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Someone named Vitaly hacking a camera? Oh boy. 😅

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

After looking and foraging my various drawers in the house, I was able to find 3 Bell & Howell lenses from my grandfather: 0.7 inch, 1 inch, and 4 inch lenses. This was standard war-time military issue for war journalists. I also found 3 plastic Lomography lenses: I have ordered some inexpensive Chinese lenses too: 7Artisans 10mm f/3.5, TTartisan 17mmf/1.4, and TTartisan 25mm f2- a holy trinity for about 350 euros. From what I've heard, these lenses all suffer from poor corner performance; however, I'm throwing away 45% of that APS-C image anyway and only keeping the sharpest part. I figure those will be a perfect size too with the total kit under 1kg. I considered the Laowa cine lenses, but decided that they were simply too pricey for the concept of this kit. I'm bummed about not being able to use my AF M43 glass, but I love the limitations of straight up manual focus. I'll be shooting a lot with the 17mm this weekend.

The things that impress me most about this camera are the frame rates and processing. In addition, it’s so damn small and light. I purchased it, and it’ll be here tomorrow. I’ve seen both super positive and super negative opinions about it, but it really does feel like a new category. I have a few assumptions about it, though: I think it will be a stellar performer when it comes to moiré and rolling shutter. It’s also going to be pricey to get wide, sharp lenses for it. That’s why I plan on using it with my S9. I feel like they could complement each other well. I’ll definitely be playing around with it over the next few days.

So I rented the Pyxis 6K this week to run some tests. We're building a new studio and I wanted to see if these would work for us in our workflow. My criterion for these studio cameras is the following: - Somewhere in the $2000-3500 range - SDI output - Solid 4k image - Clean image for fast workflow (no denoising in post) - Good autofocus - Simple workflow Honestly after spending a few days with the Pyxis, I enjoyed it more than I thought I would. It's a really simple camera body, and everything is laid out really well. It's smaller than I thought it would be, but built from a heavy duty metal, and kind of heavy overall, which I didn't mind. The 5" monitor is amazing. It's also built out of some kind of metal, but still thin and light. It powers and does video from a single locking USB-C cable. It's touch enabled, so the menus and autofocus can be controlled from there, and the image is really bright and easy to see in the sun. It's honestly just really nice to be able to put the camera on a tripod, plug in the locking and included AC adapter, plug in the monitor, and you're good to go. No janky adapters, dummy batteries etc. The image is really really good. It's very sharp, clean, and as much dynamic range as you could want. I was able to underexpose shots by a solid two stops to hold highlights out a window and the image looked really good after recovery in post. The autofocus kind of surprised me as well. It's DPAF, added somewhat recently in a firmware update from BM, so I wasn't expecting a lot. But it was really solid. Not a lot of control options, but when a head comes into frame it locks on and tracks really well. I feel like I can totally use this for talking heads with no worry about it losing focus. Overall the biggest downsides were the lack of internal ND filters, which is a real killer. For our studio workflow, this is totally fine. But it would be amazing if ND was included for if we want to use them for other projects. Also rolling shutter was pretty noticeable in 6K. Not a problem again for studio work, but could be an issue if used for other things. The other two downsides for me would be the lack of codecs and resolution options. There is no downsampling in camera. If you want to record in 4k or 1080P, the camera crops the sensor. Also you are limited to b-raw, there is no h.265 or h.264. Again, this isn't really an issue for us since the camera can still output a full sensor downsampled 4k signal from the SDI output, while being set to 6k internal. But for other workflows, I could picture this being an issue. I think there is a love hate relationship with this camera's simplicity. All the basic, core functions are there, and really easy to access, like resolution, frame rate, audio, LUT control, proxy recording, etc. But when it comes to anything more complex, this camera is kind of lacking. On one hand I really like this because it keeps things simple and uncluttered. It's really nice to pop in the menu for something and not have 10 million options to sort through. On the other hand if you're missing something important, this can be devastating. Overall This camera nailed what we're looking for in a studio camera, but I'd be hesitant to buy it for run and gun use. I think for run and gun the one and only reason I would buy a heavier cinema camera is for the internal NDs, so with the Pyxis lacking them, it wouldn't really make sense over something like an A7IV or an FX2 which would both be in the same price range.

