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I reckon the only camera that aged better is the OG BMPCC! (although a very different camera, and also a fair bit older too)

In terms of the quality of the frame grabs, it will be down to the codec with more bitrate being better. I don't know if h264 or h265 or Prores would be better, but it would likely come down to the way that they render the very flat areas of the frame. All the codecs will prioritise the sharp and contrasty areas of the frame at the cost of the flatter areas, which potentially have huge macro-blocking issues. From this perspective, uncompressed or lightly-compressed RAW video would be highly preferable. Depending on what standards you have for your use-case, you might want uncompressed RAW only.

I can't speak to the GF 45-100 or the 100-200, but the 32-64 is pretty shockingly good. I don't know your workflow and how much work you're willing to do in post - but with 100 megapixels, just about every lens is effectively a zoom lens. The GFX is about the fastest medium format I've ever seen (not counting things like the Koni-Omega Rapid series), but any Nikon or Fuji APS-C camera is going to be a whole lot faster, and the A7RV that you mentioned will still be faster. Similarly, depending on the amount of post production you're wiling to do, you could capture in raw, extract your stills, and then re-encode it to h265/prores/whatever. Seems like a big hassle to me, though.

I used to use mpeg 50 mpbs 8 bit 420 24p 2k on well regarded f5 for news/events. I was really disappointed why the iq was not as others said. now I use sr444 10 bit 444 30p 2k . the only issue is the memory card is easily filled up. but the codec holds up well for slow panning.

How lenses should be discussed (not really a review at all, at least in the current context).... It would be amazing if cameras could be talked about like this too.

Hope you're not feeling ill?! I know how that feels, they have a classic car show about two blocks away from me once a year... why couldn't it be one block? Probably the truest statement I read all week.

Thanks, that all makes sense, but man do I miss those Vimeo days... I can tell more from an image of a duck in a pond way more than this sanitized, raised midtones, carbon copy footage that circulates through YouTube.

No reason to play the Devil's Advocate, the 5Diii/ML Raw is one of the best images I have seen for the money... especially if you aren't too concerned with playing the resolution game. Is it perfect? No. Is the workflow a little tedious? Sure. But man those files!

I didn't post my camera choice just to be forced to defend it. With that said... please tell me another camera that has 14bit full frame, uncompressed raw video for less than $1000? Please I'd love to see that camera? As far as the Sigma FP being a better camera... I've had the 5D for about 7 years and the FP for about 1.5 and I'm sorry to tell you... the FP is not a better image... unless all you care about is getting sharpness via resolution. And this is coming from someone that truly likes the Sigma FP. I will say that I do agree that the FP is a weird successor of the 5Diii/ML Raw, in fact, I wouldn't be surprised to learn that Sigma got inspiration from that camera and firmware. As is, the similarities make the cameras a bit too redundant for me, so after a lot of testing and consideration, I am keeping the 5Diii and selling the FP. I don't really need 4K and I have access to an S5iiX if I do... weirdly I find the ProResHQ out of the S5iiX to be damn near close in quality to the FP.

🙂

Let's take a moment to appreciate the old treasure that is the Nikon Z6 OG, which couldn't have aged better even if it were deposited in an oak barrel in Scotland for the past 6 years. First of all it is £650 now. Secondly of course it is full frame whereas a lot of the other options for this price are crop sensor. Many of the other mirrorless full frame cameras have aged quite badly. The Panasonic S1 is superseded by a smaller cheaper camera with better AF. The Canon EOS R classic has been superseded twice by the R6 and R6 II. The formula of Z6 on the other hand has only merely been tweaked with the Z6 II that doesn't add a huge amount extra, because it just doesn't need to. And the Z8 / Z9 are insanely more money than £650. I like that it has such nice colour science out the box. It also has better custom picture profile management than Canon. The IBIS is superior to the Canon EOS R3 in every way, let alone the EOS R5 or R6 II. The 4K video and 6K sensor is superb in low light, better than the 8K+ stuff. And despite now being very cheap the top LCD and enormous, detailed EVF hold up very favourably today, in fact the EVF competes with some of the best even in 2024. The ergonomics are excellent, it doesn't put a foot wrong in terms of what it tries to do. And what it doesn't do, you probably don't need. OK, so there's no 4K/60p, or faster stacked sensor, and 120fps is limited to 1080p, but everything feels fast and responsive, including the on-sensor phase-detect AF. It is much smaller and lighter than the Panasonic S1 or S1H, yet with phase-detect AF and a very similar sensor under the hood. Z mount has also ripened well... It has a really good line up of lenses and adapters now, including the nifty Leica M mount autofocus adapter which will turn every manual focus lens into a fast and snappy autofocus optic. Plus it's the only mirrorless mount that adapts to Sony E! So you can put your native Sony mirrorless lenses on there and everything works. I can't think of a better deal for £650 at the moment on the used market for cameras. Curious to hear other opinions and what's changed in Nikon land since it came out those long 6 years ago in 2018. I can't for the life of me think of another 6 year old camera that has aged this well.

