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I still have my G7 -- I got rid of my GH1, nice though it was back in the day, but kept this little camera; the simplicity of using it remains an attraction. This was my first camera test with it:

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.

It’s just ‘advanced juggling’… 3 balls to 4, to 5, to 6, to 7, to 8, to 9, to tea cups and saucers, to live chainsaws. Which are on fire. Welcome to Cirque du Soleil Weddings!

I don't know the 'industry definition' of it, but I would think a 'locked down' or 'locked off' shot is just that - the camera can't/doesn't move at all. If you pan a camera, it's a 'panning' shot (tilting is just panning it vertically instead of horizontally, so I guess comes under the same name).

Now thats, what you call vintage glass.

I just wish they had kept Raw, Jpeg only is a bit limiting.

Are you sure it was on May 25 and not sometime in the middle ages? 😛

Photography has always been an expensive hobby. Since the SLR days there has been a clear mark of status associated with the best gear from the best brands. Wanting the best implied paying a lot more. Camera companies have clearly segmented and re-segmented the "intent" you mentioned. Want the best hybrid video-cam with RF lens? Better pony-up for the R1, R3, R5M2 or R5c. Want the speed demon? There's your R7. Want a slow full-framer but with some limitations for video, as in no IBIS? Here you go with the R8. A considerably better camera and videocamera but no as expensive as the R1 and upper tier? Ahh, we've got your R6M2. Every company out there does the exact same thing. So even if you are NOT looking for status, it's implied by your choice of gear. The only way to eschew the game is by going full retro. And I mean really retro for gear NOBODY wants to use and can't even be used with modern computers easily. I'm looking at you MiniDV, Hi8, and such.

AFAIK, up to at least 60p, the GH5/GH5ii/GH5s/G9/GH6/GH7/G9ii read out the whole sensor width and sufficient height to allow high-quality re-sampling/processing down to (e.g.) FHD and UHD, which probably helps with moire suppression. And yes, the high pixel density versus lens resolution also helps (plus diffraction softening at smaller apertures). I like reasonably chunky grips too - it's a major reason why I've never bought an E-M5 iii or OM-5 (and bought used E-M1 ii and iii instead, despite the larger size and weight). I've got a Sirui grip for the S9 (which is deeper than the SmallRig version), but if I've got the 20-60mm kit lens on it I don't add the grip as there's enough lens barrel to sit nicely in my left hand. The grip is useful with the 18-40mm lens though.

Yes I'm sure as I've owned most Panasonic cameras and I still have the GH5. It has Open Gate 60fps but not a the full sensor resolution, more like 4K than 5,1K. Yes it's downsampled but it is still Open Gate without crop. I think the S1II uses more or less the same processing with its 5K Open Gate. Whatever, I don't like the image processing of the S5II, S1RII and now S1II. So even my old GH5 looks better to me in Open Gate. I'm very close to fully switch to both Nikon and Sony. Even the recent Sony cameras have better detail rendering for video in my opinion.

Even then, I very much doubt I will as I work with 3 (video) cameras and only 1 of them would need to full frame 6k 50p OG and that would be the one in my hand/monopod and the S5 body is a wee bit too heavy for my liking. I mean it's not like it's a beast or anything, but now I am using the S9 in that role, it's actually a surprising difference. Or could also be the fact that I have a very slim baseplate on the S9 whereas it was a Smallrig cage on the S5ii and using the f1.8 primes rather than the f2.8 Sigma 28-70, so all in, maybe around .5kg difference. Otherwise I am just one camera away from a switch to Sony or Nikon because then I can drop 1 body and 4 lenses from my current 5 body 9 lens combo for stills and video...which is pretty considerable! I can't do it with L Mount in any combo of Lumix/Leica/Sigma.

Here's the original video. Of course, this is for testing purposes only as I don't usually shoot like this. I just wanted to see how stable I could make the G7 and see how fast it could reacquire focus once in a settled position. What I learned is the smaller you make the AF box, the faster continuous will reacquire focus. I just went from subject to subject, placing the framing where the focus point was. I doubt the footage of my Panasonic VX980 would have been better, just WAY noisier.