Thinking of it as a Super-16 FILM camera represents an incredible opportunity when combined with the high-resolution sensor - zooming in post. My experiments with emulating S16 film showed that even a moderate amount of blur applied in post hides a huge amount of detail in the image. This means you can crop into the source image significantly and the blur will hide it. For example: If you were to put a 12mm lens on it, then you'd get a ~35mm FOV at 6K, which you then blur. If you were to put a 12mm lens on it, then crop 2x you'd get a ~70mm FOV at 3K, which you then blur and the blur hides the zoom in post. If you were to put a 12mm lens on it, then crop 3x you'd get a ~100mm FOV at 2K, which you then blur and the blur hides the zoom in post. Depending on how much blur you applied (if you were going for a vintage 16mm look or a more modern 16mm stock emulation) I suspect you could zoom up to 4-6x in post before the digital nasties started being visible through the emulation. I don't know what kind of digital zoom the camera offers, but if it allows it then you could frame in-camera and not be throwing away bitrate when you crop in post. This gives two advantages: 1) It turns any prime into a zoom, perhaps even a 4-5x zoom - much more than the 2-3x fast zooms like 18-35 etc 2) if you crop in post then you can apply additional stabilisation, making it feel a lot larger than the tiny camera it is I suspect that mostly this advice will fall on deaf ears, as people are drastically afraid of softening their images, like they'll be punished in the afterlife for it. When I saw Goodfellas in the cinema on 35mm film projection, it looked like somewhere between 720p and SD - and that was a 35mm feature film!! The amount of blur to accurately reproduce even a semi-ballpark 16mm film emulation is beyond most modern thinking, but if you can wrap your head around the concept then the ILS can become a drastically useful camera.

Interesting update on the FP front. A user has apparently developed a way to use the FP's internal gyro data to get post-production stabilization via the cam's SD card (vs needing to attach an additional piece of external hardware). You can get more details here: https://discord.com/channels/1542149935523299378/1542153963837853807 And this is an FB group where the developer made the annoucement earlier this week, and is discussing it with other owners: https://www.facebook.com/share/v/1EPzkeRZny/?mibextid=wwXIfr There is also a user (Vitaly Li) who literally just posted about a new mod they're developing that could give the FP 3000x2000 open gate: https://www.facebook.com/share/v/1F1sixsTzz/?mibextid=wwXIfr Personaly I've moved on from my dreams of owning an FP, but this is seems like pretty promising news for FP users.

And… …selling it. It’s been a decent stills experience but less so video. From the stills perspective, it takes nice pics but back to the same old dilemma I always have and that is the best camera I have with me at all times is always going to be my phone and it’s a PITA to carry 2 devices. On the video side if things, it worked well enough on the gimbal but operating the gimbal as a one man band hybrid shooter is as much a PITA as that ever was so selling the RS4 mini also and replacing both, ie the gimbal and the L10 with a Pocket 4P. Also, in the static role, overheated in literally no time in the type of environment I typically work in and at not much difference in size to an S9 with a small lens, which despite not having a fan, is surprisingly durable. More so than my S1Rii’s I *think*. I have not tested the latter but as my S1Rii’s have overheated in a static role multiple times and my S9 never has… Anyway, L10, I wanted to really like it, but it’s not cutting it for work purposes (never really expected it to as than as D cam at best) and can’t really be bothered as an EDC and with hindsight I shouldn’t have bothered, but hey, we sometimes need to try to find stuff out. Anyone want to buy a lightly used L10 in the UK?!