Just be careful to avoid stopping down too much, because diffraction softening sets in pretty quickly on this tiny sensor. In general I try not to go above f5.6; with some lenses I can go to 8 but the image starts getting soft in an ugly way. I used my OG Pocket earlier this year to film some music performance in a very dark club, and it worked! I used my Micro Cinema Camera last week to film a 2-hour evening concert and that worked out well too. I'll be using my two Micros and the OG Pocket later this summer for an all-weekend filming and photography gig. They're still great tools. I think stabilization is really the biggest challenge...for handheld I'm using a Zacuto Marauder Mini, which is no longer made, but it works pretty well for stabilizing while giving a handheld look. I also have a glidecam and might ultimately get a gimbal but I'd rather not have yet another thing that requires batteries and charging.

I find the p2k and m2k to give me a more satisfying image in natural light than my S1H. From what I've seen I expect the 5D3 to do the same. I cannot recall any S1H video at the moment which impressed me more than the BM HD and 2.5K cameras under natural light. Using them is a lot of fun, not despite the challenges and quirks, but to a certain degree because of them. Brighter monitor and improved battery would still make it so much better.😊

LOL!

What a great way of putting it. When the image is lesser, it's like a switch flips in my head and I'm able to move on to more important aspects. Shooting becomes so much more fun too.

Have been using mine the fourth day in the row now. Having a blast. It's a very pure experience, having to be set with four puny batteries, which last for about 30 to 35min of footage. Today I was using the 12-32 zoom, on the first three days a 25mm C-mount lens, the latter with a 360 shutter unfortunately! Not using Nds at all is a pretty big confession to choosing a desired depth of field. It provides me with some challenges I have to master and which make me reflect a good deal about my framing and sujet. Handheld panning and tilting with the 25mm is quiete an exercise as well.

To play devil's advocate (because that's what we do around here!), it's never been easier or more economical to plug a camera into a v-mount battery, which can also power a monitor. If you are using manual lenses, your shooting experience will probably not be that different regardless of the camera body that you use... so you might as well use one that captures an interesting image, right? Also, my M2 Mac really takes the sting out of MLV app. Sure, it adds 20-30 mins of export time, but it also means that I can dial in the color balance and exposure of each shot before I even start editing. Not saying that this is the right way to go for everyone. For me, I like the idea of a camera that has a slight IQ pitfall to take away the pressure of capturing a perfect image, and to add a little gentle pressure to tell a compelling story so that the audience doesn't study your image too much. This is debatable. Many people do love the D200. I haven't shot with one myself, but I've used the Olympus e500 and Sony a390. I prefer the e500, but the a390 has better and more affordable lens options. Many swear by the earlier Pentax cameras, Fujifilm's S series, or Canon's 1D classic. I think that half of the point of an old CCD DSLR in 2024 is not to spend too much.

That's probably very common in all camera and smartphone promos. It may have to do with the AD Agencies and Panasonic's advertising division just be stupid, disorganized and lazy, instead of anything else. Contrary to us assuming that the Great Gerald has dented Panasonic's image and given them a bad name, cause they didn't send a Rolls-Royce and a private jet to receive him, people seem to calling him out and others like him, who've suddenly become self appointed demi-Gods. On youtube, influencers are shameless deleting comments, but on regular forums and sites where it's discussed, the discussions actually highlight the problem quite succinctly. https://petapixel.com/2024/05/28/panasonic-reacts-to-controversy-concerning-its-lumix-s9-event/ These two guys have highlighted all issues with Panasonic. Which is a pretty long list, according to them. But there is a certain dignity and maturity to their review and criticism. Something obviously lacking in some others. https://petapixel.com/2024/05/22/panasonic-s9-initial-review-small-pretty-and-confusing/

I think the S9 marketing has worked then 😉. Talking of remembering releases for the wrong reasons, something I remember from the original OM-1 launch was OMDS getting a professional filmmaker to use it for a promo video. Except it also included BTS footage showing the camera (as far as I could tell) rigged out with non-OMDS/Olympus lenses, matte box, cage etc. mounted on a tripod for some of the time, surrounded by a crew. It was the very opposite of the 'rugged outdoor adventure' usage the rest of the OM-1 marketing was pushing. They should have got someone much closer to the target market to make the video promo content, using OMDS lenses and showing off how good it can be hand-held. Content that potential customers can relate to and think 'yes, I could do that and the camera looks a good tool for it'.

