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Truth. I had a client from just over 10 years ago come back to me the other day having lost what I provided for them. I went to see if I still had it and expecting it to be a bit trash compared with today, but was actually quite surprised. It stood up very well and the video was shot on GH3 and the photo on X Pro 2. I notice more things like technique and editing & grading choices, but as for the raw result, - the client wouldn't notice any 'upgrades' in a decade.

Yeah, exactly. That's what I'm saying. Their banter is still good/fun, but there doesn't seem to be even the slightest spark in the reviews anymore. That's probably also a symptom of PetaPixel demanding a higher volume of reviews and with a number of them being for things that are inherently uninteresting. And I get it - to some extent, how much is there to say about a 21mm lens? And in that review in particular, they didn't even seem to be doing any basic research before the videos - talking about Thypoch coming out with one (the Simera-C has had a 21/1.4 lens for months already, though with a different design) - and 21mm has been a Leica staple for many years with the 21/1.4 Summilux having been released in like 2008 (which makes sense since Thypoch, to some extent, is emulating Leica with the Simera series). But yet, Chris acted like a 21mm lens was something he'd not heard of before... presumably because he just doesn't care about what he's reviewing anymore. It's a job. Lens comes in, take some photos around Calgary, do some LoCa tests, shoot a test chart or two, lens go out. Ready for the next lens to come in... But they've also become a channel that won't publish a negative review at all. I had high hopes for the new person - Sarah? But then she did a review of some shitty wearable camera that seemed way more like an advertisement and any criticism mixed in with tons of praise, despite that the footage looked like pure garbage. Then the next week in the Podcast, they acted like people were crazy for suggesting it, given that some small criticism had been slipped in to a 14 minute mostly positive review where the footage is described as "good enough" and since the gross oversaturated colors are "so vibrant there's not much you have to do to them." To me the footage (the link should go right to the sample clips) could be much better described as "a gross, shaky jello-filled nightmare." Later, in the conclusion, the presenter concludes that the camera is definitely worth the $200 price tag, despite that it's redundant with a smartphone and records with quality much worse than a smartphone. If that shit is sponsored, it's not disclosed and they actively denied it - so that's gross. If it's not sponsored, then PetaPixel's standards on cameras are incredibly different from mine. It was already a thin ice - and posting videos heaping glowing praise on AI slop and deleting critical comments is just the last push that I needed.

Meanwhile, I'm over here starting my own personal beef with PetaPixel. They posted some breathy review of how great it was to make a music video in only one night using Midjourney and I basically said they should stick to photo/video stuff for humans instead of posting about shitty AI slop. The author wrote back saying it was a "complicated" subject. And now they deleted both of my responses to that - the first, OK, maybe because I wasn't very nice. But in the second, I got more polite and pointed out that with current AI models, 5 seconds of video uses as much power as running a microwave for an hour - so his nearly 4 minute video was like running a microwave for nearly 2 straight days - and that's enough electricity to power an average household in the US for about 2 1/2 days, especially since it's unlikely that he used 100% of the clips that he generated, adding to the amount of wasted power. Deleted again. I guess, though, it's a good thing since it was the final straw in pulling their feed from my news reader (only so many clearly-sponsored (but not disclosed) positive reviews of shitty plastic film cameras that I can watch) and unsubscribing from the YouTube which has become an increasingly formulaic slog of Chris and Jordan reviewing products that they clearly don't give a shit about - and the weekly podcast where they act like smug celebrities, even though 99.9999% of people neither care who they are nor care about anything they've said. Good encouragement also to fill out my YouTube subscriptions with some smaller creators who actually seem interested in what they do.

