one point with crop sensor cameras and speedboosters all sharing the same mount. 1. The do it all 6k/8k flagship but focused on video. Maybe rigged up with Raw recorder as needed and bigger IO unit for better audio. 2. The high res stills camera that still shoots solid 4k or better video. 2nd angle in interviews and used for product photos or studio portraits. Photographing media and printed materials for later use in documentaries. 3. High end compact street cam. Third angle for interviews when needed and BTS. Nice to have as a backup in the camera bag in case something goes wrong with the other gear. Pocketable and fast for intimate and candid shots. Stealing low light B-Roll and mounting up in the rafters for high angle shots or in car interiors. 4. iphone 15 pro camera for BTS and quick stuff in the moment. Rigged up next to the A cam for vertical social media stuff. it’s nice being able to have 3 lenses and crop modes for S35 to give you a multitude of focal length options. Pair that with speedboosters and you can really cover a lot of ground with a small bit of kit. I would now add the Vlog cam as necessary these days so either the iphone does that job or maybe a Osmo pocket 3/4 in addition to the above. These are combos I’ve been playing with. Lumix S1H Lumix S1R Lumix S9 Fuji GFX 100ii Fuji X-H2s Fuji X-M5 Sony A1 Sony A9iii Sony ZVE1 Leica SL2 Sigma FP-L Leica Q2 Sony A7CR Sony ZVe1

Almost all of these simply display photographs mixed with animations done in Adobe After FX. It is very rare to see 4K video being displayed on these vertically. If there is video being displayed it is generally 1080p max. Everything I said before about resolution, crops, shooting, horizontal and extracting vertical still applies. I’ve worked on several campaigns that display things similarly for hotel lobbies and they all ask for final 1080p files for ease of playback.

I suspect the OP is a bot, but it’s an interesting question nonetheless. I only need one type personally and that is a compact, hybrid, hi res monster because with that I can do it all. And am, so 😛

I’d prefer the OM-1 for stills and the S9 for video but the OM-1 is a vastly better built bit of kit.

Bring back the 80’s, the single best decade to have lived, even though those of us who lived through it (age 9-19 for me) did not realise or appreciate it at the time. I think we reached peak civilisation around Friday October 3rd 1986. I’ll take the 70’s (rose-tinted nostalgia maybe) next followed by the 90’s (weren’t so bad) and then if I had to, 2000-2010, but since then, it’s been part living, part existing, part having to work out how the fuck to constantly adapt, but more recently, working on how to exit from it all. Not in a terminal way, - just get out of the system and all it’s BS as much as possible! I don’t hate on the World. I just can’t be bothered with it…

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 👍