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Mid season report. Actually, I am nearing end of season with just 2 more jobs to go this year until June next…which is quite normal for me. The TDLR is I almost love it… Why ‘almost’? I’ll get to that… The Good = The body design actually. Yes I would rather Lumix had moved to a body style more like the FX3, but I guess they thought that might scare photographers who expect a hump. Whatever the reason, it’s not as innovative as it could have been and despite not having a top screen, really is like a smaller S1H in the hand and IMO, that is a good thing. In my hands, with no battery grip or any other adornment other than the smallest Senheisser mic, it feels just right in terms of size, weight, build, comfort, ergos. It’s a true hybrid. It would be even better with an internal electronic VND, but hey ho, maybe that will come with the S1H2? With 5x C1-5 custom settings and a simple photo-video switch, it’s fabulous for hybrid work. I don’t even use all 5 photo and 5 video settings, but have it set up basically as: landscape photo, portrait/candid outdoor, portrait/candid indoor and low-light, all with a starting f stop, aperture, WB, ISO and equivalent matching settings for video so it’s actually only one flick of a switch to flip between video and stills in any given scenario. Brilliant. The sensor. 44mp. Perfect 👌 for me sweet spot between the more traditional 24mp and the 100mp of the bigger MF sensors. Suits both photo and video. Video files and capability. I shoot 7.2k 30p open gate and the file sizes are not huge or slow to work with. With baked in conversion LUT, SOOC I love them. Yes raw would be even better, but an almighty faff and overkill for my needs. The open gate allows any number of crops, 30p a 20% reduction in speed on a timeline and the 7.2k quite a bit of scope for punching in etc. Having said that, not fully edited a finished production yet but I have checked and edited a few bits here and there and it’s even better than the 6K I was using before which itself was better than the 4K from Lumix FF cameras so thumbs up. The Not So Good = Battery life is pretty poor. I’ve always scoffed at people reporting poor battery life and never experienced it on any camera. Until now. It’s not great, but a spare battery in my pocket at all times is how I now roll and is what it is. AF accuracy for video is good but not Sony level. Ditto for photo. Having come directly from an A7RV, I’d give the nod to the Sony for ultimate outright stills quality and AF, but the S1RII gets the nod for video and body. I don’t think there is anything else other than I have a pair of them matched with the 35mm f1.8 on one and the 85mm f1.8 on the other. The S9 is on lighter duties of video only, mostly longer than clips and sometimes even full length ceremonies and speeches and has only overheated once and that was on a very hot day in direct sunlight. The S1RII by the way, I have never even had a warning and has never got hot to touch, - just the usual warmth you might expect shooting a thing all day long. I may replace the S9 next year with an S1IIE for a bit more robustness and utility, but waiting to see if any S1H2 appears before doing that, if I do that. Almost certainly will trade the Sigma 28-70mm f2.8 for the new Lumix 24-60mm f2.8 next year as I think it will suit my needs better and appears to offer better AF and detail/rendering. S5II soldiers on in its static role and just does what I need it to do. I do need to find a way to get rid of the battery grip and the heavy tripod however and working on that… So ‘almost’ love it. It’s the battery life and good but not stellar AF plus the less than exciting body design that drops it 2 points for me so I’ll give it an 8/10. Along with the Z8, probably the best all round hybrid camera available today? At least for my needs. Taking into account lens options and prices.

Or is Mackey playing Depp playing Mackey...

It's official! 🤯 https://x.com/Blackmagic_News/status/1965611991441252600

Hey everyone! I wanted to share something I've been working on for the past while - Lumap, a DCTL for Resolve that consolidates all your basic grading adjustments into one intuitive panel. The Problem I Was Trying to Solve I got tired of using complex node structures just to do basic exposure, contrast, and saturation adjustments that would look natural. Coming from a photography background using Capture One and Lightroom, I missed having simple sliders in one place that just worked without having to think about CSTs, colour spaces, and multiple different nodes. What Lumap Does Instead of wrestling with lift/gamma/gain wheels, Lumap gives you: Photometric exposure - Linear stops like changing exposure in-camera Temperature and Tint - For white balance Intelligent contrast - References your source’s format's middle grey without overcooking the toe/shoulder Brightness - Targets midtones while preserving highlights and shadows Organic highlight/shadow recovery - create organic, film-like roll-offs that seamlessly blend into your midtones Smart saturation - Preserves luminance and prevents skin tone oversaturation Film-style density - Control the intensity and depth of colours you get from subtractive saturation techniques Why Sliders Instead of Wheels? Most of us aren't using professional grading panels - we're using mice and trackpads. Sliders are just faster and more responsive for cursor input. Plus, if you're coming from photo editing, this interface will feel immediately familiar. There's a free demo version so you can test if it fits your workflow. https://www.dhyanverco.com/lumap Would love to hear your thoughts if you give it a try! And happy to answer any questions.

I'll be honest. If anyone is starting from zero (including myself) - we'd all jump on this... In fact, if anyone asked me... "which one should I go for".... this is it. Its the same price as a Canon R7 (more or less, no matter where you are coming from with more features).