**Haven't been active a while but have been lurking often, just not posting. Hoping to get back to posting much much more regularly now and actually being involved in this awesome community. Hope everyone is doing great and making awesome art that plays in sequences of frames 😉 "_names_are_hard" from the magic lantern forum made a post yesterday announcing a new official development team; I am not 100% sure but seems as though this was not the case sine a1ex left a few years ago. Obviously, awesome developments have still occurred in the mean time, such as the incredible work done to the EOS M, 5d Mark iii and more to sd overclock, implement new binning modes that provide more image detail and less moire, and enable excellent previews in modes that previously rendered almost unusable to monitor. Now an official development team is back, and their aim, according to the post, is to implement features into main builds; finally we do not need to dig through forum posts anymore lol... What is even more exciting is the announcement of great improvements towards Digic 6 and Digic 7 cameras. The Canon 200d/SL2 has an OFFICIAL build with WORKING RAW VIDEO. This excites me, as supposedly this camera has an entire stop better dynamic range at ISO 200 than the 5d mark iii does...and DPAF to boot. Makes me want to get one just to play around with and rig into a poor man's interview b-cam for my Nikon Z6. The 7d mark ii, 6d mark ii and 750d/t6i also have official builds, though more work needs to be done to implement RAW video. Still, even this is exciting news, because it looks like a point will be reached in which the aforementioned cameras all have stable RAW video. Man...the 6d Mark II is gonna become absolutely killer and I believe might overtake the legendary 5d mark iii as the ML king...why? Full-frame AND Dual Pixel Autofocus. So exciting. Imagine if they progress on the EOS R and we get RAW video on that...we shall see. Anyways, wanted to share as I think it is exciting that the ML community is getting active again. Although I have never personally owned a ML camera, it has always fascinated me and I want to pick up a ML-compatible Canon body, even if it's the dirt-cheap Canon 50d that makes it possible to shoot continuous 14-bit RAW video for only $86 US on ebay haha. Exciting times. Screw modern camera releases. My 7 year old Nikon Z6 is still alive and kicking. And these old cameras are about to become beasts. And to me 5d mark ii/5d mark iii/eos m crop mood stuff looks just as good as your youtube shill Sony FX2 bs anyways lol... https://www.magiclantern.fm/forum/index.php?topic=27315.0 Also here's the dirt cheap Canon 50d...I might buy one. Literally the cheapest half decent ML RAW cam in existence: https://www.ebay.com/itm/326652260011?_skw=canon+50d&epid=100134403&itmmeta=01JYD74BEKB8BK43GTP64YXEYE&hash=item4c0dfdeeab:g:zH4AAeSwaqVoO8fg&itmprp=enc%3AAQAKAAAA4FkggFvd1GGDu0w3yXCmi1dPuUUXNiquWqTtYdpH3VhCftZqA2312R5f5VSKqv6B737uadt8L7po3UhjQmLj7p22fLaKrov1%2FdF7%2FPis094b98Wz%2FnMbwS7WtRhqTqfyUhYZCMMmhc9OdIad%2FLodvcJXSllJYh90xsUWRTm7vGW5QqKQBbevi0jxouClCZ%2Fbk6QKRNa9LTJsvkdX56eaU7F7IwVfBdZCHZOygCtMLm6H3MlF0YovoZEHjhhYqNq10jPFnlPCjhOBrGydgfrK%2BKuCTwN1sGX5Pb3KDZ5MpxcA|tkp%3ABk9SR7i3kafzZQ

I think so yes. I have for a long time critiqued LUMIX regarding their marketing, or lack thereof and suspect they have indeed taken a leaf from the Sony playbook, of, "lets get our product out there into the hands of all influencers", rather than the seemingly limited way they used to do it. And many of those who were previous diehard Sony Shillboys, seem to have jumped ship and are now preaching The Gospel According To Lumix. I was an early adopter of Fuji when the X series came out and a large portion of the so-called 'professionals' scoffed. When they became too popular (in my eyes anyway), I jumped ship to the newly hatched lame duck that was LUMIX full frame. LUMIX seem to becoming 'the new Fuji'...which edges me closer back into being a Nikon boi which is where I started out back in the olden times. But where do LUMIX stand in 2025 without all the hype? Almost certainly top dog for 'consumer' video needs, as in hybrid style cameras rather than dedicated cine stuff. Lenses is where I think they still lack, - the entire L Mount collection. There's a lot in it, but also a lot of holes. And those holes are the one's that most suit my needs. So between the hype (which puts me off any brand) and the 'lens hole scenario', two compelling reasons for me to dismount from this particular train ride at the end of this season. But we shall see. The 'hype' alone is merely a 'negative distraction' really and. not a deal-breaker. Subject to finances, the lens situation will be the decider.

I was wondering is Lumix taking a note from Sony's marketing tactics I do see annoyed Sony user on some of those comments, like they are going through a divorce because the guy they subscribed suddenly jumped ship.

those photogs are veterans with 30+ years experience, all have best nikon, canon, pentax, etc lenses. been there. ml raw on 5d3 can do 10 bit uhd raw. ml raw at 10 bit and above especially at 14 bit, is vert different from typical mirrorless raw or 10 bit preres h.265. been there. 14 bit raw itself is unparalleled even now.

