Leaderboard

There is nothing wrong with Braw, one bit! however EVERY single edit house we ship footage to only accepts Prores LT or ProRes, so it would have to be a transcode, which if you have time is not an issue (but then why shoot raw and not use any of it's advantages) but in very quick turn around situations when you have to hand off a drive, Braw is not possible! These are challenges where you are part of a much bigger production, but if you are a solo shooter and cut your own work, then it's absolutely not an issue!

The beauty is that you can shoot whatever resolution without crop. I would never shoot above 4k. But the 12k sure does have pretty colors.

Same here. 16:9 is very device friendly for full screen use but isn’t as *cough* cinematic as 2.35:1, but I find that sometimes too extreme to be standard ‘style’ for all my work. I’m still debating whether to use 2:1 this year or stick with good old 16:9… The advantage of shooting open gate is we have options and with Lumix, multiple frame markers and conscious of my socials, one of those markers is 9:16. Being able to produce 2.35:1 and 9:16 from the same footage is a bit tricky, even with open gate and I will probably just stick with 16:9 + 9:16 as it’s the least extreme option. Well 1:1 is the least extreme, but no thanks as that’s for squares.

2025 model is arriving... this April 22. Updated X series version. A few people say it is the last one of this design. Both their teaser and this beta tester hint that we'll have an interchangeable/swappable lens camera this time...

You'd be mad not to wait for the 17K version. I mean, is 12K enough? Really?

The low-contrast look has been fashionable for a long time, since people started shooting in LOG and then editing in it and getting used to how it looks. Colourists talk about this problem like it's been around for many years and simply never went away. This caused a feedback loop where directors fought the colourist to keep things bland, which made films get released with bland grades, and then this became the reference for future directors and also all the amateurs. Also, it's quite hard to add contrast in post because it requires a clarity of thinking that many do not possess. When you look at your image and see it's captured all this information in the shadows and highlights and then apply a healthy level of contrast you immediately miss the details that are now crushed in the rolloffs. This leads to the question of what parts of the scene can be obscured. The only way to be able to answer this question is to understand what the shot is about, and therefore what is relevant. This is a level of maturity not yet attained by many. I didn't really do a systematic comparison with the G9ii, but in general terms, why would I pay several thousand dollars for a new camera that isn't the leading offering, when the flagship is only a few hundred more? Certainly, if internal Prores and cooling fans were absent on the G9ii then either of those would probably have been an instant disqualification. The size comparison is pretty moot as well, for street work I'd consider both to be full-sized bodies.