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This was introduced last week and offers a raft of new features but the one that seems to be catching everyone's eye is the (paid for) ARRI LogC3 option. https://www.panasonic.com/uk/corporate/news/articles/panasonic-introduces-extensive-new-firmware-updates-for-its-lumix-s-series-cameras-s1rii-s1ii-and-s1iie.html Surprised there hasn't been a discussion about this already on here. I'm guessing that could be that no one has yet bought those camera types or is too busy wondering why they are spending so much effort looking after a cat that isn't their cat but has just turned up and convinced itself that it is now indeed their cat to be discussing camera firmware updates. Or, in my case, both. A bit of a caveat is that it doesn't work in RAW...

Speaking of new cameras... This was shot by a friend of mine on a "vintage" Lumix LX10 in Nauticam housing and different wet diopters.

That's a hell of a lens! I have a Tokina 400mm F5.6 permanently on my GH5 now to act as a telescope because I looked into buying one and it was cheaper and more fun to buy a super-telephoto lens! It's not super-sharp wide open but in daylight you can just stop down, plus anything that is quite far away suffers from heat haze anyway, so the sharpness of the air is the limiting factor. I've thought about going on safari for years but have never actually gone. My thinking eventually lead me to the idea of having two bodies, one with a very long lens on it, and the other one with a very shot zoom on it so you can get shots of when the monkeys start stealing food out of your van, or the elephants ram you. My impression from social media is that these things are practically guaranteed to happen. I have the PanaLeica 100-400mm on my "when I'm a millionaire" list as it seems it would be perfect for things like a safari where you never know how far away the subjects are going to be.

Ouch!! My GH7 (with battery, card, 14-140mm, and vND) is just over 1.1kg. The 12-100mm is just a hair under 300g heavier, so the GH7 + 12-100mm combo would actually be a hair above 1.4kg by the time it's fully functional, and my setup doesn't even include any audio equipment, so that's also something to take into consideration. I walked around Pompeii carrying the GH5 + Voigtlander 17.5mm + Rode Videomic Pro (1.4kg) in my hand for several hours, raising it up when I saw something I wanted to shoot. My wrist was sore for several days afterwards, just from having the weight on it for that long. It might be something you'd get used to, but having to train so you have the strength and stamina to carry a camera around seems a bit much to me! I agree. The high-ISO performance is actually quite impressive too. For low-light I have the 9mm F1.7 with CrZ and if I want longer range than that I have the 12-35mm F2.8. Probably the only other lens I would get for super-low-light shooting is the PanaLeica 15mm F1.7 because it's small and fast and being a Leica lens should be nice and sharp wide-open so the CrZ mode should be quite usable with it.

I own and use both. The Oly 12-100mm F4 is a great lens, but it's much bigger and heavier than the Pana 14-140mm (560g versus 265g) - both on an OM-1: On an E-M1 ii/iii or OM-1 the 12-100mm supports Sync-IS which gives sublime video IS performance, but even with the relatively light (for that kind of camera) OM-1, the combo is 1.2 kg and somewhat front-heavy if you're using it handheld. A GH7 + 12-100mm would be nearly 1.4 kg. As a 'travel' lens, IMHO the combination of low weight and focal length range makes the 14-140mm almost perfect (other than in really low light, of course).

Nice! What type of underwater housing are you using for your GH5s? That looks really beautiful.

I agree 100%, it is technically perfect for a beginner to grow into the system, both in photo and video terms. Now about the AI stuff I don't know. I have my reservations for it as a tool for human expression. As of this moment there is a stark difference between going out into the world and shooting with your own hands and eyes and soul vs. prompting lines into a machine.

prepping a no budget feature. here's some stuff that i like somewhat from the past year and a half or so:

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.

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

I could be wrong that I feel like we've arrived at a place where video quality is technically pretty solid across the board in new gen mirrorless cams. But if we're talking about R50V vs 5D MKIII ML RAW, it's less about better and more about 'different'. The 5D MKIII ML RAW definitely offers something aesthetically different than the R50V, but all things considered, I don't know that it offers better video quality, overall.

The comparison was great. I was thinking you focused on the leave behind the first one. Anyway, 2x crop in 4K mode looks like a great, even downsampled FHD image. I have the Fuji 12.5 F1.4. Your Cosmicar looks like it's outresolving my lens quiet a bit. The Fuji is still a nice lens though with a very solid build and delivering a beautiful image.

I'd argue that this kind of testing is actually necessary to understand how things behave. Over the years I have tested a lot of things and it's amazing how many things that "everyone knows" do not stand up in even the most basic tests, but continue to be myths because no-one bothers to even look. Aristotle claimed that women have fewer teeth than men, which is not true, but he obviously never actually looked to see if he was right - despite being married multiple times where he could easily have tested his claim at any time. No, not mixed up, but the 12-35mm has a shallower DOF and so you have to know where in the image to look to compare sharp details in the focal plane. This is the unsharpened cropped image: This is the 12-35mm image: This is the sharpened cropped image: The sharpening is perhaps a little over-correcting, but the thin edges are still slightly blurred in comparison to the proper image from the 12-35mm. This is where it is important to know how to read the results of a test. This comparison of the zoom to the crop matched FOV but not DOF, and while I probably could have zoomed in using the 12-35mm and also stopped down at the same time to keep DOF the same, the lens sharpness would have been reduced so it wouldn't have been a fair test. To get around that I should have tested using a flat surface like a resolution chart or a brick wall. The problem with going that route is that now we're no longer testing anything close to real-life, and no longer answering questions about what will and won't work in real shooting. The test wasn't "what percentage of resolving power is lost using the CrZ function?"... it was "is the CrZ function usable for shooting with cropped lenses?". Realistically I shouldn't have included the 12-35mm optical zooms at all, I should have just cropped in using the CrZ function and left the images to be judged on their own merits in isolation, the same way that any project shot using the CrZ function would be. This is the danger of pixel-peeing - it distracts from the only thing that actually matters - the image. The cosmicar really is a gem! There's a reason that cinematographers have relentlessly driven up the price of vintage lenses over the last decades, and why modern lens manufacturers are designing and releasing brand new lenses with vintage looks, and manufacturers are even creating new mechanisms to control the amount and type of vintage looks with custom de-tuning functions.