Cropping in post. That’s what I see and like about 8k. 8k for the sake of 8k though, not interested. Same for me with stills and high megapixel cameras. Some say they don’t need 50-100mp and I don’t either, not for the sake of having more, but I do like it because it allows me more reach from smaller or less lenses. I can carry a single 28-105 and ditch the 24-70 + 70-200 combo.

I have now imported my iPhone footage and put it through the same FLC pipeline as my GH7 footage. As you may recall, I shot the "home video" parts of the trip with my iPhone 12 Mini, and part of the goals of the new FLC pipeline is to be able to improve the iPhone footage and match it better with the GH7 footage. Overall, I am pleasantly surprised with both the images and the user experience. With my phone in my left-front pocket and GH7 in my right-hand, I could extend the pop-socket out, pull my phone out, shoot with it, then put it back, all with my left hand and not having to even turn off the GH7. Having the ability to swap from shooting with the GH7 and 14-140mm to an ultra-wide in seconds is great when you want to capture the action in real-time: It has surprisingly good handling of real-world DR: It allows for quick and unobtrusive shooting in restaurants and cafes: which also gives some background defocus which is nice. ...and it is great for shooting in very cramped or crowded situations: I struggled shooting in the Myongdong night-markets just because the GH7 was so conspicuous and just not well designed for such things, however the iPhone worked quite well for those chaos-and-people-everywhere shots, and was great for shooting situations at point-blank range: In retrospect I wish I had shot more whimsical footage with it throughout the trip, but that's a note for next time. In order to see how the FLC is contributing to these images, let's compare some of the above shots to how they would have looked with a simple CST workflow (I did a CST to DWG, matched exposure, then CST to 709-A). FLC: 709-A: FLC: 709-A: FLC: 709-A: I find that it takes the digititis out of the images quite a bit. Another thing it does is hide some of the limitations of the iPhone too. Here's a shot I took from out the train window. It's obviously a very low-light shot and the iPhone NR was probably set to "armageddon". 709-A: FLC (with a touch of sharpening): Anything in post that applies across all your shots will help to unify them, and so having a slight softening applied to all the footage, as well as similar colour treatment, can really help to smooth things around any rough shots. I created my own powergrade using FLC I called "50mm" because I took the grain and softening settings from the 35mm and 65mm presets and set things to the mid-point between the two, effectively emulating a 50mm film process. I have more work to do, including working out what settings give what results once the footage has gone through the YT compression, but it's a start.

What's interesting about Japanese market, which by no means representing the global market tho, is not Nikon taking the lead, which is a sudden jump by a single product, but Sony's steady decline, despite all previous generation alpha cameras they were selling at lower prices.

Oh you better believe it's coming, Canon would be foolhardy to leave a ton of cash on the table. As always, they'll let other manufacturers take the risk with their products and test if their is a market for it. Only then will they'll release a camera and gobble up the lion's share of it.

I've just sold my 2016 Nissan at the same price it was in 2020.

Lumix S line prices are rising again on the used market. Vintage and quirky Mft cameras too. I got an orange GM5 with a 12-32 lens and two batteries for a good price two years ago, with the box, everything in great condition except the leather case. They cost up to three times as much now of what I paid two years ago! Here it is, a flimsy beauty, a tiny S9 minus 4K 10bit, but with evf, mechanical shutter and hotshoe:)

The line was absolutely leapt over for me when we started to see £1500+ MFT bodies. I haven’t bought anything new since 2019 and even then it was because I was developing products that necessitated it. Obviously, I’m an addict, so I’ve bought other cameras since but they’ve all been used ones and if I was to buy a new one again then I would be fishing in shallower waters where there is some great value like the X-M5 and Z50ii. I am definitely getting a used Z8 in the winter as it’s as peak camera as I would need and is also peak price as I’d be prepared to pay these days. And at the point at which I buy it, then it will only have taken me two years and a half years to finally pull the trigger. For someone with the impulse control of Jim from American Pie, I’m counting that as progress.

My favourite AI outcome would be for it to fuck right off.