Indeed! Actually, the killer combo for the GF3, if we think of it like a tiny vintage film camera, is when it's paired with the Olympus 15mm F8 body cap lens. It is truly tiny.... In a sense it's an incredibly synergistic pairing, because it gives a 30mm FOV, which is wide enough to make any micro-jitters pretty minimal (especially if you add gate weave in post) and it's sharp, so the softness is just limited by the GF3, and it's deep DOF which fits with the 8mm look. Without an ND you're also using the shutter to expose, which I understand is also how 8mm cameras worked? However, perhaps the killer aspect of it is the way you would use it. You'd never use this as your main setup, so this would be a carry-everywhere low-stakes camera for having fun with. It would be what you pull out when being silly with friends, or filming random things that aren't so formal. In a way, that's how people might have used an 8mm camera back in the day, because they weren't inundated with video and didn't have the media savvy we all have now, so they would have just pointed their home movie cameras at whatever was happening. It's even got a lever that closes it for use in pockets, but it also works as a manual focus adjustment and close focus is something like 30cm / 12 inches which might even get a little bit of background blur (I can't recall) so it's quite versatile. The challenge is that the F8 aperture means it's basically no good after sunset or indoors, so that's the weakness. Apart from that, this is perhaps the most likely setup I would use this with. There's an F5.6 version from a different manufacturer that is tempting, but re-buying it for only one extra stop is a bit hard to swallow. Anyway, here's a video I shot with this combo quite some time ago.... I can't remember how I graded that, but I think I used a film emulation plugin that added a lot of softening in post, so don't take that as the limits of its resolving power. It also shows a lot of rolling shutter, so maybe the strategy would be to have it on a strap around your neck and pull that tight when shooting to stabilise the camera a little. There is something about the extreme lack of technical performance that makes my brain think "well, this isn't going to win awards for literally anything, so ignore all the rules and just shoot and have fun!"

the camera I'm using could be in a museum ..but it works..i

The elephant in the room is Resolve. As I have discussed and demonstrated in my "New travel film-making setup and pipeline - I feel like the tech has finally come of age" thread, over the last decade Resolve has gotten more feature-rich, but more importantly, it's made it HUGELY easier to use and get good images. People now have a lot more knowledge about colour grading tools and techniques, that's for sure, but things like the Film Look Creator enable you to use a single node, you set your input and output colour spaces, and then you can adjust exposure / WB / saturation / contrast and all sorts of other things in the same tool. You don't even need to apply a film look at all... just select the "Blank Slate" preset, which sets it to have no look at all, and you can still use all the tools to adjust the image without having to worry about colour management at all. Any improvement in your post-processes is a retroactive upgrade to your camera, your lenses, and all the footage you have already shot. Colour grading is such a deep art that I think the average GH5 user back in the day was probably extracting a third of the potential of the images they'd shot, if that, simply because they didn't know how to colour grade properly. I'm not being nostalgic about the GH5 either, the same applies for any camera you can think of. There are reasons to upgrade your camera, for sure, but most of the reasons people use aren't the right reasons, and they'd be better spent taking the several thousand dollars it would take for a camera upgrade and taking unpaid leave from their job and improving their colour grading skills instead.

Virtually any camera released in the last 10 years, if used with care and consideration, will look good. And ten years from now the GH5 will still be able to generate lovely images, assuming there are some still out there that work! The pace in which people upgrade cameras is crazy to me, it just seems pointless and wasteful. --- I forgot to add, the Craterr video information makes me think that it might be related to several "creators" switching to Lumix recently. Armando and Cam are two of them who've switched and become VERY PRO Lumix, so it certainly makes me go "hmm." As much as I love Lumix and believe they are absolute powerhouses, it was and is very suspicious how many people were suddenly making the switch.

Yeppp. I love Justin Philip BTW. But yeah these youtubers deserve it lol. The YT camera community is so toxic.

GX line supports its elegent GM silbings, so both to be continued in 10bit alterations of their predecessors.:) @eatstoomuchjam

From what I've seen and comparing to my own 10bit footage, Magic Lantern Raw on Eos M and 5DII/ III looks magical under natural light despite less dynamic range and much less resolution. So I am exited about any news from ML. I am referring to the pure joy for the image. It is not an observation in regards to full time content production. No, no, no! @eatstoomuchjam No 10bit GM5 flimsyness but a solid and small 10bit GX85 body. Thank you, Panasonic!:) GM5 feels hollow and viewfinder is very tiny. Sorry, but no! 10bit GX, yes please.:) @stephenDoesn't the 5DIII allow liveview on the screen, just like the EOS M?

Always great to hear the ML community is still pushing along. I cut my teeth on the 5D MKII ML and still have two 5D MKIIIs with ML that I refuse to sell! All that said, the R50V is $650 brand new and once those hit the used market they'll be $500 and under vs the 5D MKIII which is still going for roughly the same price. So nostalgia aside, the R50V's price, specs - not to mention form factor and access to RF and EF lenses - really makes it hard to argue that anything ML related is the prudent way to go in 2025, imo.

"Canon doesn't want you to know about this camera" "This camera changes everything" "Why I sold all my gears to get this camera" "Why Hollywood loves cropped 4k"