Another new size appropriate lens for the S9 in the form of a 20mm f2.5 launched today. https://www.wexphotovideo.com/panasonic-lumix-s-20mm-f2-5-lens-3358704

I was pretty excited about this idea, but with the limited lens selection, even with the new 40mm f/2, it’s still bigger than my Sony A7R II with the Rokinon 35mm f/2.8. An A7C would be even smaller. It still doesn’t really feel like there’s a proper upgraded/full-frame version of the GX85 + 20mm f/1.7 combo, which I absolutely loved

Completed filter holder V1..... It's far more compact than anything else I've seen that fits anything other than a naked iPhone, which is important because if my phone is a huge rig then I may as well be using a "real camera" and if I can't fit the whole thing in my pocket then that means carrying a bag and (once again) I may as well be bringing a real camera. I cut up some 2mm aluminium sheet to bridge the gap between the two sections of the Tiffen and epoxied it in place. Then I added another layer of 0.22mm aluminium that was painted black (that I ordered by mistake - thinking it was 2mm) to cover it up and give it a semi-nice finish. I did a bit of filing around the edges and added some black nail polish to tidy up the edges, and finally put a pop-socket holder on it so I can hold it a bit more securely. This is how I typically hold my phone when shooting, it's nice and stable and it gives me a good grip. The case is super grippy, so I'm optimistic that it'll work well. I deliberately called it Version 1, because after discovering how easy it was making this one I'm thinking that version two should be a custom one designed from the ground up. After all I have all the tools and plenty of spare materials. I'm thinking I might have a ring of rare earth magnets set into the sheet, and I'll base it on a step down ring that's stepping down from a few sizes above so it's got a bit of material in it. Hopefully I can create something that attaches really well and is still nice and slim.

If your use case is with C mount Super 16 lenses, "a bunch of lenses" might fit in a coat pocket. The tripod can also be an insanely light tripod or even something like a Manfrotto MP-3.

If you're going to get an ARRI phone, why wouldn't you get one with a built-in gimbal?

I envy the Ronin 4D for that.

GoPro ILS vs BMPCC OG... not a completely scientific test, but lots of shots in different scenes, so a good real-world comparison.

For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around. Really, for anything from 4K through 8K, it's fine for me. 4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though). But yeah, the frame rates are fantastic. They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much.

I think we had some discussion about it! I'm very pro-Mission 1 ILS. I've bought a couple of Backbone-modded cams over the years (well, the first one I bought as a conversion kit for an existing previous-gen GoPro, which I promptly screwed up and then sent to them to help me fix nice guys!). The thing that's kept me from using either one is that monitoring is bad on them. The HDMI output on the older GoPro lags. We're not talking 3 frames... more like 1/4-1/2 second. And the monitor output on the Insta360 One RS... isn't. There's no wired display option for it and the wireless display to the phone is also laggy, even in an area with no wifi interference. Neither was made for pulling focus. And holding a wee little action camera right up to the eye to focus on its little screen (very little on the One RS) stinks - and tools to punch in, while available, are clearly an afterthought and are clunky. So they're most usable for something where you focus once and then just roll - which doesn't fit a lot of my use cases for a smaller sensor. Though they were great for the eclipse that came through the US a few years ago. Anyway. The M1P ILS seems to fix that problem. The screen is as big as you'll find on an action camera. Wired monitoring is possible and (from what I've seen) low-latency. Dynamoc range is, by action camera standards, good. The only reason I didn't buy one when I got the "in stock" notice from B&H was that... well, I just got a Pyxis 12K because the current sale is crazy. That and it's GoPro - they'll be on sale for at least $100 off within a year. That's how I got my M1P non-ILs.

For anyone looking to do something similar a suitable harvesting product is this Allied Vision industrial camera that uses the same Kodak CCD. They are also long since defunct of course but are available on eBay. https://www.ebay.co.uk/itm/284133056331 I think the price seemingly on the high side is probably reflective of people looking to do a DIY Digital Bolex too but when you consider that a used D16 is not easy to come by and is well north of £5K then for someone determined enough this route is something of a relative bargain. Pi 5 and its eco-system have now matured sufficiently to be able to handle the Allied Vision software in the intervening years so it’s definitely viable as a DIY project. Not trivial of course but viable.

