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If anyone wants to have some retro CCD fun then I have found a fun little bargain for you... https://www.wexphotovideo.com/olympus-e-500-digital-slr-camera-body-used-3242908/ This is using the same Kodak CCD sensor tech as the M8, just a slightly smaller chip at 2x crop vs 1.5x. The colours and grain are a thing of filmic beauty and it has the rather lovely Olympus colour science in JPEGs too.

There are dozens of us!

If I were the modern day Chris and Jordan in a camera store somewhere I would try and explain it like this... Buy the S5 II as it's cheapest, unless you need a few extra video features, which I'll explain in a moment. But if you're a photographer it's an easy choice, definitely S5 II best and cheapest. Unless you compare it to the Canon R8, Nikon Z6 II, Sony a7c, or wait actually I forgot the S9... That is the cheapest for photographers, except not if you are a photographer that needs to look through an EVF or wants a mechanical shutter. I'll explain what that does in a moment. But first, you say you're actually quite interested in video, so I'd recommend the S1 IIE instead, as the S5 II is already made obsolete by it, so pay the extra for the E version and you will get... erm... An E on the badge. Also are you sure you don't want to go all the way out to $3500 for the S1 II, yes that is $1000 more than a Z6 III for the same sensor and no N-RAW, worse body design, but it is the best Panasonic... for video... I think... At least for a month or 2 before the S1H II might come out, or it might not... Oh shit, we're forgetting the S1R II. That does 8K open gate now, they just gave it a firmware update. Hey, Johnny where're you're going... Come back Johnny! HEY! STAY AWAY FROM THAT CANON EOS R5 II FFS!

from Nikon Rumors: Brick-shaped, video-oriented design, without pentaprism and EVF – a combination of the current RED models design, the Sony FX3, and the Nikon Z30 Many features and tech from RED will be incorporated inside (not a new RED camera with Z-mount – we already got that) Z6 III sensor inside Very large LCD screen The official announcement is expected later this year, most likely in the third or fourth quarter of 2025 I don't know what Frankenstein of a brick body would be the combination of RED/FX3/Z30, but "very large" LCD gives hope its a bit different from whats already available in the market.

They must have needed to buy that 24 megapixel sensor in such large quantities, the 7 different models were a necessity. And by the time the year is out, it might turn into 10!

They give them to DHL and they go missing.

As usual, Media Division has one of the best review

No kidding? @Andrew Reid I love the colours people are getting from the M8 sensor. Some classy classic read from a photoblog favorite of mine. Those colours in these shots, bw as well! https://blog.mingthein.com/2012/07/12/revisiting-the-leica-m8-a-cheap-entry-into-digital-rangefinders/

Easily doable even with the Z mount, but I doubt Nikon goes so big. So far, nobody among Japanese camera makers have implemeted 5 inch display into their morrorless bodies. Its like a taboo over there. Maybe because they think it ruins the ergonomics of the body.

Can you say all of that again in one of Camera Conspiracies 'flashback' skits please. Whilst wearing a blonde wig. Money waiting if you put it on YouTube.

What I would like is: A. The frame markers and 6k 30p open gate (preferably 50/60p) from Lumix, plus, B. Ability to burn in RED luts, plus, C. Zf or e Mount, I don't mind which as all my e Mount lenses mount near natively to Zf mount, plus, D. FX3/30 style body. Ability to shoot stills not required, but if it can, fair enough. Mechanical shutter optional, - I don't care either way. No EVF, don't care. Must have good IBIS. Must be relatively compact and not require any rigging out, ie, primarily, a really decent flip and rotate screen a la A7RV/S1H/S1Rii. Could be a Nikon Zr... Could be a Sony FX2... Unlikely to be anything Lumix because the lens options are still just a bit lacking for me.

I don't have VR goggles, but I do have a 77" TV that's in my dark basement and I usually sit about 8-10 feet from it. I scooch up a bit closer when I want to preview how something will look on a big theatrical screen from 30-40 feet away. If I really want the full experience, though, I'll ask a friend to come chew popcorn and talk while I'm trying to watch it. 😉

https://www.eoshd.com/news/what-to-expect-from-nikons-first-red-mirrorless-camera-the-nikon-zr/ Finally a larger than 3.5" screen on a mirrorless camera? Sign me up If they bring the RED Motion Mount technology to it, then sign me up for 2!

You might want to have a look at the Xreal range https://www.xreal.com

Hi Andrew exciting to see you have the x14u as well! I've started writing a Xiaomi 14 Ultra mod guide to maximize its MotionCam Raw Video potential. It's far from complete yet (still many questions unanswered xD) so all input is welcome 🙂. P.S. I've been reading your blog posts since forever and read new articles the same day they're posted. But I don't look in the forums that much, found this thread by coincidence. Would love to one day read a full blog post, featured on the front page, about your experience and experiments with the x14u! 😁

About at 16:50

I'll have to take a look at that!

I don't know anything but in the last Media division S1 II review they showed a goggles linked to the camera used as a monitor or something like that.

Thom Hogan: "Nowhere in Panasonic's press releases or marketing information I've seen so far do they actually seem to know how to market their six different 24mp cameras (S1II, S1IIE, S5II, S5IIX, S9, and BS1H). In the S1IIE features list the sensor is listed as "inspired by the performance characteristics of the Lumix S5II," which tells you nothing. Those of us in the press these days are dealing with AI driven press releases, but I'm failing to even see the I in Panasonic's. Nothing tells me which 24mp camera to buy, let alone why I should buy it instead of Canon's, Nikon's, or Sony's. This feels like "stuff the channel and see if it sells" product management, not clear, user centric marketing."

I would prefer to have it if I could for the few times I would like to be able to do 50% slow motion, but that option alone is not worth the compromise for me having to go back to a much larger and heavier camera over my S9. Instead I accept the crop factor involved and have it on the mode dial rather than a default shooting option.

Same as with all other natural disasters such as the Icelandic ash cloud for instance. Folks were trapped and wanted to get home so all public transport, car hire, hotels, you name it but if they could, raised prices astronomically in order to milk that cow whilst she could still moo 🐮 And then what tends to happen is when the crisis is over/the tarrifs have been lowered or even dropped, prices remain disproportionately higher than they previously were and because folks carry on paying them because they are either too lazy not to or because they feel they have no choice, inflation.

As did Lumix for the S1R.

Gotta squeeze the last juice out of the fruit. There are a lot of FX3 users itching to buy a new camera, and either the FX3II isn't coming soon or they plan to raise the price significantly.

Except they made a sensor https://petapixel.com/2024/03/11/panasonics-organic-sensor-may-be-complete-but-likely-wont-be-used/

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

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.

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.

It looks pretty good because unfortunately CineD has not tested the 5,8K raw downsampled to 4K yet, I wonder if there is a possibility of backed-in NR inside of the Prores Raw files.