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I have said before on here and I'll maintain it, DJI's taking one of the smartest plays here. Especially on mid-high end productions, regardless of any other factors, it's going to stay primarily Arri. If you make a traditional camera and try to compete, you'll have a huge uphill fight. On the other hand, if you make a camera that takes something that's a pain in the ass, whether it's Arri or another decent camera system, and your thing makes it really easy, your camera might get used in parts of films that are shot on Arri or Burano or similar. Putting cameras on a gimbal is legitimately annoying. Wanna have that gimbal-based camera track subjects? Time for hacks like putting a second camera on the gimbal and needing to use multiple tools to track and monitor. One of the Ronin 4D's real superpowers is integrated tracking based on what the camera is seeing. Today, a friend and I shot some tests with mine while between blocks at a local film festival. In the first, I experimented with an "impossible" shot where I tracked her walking and then had her pause while I pulled the camera back, planning to do a faux dolly zoom by reframing in post. It's imperfect, but with some practice and a less ambitious distance, I think it could play. For the second, I recently got a Hydra Alien and wanted to see how it would work. My car is a worst-case scenario for rollers - the Wrangler has an extremely stiff suspension. Yet, after 40 minutes of stumbling around with putting the Hydra on my car for the first time ever, I mounted up the camera and had my friend drive while I operated. There are some micro-vibrations, certainly, and I might experiment with the alternate/softer shock plate, but it's kind of amazing how turning on autofocus + tracking on a random car on the road resulted in such great footage. The last shot was to see if I could do a Tarantino-style shot spinning around the subject. If doing this on set, I'd want to set up something to ensure a consistent distance to the subject(s), but similar to the others, given the results after doing no planning or setup, the results are a bit unbelievable for just getting to the parking lot and saying "Hey, I bet we could do this. Let's try!"

LX10 in photo raw is very nice. If it had 10bit HLG for video, it would be a perfect pocket camera, even moreso with an evf. I don't enjoy slippery phones for taking images, billions of people do though. I love the 24 to 70 F1.4-2.8 zoom on the LX btw. A 24 to 50 zoom coupled with a 1 or 1/1.5" sensor would be nice and a mechanical focus wheel as well. Afaik only a few phones offer the latter. Is that right? Are these your shots? @Andrew Reid Nice images and colours. @Cosimo Colors remind me of GH2 palette when in use of skilled hands. Old school digi vintage look by oldschool 8bit masters like Martin Walgren or Andrew Reid.:) That reminds me how much of imagelovers GH2 users were when creating their pieces. I barely find any good stuff shot on recent cameras. The destruction of vimeo didn't help that I guess.

Nice shots. With the telephoto modules on the 14 Ultra they benefit from 3 things: - Computational side - Fast apertures - Very close minimum focus distances As a result, especially at the closer focus distances the small sensor look disappears. The apertures are fast at F1.8 and F2.4 which for long lenses is impressive especially as they are the size of postage stamps in your pocket. The computation side has also taken a huge leap. On the main sensor there's so much more depth information and a shallower DOF to begin with which helps the bokeh simulation to be much more convincing. On this shot of the car it has just embellished a bit the background separation which was already there at 1", F1.63. It really is an extraordinary shot getter in every way. Fast, tiny, wide range of Leica modes and you can create so many different styles of shot in a couple of seconds with a few swipes. It is the moment for me when I realise that traditional mirrorless cameras and especially the lenses aren't long for this world.

I think the thing to remember (and hence not to get too carried away) is that the camera choices in Adolescence were led by the story and the way in which the creators wanted to tell it. You literally couldn't have done it using full size cinema kit without massively increasing the budget - and maybe not even then. Likewise, Civil War was mostly shot on Venice, but used the Ronins when the story demanded it. So it's great that big budget movies are doing inventive stuff with non-traditional camera systems, but they're doing it when it's required, not for any financial savings or because they think those systems are overall better.

1+8 pro with Helios 58mm on a steady tripod, 226mm FF equivalent.