It seems RED SDK beta 9.3.0 released in 9th of September has this line: Added: trim support for R3D NE. Hopefully it’s not long until both Resolve and RedCineX Pro include this SDK🙂

Side 100%. Can’t stand tall stuff! I’m rebuying the battery grip for one of my S1Rii’s because it’s just a bit too unwieldy with the Sigma 28-105 f2.8, especially in portrait orientation where having that shutter trigger button is a boon. That lens is only on the camera 20-25% of the time but it makes sense to just keep the battery grip on at all times for the constant familiarity in handling even with smaller & lighter primes plus it would be faff to keep switching. On the other S1Rii, I have the Smallrig half cage which is basically just a base plate with a side rectangle that is supposed to protect any cables, but has 3 threaded holes. Just a case of attaching the thingy that holds a P4 to that left side and then simply have it in the horizontal plane when I want to capture some gimbal video whilst shooting stills plus the ability to flip it to the portrait mode the rest of the time when I want to shoot social media BTS BS. Also much easier workflow than shooting open gate and having to frame for both 16:9 and 9:16 in the same shot and sort through all that footage. Less kit, less BS, better workflow.

Nothing wrong with ZR dynamic range IMO, and highlights look good too. With NRaw ETTR just below clipping point is needed, but with R3D NE exposing correctly by false color works well. Just get Cinematools false color LUT to ZR, make your own in Resolve or use Parallax Monitor app. The ZR is no pocket 4P with DLog2 DR wise, but pocket 4P IQ still does not look even closely as nice as ZR, and guess which one breakes sooner in very low light. The pocket 4P IQ as a gimbal camera is still nice step up from earlier oversharpened stuff and does not look bad when mixed with raw shot with ZR and Z6iii. Have not used RedCineX much after discovering it does not support R3D NE trim save either.

The single biggest issue is that operating the thing one handed is not great and one handed is the only way to also shoot stills at the same time. The answer is to primarily shoot stills two handed and have the video unit attached to the photo unit and in that regard it needs to be small and operate on its own mini gimbal. Et voila, the Pocket series and its rivals. I also need a better BTS and quicker social media option so again, better tool for the job.

I wonder if it will ever get the 'Red-lite' raw codec 'everyone' wants... If that ever happens, what a fucking camera it would be.

Definitely the best value of it’s kind… For not much more than 500€£$, what it’s capable of is nuts! It’s only real Achilles heel for me is the build. Mine is in the XLCS cage so it’s like Robocop visually, but that does’t change the rear LCD, buttons or dials. I’m not one for chasing the next gen camera for the sake of it, but for real world upgrades that would make a genuine difference. Bring in the S9ii…

The 12K line has a steep discount going now, too.

For people in the US, at least (I'm not sure abroad), Panasonic are running some trade-in deals. The one for the S9, in particular, is fantastic if I understand the terms right: https://www.bhphotovideo.com/a/trade-in/61933 The S9 is $1,197 normally, but there's a $300 instant rebate and if you do a trade-in, you seem to get an extra $350 + trade-in value of what they describe as "any working digital/film camera." I wonder just how much of a potato would still quality - $547 for a brand new S9 is genuinely tempting. It's pretty much the most pocketable full frame camera on the market now - would be nice if it had internal ProRes, but I think Panasonic's HEVC implementation is decent. Also, kind of crazy to get sensor shift stabilization on a FF camera for that size/price.

Funny that sony raises prices and blackmagic cuts prices. Allthough for me with the storage space costs at the moment. Braw isnt cutting it. It is better then h265, sure. But I just cant justify the storage costs. I wished they included compressed prores again. Love blackmagic though, it has an amazing look. I think I owned lost of their cameras until the pyxis. But its shitty on gimbals, and storage adds up, not as much as the nikon zr though. I hope nikon announces good news on IBC in a couple of weeks. My c500ii will do for now.