And there is my other option… I wish to reduce the sheer amount of kit I have, use and need and am alternative solution is to trade 2 existing 24mp stills cameras and 3 lenses, for one single high MP stills camera and just two, or even one lens. The Hassie R2D2 or whatever it’s called is my ‘dream’ but way above my pay grade, the 45mp Nikon’s not much point, the Sony A7RV a good ‘budget’ option used (and I have the lenses) but after the Hassie, I’d most like the GFX 100S. The issue with medium format is there are no decent zoom lenses. Yes, there’s the 45-100mm f4 but it’s a bit slow in low light and is big, heavy and extends. I’m going down a rabbit hole now I know, but keeping my options open as follows: A. Exploring frame grabs from 6k 30p video. B. Waiting to see what the Nikon Z6iii turns out to be. C. Waiting to see what any S2H or S2R might be for either the frame grab approach, or the high MP stills. D. If none of the above have worked out, maybe just trade my 2 Nikons (using with) adapted E Mount Tamron glass) and just do the Sony A7RV ‘budget’ route, shut up and get on with my life…

This is interesting… So right now, I only shoot raw stills and log video. Based on multiple tests, I can always get a quantifiably better image out of the raw file… as I’d expect to! But having said that, always liked playing with Fujis film profiles (or whatever they call them), especially Classic Chrome. For video, I moved over to log just as I did from Jpeg to raw for stills though that happened with video last year and Jpeg to raw about 12 years back. Raw video looks interesting, but the absolutely humungous file sizes and storage does not! And that might be a sticking point for me as in if the best I am going to get out of 6k or 8k log is something akin to a decent 24mp equivalent camera Jpeg, when I am used to raw quality, might not be enough…and would I really want to go the raw video route? For the sake of raw video alone, god no. For the sake of a more streamlined workflow of only shooting video and pulling stills, maybe… For now, I am going to have to content myself with trying out the 6k 30p mode in my S1H and S5ii and to see if I can ‘get away’ with shooting all footage at 1/250th of a second which is borderline freezing action in say a confetti walk for frame grabs and if the footage for video purposes looks ok at 80% speed ie, very mild slow mo and on a 25p timeline… If that works out OK…and it’s a big if as I don’t really know, then I can maybe consider whether: A. It’s good enough or, B. Almost but 8k would be better or, C. Only 8k raw is really going to cut it, or, D. Junk the whole thing and just stick to shooting stills and video at the same time as I already do and have done for the last 14 or so years… The Fuji XH2 does seem to be the cheapest way into this if it works…and requires 8k. Canon have 6k raw in the R3 and prices have dropped back again to nearer 4k euros when they could not be had for less than 5k from MPB just a few month back. It would be a BIG investment though to switch to Canon and roughly double that of Fuji. Nikon Z8 and Z9 also have 8k raw and I am already in that system for stills and have 3 lenses… I could buy a used Z8 or Z9 and then return it within 30 days. A bit cheeky but it’s near impossible to rent camera gear in rural France. Or stoopidly expensive…

Biggest problem of this the ump's was for me the weight and the dreaded fpn (god I hated the fpn). I just like to shoot smaller camera's, which require less heavy tripods/sliders/gimbals/battery's. Just more efficient. + I like the full frame sensor. But I would just buy the blackmagic cine 6K. Because I hate adding more monitors to my camera and the pyxis monitor seems to suck. (allthought the blackmagic cine 6K formfactor also sucks).

I've certainly done stills grabs from 6k and 8k cameras to put on social media or similar. I'm not sure what I could possibly tell you about it that you don't already know, though. If doing it from 10-bit video, it'll be a lot like a jpeg from a decent mirrorless. If doing it from raw video (as a tiff or similar), in most cases, it will be a bit like a raw from a moderate/decent consumer camera (12-bit). One big difference is that when shooting still images, I usually just leave the camera in aperture priority all the time and adjust ISO up/down as computed shutter speeds suggest. In video, I'm much less likely to use an automatic mode and always manually expose (and if I did use an automatic mode, it would be shutter priority). One thing I haven't done/tried yet is to take out the K-X and use it as a motion-photo camera. The raw video files seem to be a little more flexible than what I get from most of my mirrorless stuff. There's no way it's going to compete with my GFX 100 II, but maybe it's enough for just stepping out and goofing around/street stuff. I have an EF-S 24/2.8 on the way - might give that a try with the EF-RF adapter with internal vari-ND.

Thinking about this even further, that really just adds fuel to this fire. It's pretty much a storm in a teacup though and this weeks media drama to be replaced next week by something equally as ephemeral (such as Gerald undoing himself), but they really are not doing themselves any favours with this launch are they. Except for one thing and that is for it's ACTUAL MARKET, it's actually quite a good thing. A little over-priced perhaps, but otherwise ticks a lot of boxes. It wouldn't stop me from buying it if it's the right tool for me, despite what a bunch of hysteria queens think, do or say...

Honestly, I'm more at ease after watching the livestream for the S9 with Sean. I think he explained better and smoothed it over a bit. It's easy to get caught up in the hoopla of M43 is finished, Panasonic is getting axed, "this is the best they could do". Maybe it's me, but I can't remember the releases of any camera manufacturer, but I think I'm not the only one to remember the S9. Almost universally, people like the looks of it but are disappointed with specs, except for the people that this camera was designed for, camera phone users. I'm also rather disappointed but recognize it isn't really aimed at me.