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?

@PannySVHS I've now tested the Crop Zoom (CrZ) mode in 1080p. This is the first test, and I exposed for the sky (which it thought was the right thing to do) which meant that the plants were a bit low, so I ended up bringing them up a little in post. The Prores HQ is great at retaining noise and so there's quite a bit visible despite me having shot this at base ISO 500. I've found that ETTR is definitely recommended if you want a more modern looking cleaner image. I also used the 12-35mm lens at F4.0 for all images as that's where it's the sharpest. First is comparing the C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Next we compare the CrZ vs zooming with the lens. I have prepared these images in sets of three. The first is the CrZ image, the second is zooming with the lens, the third is the CrZ image again but with sharpening added. This allows you to compare both CrZ images directly with the 'proper' one, as the more zoomed CrZ images did look a little soft in comparison when viewed at 300%. Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): Once I got those images into Resolve and looked at them I decided to re-shoot it with a better exposure. So I chose a different framing that meant the sky wasn't influencing anything. However, I didn't realise that where I was standing was going in and out of the sun, so some shots were washed out and I had to compensate for it in post, adjusting contrast/sat/exposure/WB to match. Tests are never perfect but are enough to give a good idea of what's going on, and in real use where there is no A/B comparing going on no-one would ever spot it anyway. There's also a slight difference in exposure between the C4K and 1080p modes too, which is a bit odd. I imagine it's due to changing the sensor mode. I compensated for that in all these tests too. C4K Prores HQ vs 1080p Prores HQ (on a 1080p timeline): Around 14mm (1.16x): Around 18mm (1.5x): Around 25mm (2.08x): I am actually rather encouraged by these results, as my previous test was in low-light and I did on something with much sharper edges and that showed differences I'm not really seeing here. However, it's not really surprising that the GH7 did this well, as even with a CrZ of 2.08x it's still reading an area of the sensor around 2776 pixels wide. I say "around" that wide because there is a slight crop when you compare the native 5.8K mode with the native C4K, 4K, and 1080p modes, but I think the 2.08x crop will still be oversampled from the sensor by a good amount. The other thing I noticed was that I couldn't adjust the CrZ function while I was recording, the button just didn't do anything. I'm not sure if that's because I have it assigned to a button and that there might be some other way to engage it while recording. Maybe through the controls that are used to control powered zoom lenses, not sure. Anyway, it looks pretty darn good to me, and the grain actually reminds me of the OG BM cameras which are quote noisy at native ISOs too (and also lots of seriously high-end cinema cameras too).

The 9mm I tested is the Panasonic Leica 9mm F1.7, I'm not aware of a 9mm F1.4 - maybe you're thinking of the Leica 12mm F1.4? Let me see if I can further tempt you!! I have done some tests (images below) but found the following: You can use the Crop-Zoom function (CrZ) to go up to 1.3x in C4K and up to 1.4x in 4K resolutions There is no 4K option in Prores, only C4K If the sensor was cropped to be a 1:1 readout, it would be a 1.4x in C4K and a 1.5x in 4K, but the CrZ mode stops just short of these amounts. I suspect that they have limited it so that it is always downscaling, even if just slightly. Test shots. First set are with the S-16 Cosmicar 12.5mm F1.9 C-mount lens. These are all on a 4K timeline, so you can really pixel-pee if you want to. I didn't have quite enough vND to have it wide open on all the shots, so some are wide open but some are stopped down to F2.8. Now, I switched from the 4K to the C4K, which meant I had slightly less crop available and you can just start to see the edges of the image circle. I suspect your mileage would vary depending on what lens you were using. The Cosmicar is pretty wide, so if you were using a long focal length you'd probably get no vignetting at all. This should also give a comparison between the 4K H.264 and the C4K Prores HQ. Now we switch lenses to the 12-35mm and stopped down to F5.6 so we can compare the CrZ crop to a non-cropped image. This is cropped to 1.3x using the CrZ function in C4K Prores HQ: and this is without any CrZ and using the 12-35mm to zoom in to match the FOV: I didn't shoot any clips this morning comparing the CrZ mode in 1080p, but I can also shoot a test for this if you're curious. I had a closer look and discovered you can't change the zoom amount, which seems to be stuck at 3x zoom. I'd say that it is resolving enough for focusing and I used it with the Cosmicar in the above test. It's the normal story of using peaking and rocking the focus back and forth to find the sharpest spot. At least I'd say that if you can't use it to manually focus then the problem isn't the punch-in feature but some other issue!

Test video - GX85 with Standard profile and 12-35mm F2.8 wide open. A few shots were ISO 400 or 800 towards the end. SOOC: After grade: Despite being fully manual, the shots had significant colour variation. Not sure if it was the vND or what, but colour management is critical to give ability to WB and expose in post on 709 footage.