Love your thread and your posts! @John Matthews This camera looks exciting. I hope they get rid of the loud beep you have mentioned. The video above is awesome. Cinema verité style with both cameras. No endless blindness with dull gimbal hopping but framing and images to enjoy. No Matti Hoppola or Geraldo Undunino violet led backlit technews basements. I will need to read more about the ils if it allows an external evf, if hdmi is micro or mini. Thanks for sharing your findings and for the video above.

I'm expecting some of this older Chinese glass to not be up to the crazy sharpness of the newer glass. For wide lenses, it's rather tricky with this camera. Sure, you could get the Laowa 6 or 7.5mm, but at that point, you might as well get another GoPro Mission 1 Pro, offering a second setup that is waterproof, etc. That's why I'm going more for the cheap stuff. I'll see this weekend if I can live with the softness of the 17mm f/1.4. Personally, I don't need the 1.4 unless in a pinch, but I'm secretly hoping that this lens can decently resolve 4k at 1.4 in the middle sweet spot of the lens. Anyway, I already have the S9 with the Laowa 28mm f/1.2 (my favorite lens of all-time). Two days ago, I was able to film a hedgehog eating at f/1.2 and 12000 ISO- the footage was so clean. Will do this weekend. Super-busy right now with teaching high-schoolers English though. :-) I'm really stoked about having smaller setups. Panasonic used to give us that in the past, but I think they've moved on; then they'll realize that had it right to begin with but it's too late (always late to the party). The whole setup with the 10, 17, and 25 with the body will be about 750g- that matters, especially considering the frame rates, codecs, and battery life.

More here, there and also over there to include the new 200mm & 500mm teleconverters. E. ;- )

My old Canon T2i has stopped remembering the date and time if the battery is removed. It Turns out there is a hidden internal backup rechargeable “button” battery, not mentioned in the manual. Luckily it is accessible, as seen here: https://www.ifixit.com/Guide/Canon+EOS+Rebel+T2i+Clock+Battery+Replacement/139543 The battery is a Seiko MS614SE, not to be found in Canon’s support pages. After some effort I found a supplier that ships it in the USA: https://eu.mouser.com/en/ProductDetail/Seiko-Instruments-Micro-Energy/MS614SE?qs=vrQyzjTsotmt1bmGskqEPQ%3D%3D I will see if the new button battery fixes the problem. There may be more to it. There is also a similar thing going on with Fuji cameras. Starting earlier this year, my X-T3 will reset & lose my settings & the date If the camera is not turned off before removing the battery. There is a YouTube about it here: https://www.youtube.com/watch?v=3vOv-xjUtzw In the X-T3, I do not see an access to a button battery like there is in the Canon T2i.

The killer for me was no electronic connectors to the mount. To me, it kinda cuts the versatility. Being able to throw something like the 14mm 2.5 Panny lens on it to get a super compact camera, for instance, would've been pretty cool.

While it’s a great aspect of the ILS, I don’t really care much about the ability to mimic film or what have you. I just think the camera has great potential and is really in a class of its own, especially when you can get footage that looks like this out of it. Add in the various frame rates and what you can do with different lenses, and I think it’s a great camera for beginners and pros alike.

Ah, I miss the 70’s… These days your high school friends tend to get shot with 9mm.

The tagline needs to be, “make a movie while looking like a tourist”. From what I saw, the quality (in the right hands) is pretty insane. My own iPhone 13 Pro is getting close to retirement and probably will be replaced in 2027…

This highly-cherry-picked reel appeared in my feed. The image quality looks pretty impressive, so when the stars align the potential images from this thing are very nice. I guess the question for me is how many situations would the ILS be the right camera choice for? For example if you're going to pack a bunch of lenses, a tripod, and rig it up with filters, then go somewhere to shoot, setup your gear and potentially direct the scene in front of the camera, using a larger and more capable camera wouldn't make much difference to the logistics but could give advantages in DR and usability etc. For example, the ILS body is roughly 90mm x 60mm x 45mm, very similar to the Lumix GM1 which is 100mm x 55mm x 30mm. Small for sure, but by the time you add all the lenses and all the rigging, it's not like your camera bag is that much lighter. Does anyone know what the stabilisation is like with third-party lenses? Like, is it the same as the normal GoPros with their own wide lenses? or is it poor / hit-n-miss?

If it makes you feel better at all, nearly every Ronin 4D that was ever made is convinced that it is currently 1970. 😅

Guess they figured the RED camera went over so well that they should make one themselves! 🤣

Funny you should write this, I just got a A7v last week. My reasons are a bit different, we were awarded a project once again where we shot the bulk last round on Sony cameras, and will be using some of the B-roll for the new shoots. I just wanted all the new parts I'm shooting on Slog 3 cine as well. It feels a lot more refined than the A74 I had a while back!

Of these only the Allied Vision Prosilica GT 3300 has the KAI-08050 sensor that the DB used. The Faux Bolex project was designed using Basler brand machine vision Gig-E cameras and uses Basler libraries but if someone is savvy with programming they should be able to change the code to make it work with other brands. Don't look at line scan cameras, look at area scan cameras. The FB project uses Gig-E for connection, (not USB or CameraLink.) The Basler model with the same exact sensor as the Digital Bolex is avA2300-25gc. The monochrome model would be avA2300-25gm. Other sensors also use the TrueSense colour filter and have global shutters so this might not be the only suitable camera. Basler cameras model numbers are easy to figure out. The av means their Aviator series, the A is area scan, the 2300 is the approximate horizontal pixel size, the 25 is max frame rate, the g means Gig-E connection, the c is colour (and m is monochrome.) If anyone makes one, please share your progress with us here. https://github.com/lafauxbolex

Thanks! I didn’t see the other discussions. I haven’t been here in a while, as I’ve been busy installing solar panels on my roof and taking care of some other upkeep. This camera seems very quirky, which is a bonus for me. I’m looking forward to learning how to use it and figuring out what it’s good at. I’ve never had the ability to shoot at some of those frame rates, and 8K isn’t really my thing, but I’ll give it a try. It reminds me of the BMPCC OG days. Just so you know, I sold my GX800 (amazingly, a bigger and heavier camera) along with some kit lenses. I’ll probably let go of my Leica 15mm f/1.7 as well, since it won’t be of much use to me with this camera. I have a few plans for this thing, especially using some of my vintage glass, which could be a lot of fun. I’ll definitely report back once I’ve had a chance to play around with it.

35mm f1.4 dg dn II plus the 85mm f1.4 dg dn ‘Used As New’ from MPB…except I also bought the MKI 35mm by mistake and have to send that back for a refund 🤦🏻‍♂️ They will get a run out this coming weekend at a 2 day job and then on a 3 day job the following weekend and then that’s me done until late next Spring. I did consider the f1.2 35 and the new 85 is due out any day, but bigger, heavier and when would I ever need f1.2 so nah.

That’s so awesome. Amazing to see how far ML has pushed the life of these cameras.

That's really cool! Wish someone would update the 5D3 with that UI! I see on the GitHub, it says stable build. How stable is it? The only time I ever had an issue with my 5D3 was when I ran the experimental 4K builds or the compressed MLVs. The last nightly build I used worked just as well as any camera I ever purchased.

I agree. I had an EOS-M when it was first hacked, sold it, and then broke my own rule and bought it again when Crop Mood hit. Now I have two of them: one built up, and one bare bones. And the developers are improving it all the time -- especially lately. Have you checked out Amit's new builds? They are based on Bilal/Danne's last release so they are seemingly just as stable, if not a little more-so. But the new UI is great, and he seems to be unlocking a new feature every day!

Canon EOS-M with Magic Lantern in 1:1 mode. These are the resolutions currently available: 3072 × 1308 2880 × 1226 2560 × 1440 2520 × 1080 2160 × 1620 (doesn't work with a monitor plugged in) 1920 × 1280 Yes, there's a major crop. And yes, it is possible to overload the buffer with the 3K and 2.8K modes when shooting 12-bit. And rolling shutter is pretty terrible. But it's a digital 16mm camera with 1:1 readout that shoots raw. Practically no moire or aliasing. And a beautiful image (one of my favorites right now, bar none). Plus, one developer has been making major updates to the UI and simplifying the menus in the past 2-3 weeks. It's like a whole new camera.

I may be up for an 8bit challenge! Can I use the 8bit cDNG from the FP? 🤪

I only ever pay attention to what is visible when I apply my entire image pipeline, so I didn't know offhand, but I just shot some test clips and viewing them straight out of camera I don't really see aliasing. I do see some artefacts in the 4x mode that are hard to describe, a bit of noise (and perhaps some processing artefacts on the noise?) but definitely not aliasing, even when I shot hard edges and rotated the camera slowly to try and reveal any aliasing. The 4x mode is soft, obviously because it's sampling a small area of the sensor and then upscaling it to 4K, so maybe that smooths over things perhaps. I could do a 8-bit challenge... maybe we should make it interesting and limit the entries to 720p or something just to add a spin. I'd be tempted to enter the Charmera. To say that it's 8-bit is perhaps the understatement of the year!

The one thing I have not tried is the e stab, but straight out of the box with zero set up other than a quick balance, on the RS4 mini with the optional tracking module, it worked superbly. Not even close to anything like overheating, but then so far, I have only really been shooting stills with it. Start up time must be fine as I have not noticed anything other than it takes a second or so for the zoom to find it’s last setting, either; 28, 50 or 75mm as I have it set. Battery life excellent. I just came back from a week long trip to Scotland and shot well over 1000 frames and battery still showing 2 bars.

Already looked a ton of reviews for this one, since is (almost) the camera I was waiting since 2014, when I got my OG LX100 - it was my first 4k camera. Still have it here, internal batery dead, but still functioning well. For years tried to get an MK II, but the used prices are insane (should drop now). This one solves a lot of problems of the LX100 I and II: - Finally it have a PDAF sensor on it, and with more resolution to boot (12mp on the OG, 17 mp in MK II, 20 mp in this one). - The sequential field EVF is gone, is a proper OLED now, the same 2,36mp panel that everyones uses. Never had the tearing issue with my LX100, past in the day it was on par of the others, but now you see the resolution difference. - Movable LCD. I would prefer a tilt screen instead of a flip, but in todays market, I undersatnd the decision. - More controls, more customization, LUT support (this is a MUST), switch for stills / video / S&Q, and now is a PASM model (In the LX100 you had to remember to set the shutter speed manually every time you wants to record a video). I was 100% sure to get one, and I saw the price. Ouch. But newer cameras are pricier each day. And after I saw some things: - The camera is much larger than the LX100 models - in fact, have almost the same size than a S9. Ok, they fitted a much larger battery, but...for m43, it could be much smaller. Battery aside, it could have the old size (even with some video lenght cap, like 30 mins - not the 15 min of the LX100)...and than I realized. - Panasonic now have the tendency to share body design between cameras (S5II and G9 II, for example). Then my prediction - this body will be shared with the S9 II, EVF and all. - About the lens - is exactly the same, but the PetaPIxel guys said that Panasonic told them that the dust problem was addressed. And the stills appear much sharper than the MK II, looks like there were som optimization. - No IBIS - Probably it would cause trouble the the "multi-aspect" of the sensor. The lens does not cover the whole sensor, and vignette would appear if the sensor moves (which does not occur with the lens OIS). Internal space for an IBIS they have for spare - the GX9 is much smaller and have a very good IBIS. They should keep the lens formula the same, just make it larger (to cover the whole sensor) but...profits. It is a very good camera, and I still want it badly. But is expensive, and for an EDC camera, for my use cases, an RX100 VII is a more versatile and smaller proposition (and costs the same new, much kess used). The X-E5 is almost a dream camera to me too, and I did not bought one, again for the price. And I shoot less and less, hard to justify it.