The phone arrived today as expected and I've had a few minutes to play around with the camera. I shot a short test scene using ProRes RAW and ProRes 422 in the Blackmagic app. Here's a quick look at the footage with just Resolve's Apple Log 2 CST applied. Very first observations: Open gate is only available in RAW or RAW HQ RAW can only recorded to an external drive. I have a great Magsafe SSD that I use for this. Sensor stabilization is not available in either raw mode Resolve is super sluggish with the raw files unlike ProRes RAW or BRAW files from my S1ii. I hope this gets optimized The normal raw controls are there and the footage is very flexible as you'd expect I used Resolve's built in Apple Log 2 CST for the test https://www.youtube.com/watch?v=97PPh276M4o

Why are you guys in such a bad mood this morning? Is everyone a Roger Deakins now? I'm not a professional, and a camera for less than 3K would be great for me. I film underwater every week, and sometimes I do small jobs too. Nevertheless, knowing that every time I film I bring home half a terabyte of stuff scares me, because I would also like to have the option to make some compromises. Right now I film with a GH5MII, and I only use the ALL-I codec when I'm doing something special. Having a camera that only shoots RAW is too limiting for me. So yes I leave my garage sometimes but Nikon should address that. 😄

This was at the top of my YouTube feed today. Genuinely thought at first glance it was going to be Mackey’s review of the ZR. Maybe the world has got so twisted around that Depp is now cosplaying Mackey.

And that mount. Megadap will be rubbing their hands at the amount of E mount lenses that may well be finding a home on this camera. Not just from Sony defectors either but from new owners of the ZR who look at the plethora of appropriately sized E mount lenses on the new and used market and will consider the ZR as a de facto E mount camera.

Casey Neistat and Candice? Matt Granger and his 200/2 Nikkor? DSLR video shooter and his entire camera studio attached to a rolling lightstand? Gerald Undone and his own ego (or Sony?)? Bloomie and his cats? The Camera Conspiracies guy and his most 3d popping lens? Snapchick and Raymond? Cam Mackey and yellow-toned footage of cars driving around in the sand? Pooter McCubbins and ugly poorly-made leather goods? Potato Jet and his FPV drone? Matti H and Pooter McCubbins' leftover views? Mathieu Stern and other peoples' lens adapter ideas? FroKnowsPhoto and his Canon rep?

Among all the firmware requests by YouTubers and RED shooters, this one was almost out of the radar. Which tells me is an indirect response to whining about raw file sizes. Which means an internal lower bitrate R3D NE became even less likely.

I am; should be delivered tomorrow. Main reason is it's my normal upgrade cycle time. But, even if it was a year early for me I'd still be compelled to buy it. I've been using my phone for critical pick up shots for a while now and the addition of ProRes RAW makes it even more useful for me this way. The 200mm equivalent telephoto also will be great for casual concert and event photography so I'm pretty happy all around.

Nikon’s Japan site showing official release date there of 24th of October. That tax inclusive price of ¥299,200 is taking the value for money to another level really isn’t it 😂

Somehow I missed this promo short film, its kinda brilliant in how it showcases a lot of the features in a pretty creative narrative, really liking the overall image from this new sensor:

So is NRAW really REDCODE or is REDCODE really NRAW, I am confused now.

During my “Shall I get a Z8” research project - which has been going on so long it is featured in the Bayeux tapestry - I found the MC-N10 grip really appealing if a little pricy. However, what is a setback is that it is a right handed grip (good for me) that connects by cable to cameras, including the ZR, with left sided USB ports. I initially thought “well that’s awkward having to have that USB cable trailing across the camera but will use it over Bluetooth anyway”. Except that was a flawed assumption as it doesn’t have Bluetooth. Nikon makes a virtue of it being wired only in their product page. ___________ Reliable connection This grip connects to your Nikon camera via USB-C, ensuring a stable connection no matter where you shoot. You won’t have to rely on a wireless signal if you’re shooting in a crowded location where radio interference is a problem. _____________ And I completely get that of course. There are always cable routing solutions to make it less janky than Nikon’s own promotional materials of it show so I’m sure some mitigation can be had. The £69 Smallrig ZR cage has locking clamps for USB C as well as HDMI ports so it’s only a couple of zip ties away from not being a massive issue. At £400+ though, I’m sure they could’ve incorporated the small addition of a Bluetooth capability with a small internal rechargeable battery to provide the option and still made money. With the ZR having fewer hardware buttons it’s a product that could have a lot of appeal if you can swallow the price and the lack of wireless.

If you're upset about hybrid-styled cameras with somewhat awkward ergonomics being called "cinema camera," you must have been frustrated since 2018 or so. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera I'd be inclined to say that "cinema camera" is just about as meaningless as calling an image "cinematic." It means plenty of different things to different people. "How can you call it a cinema camera when it doesn't even have SDI output?" "That ain't no cinema camera, it has no mounting points on top or the sides!" "Cinema cameras don't have autofocus" "Cinema cameras need to be dedicated to ultimate image quality and it's not a true cinema camera without 16-bit raw." The ZR is obviously not going to be the A camera on a lot of professional shoots. It has no TC, no SDI, bad HDMI, and bad memory card location. On the other hand, it might finally be fulfilling some of the promise of the Komodo - a small, light crash camera that you easily fit in small spaces - or that you can easily throw at an AC/second shooter to go get some b-roll or a second angle handheld or with a light tripod and have it be a good match SOOC for what you're shooting with your Komodo-X or V-Raptor. Lack of a physical shutter lock is a bummer for some crash cam use cases. Sorry it's not for you, regardless! I'd be willing to bet that the next iterations of the Z6/8/9/etc start working in Redcode NE too.

It’s the international break. The world turns to shit when there is no club football. There is only so much England vs Andorra that people can take. Everything will be OK again on Saturday.

People here would have dreamed about this camera just two years ago. People were crying for 10 bit and log like 5 years ago, and some people filmed movies with the Gh2 or Canon 5D. I am not saying this camera doesn't have flaws. But saying this is a camera for content creation when you have multiple Raw formats, and one color science that was only available to cameras costing 7k, but more precisely 10 k when you add the accessories in the apsc red komodo, and about 15-20k in full frame. In fact you can film a movie with this. I am sad it did not happen 10-20 years ago, or I was not 10-20 years younger, thinking about this I prefer the later... Oh shit, looking how the world is going, I prefer the former. LOL

I like this camera. The problem is I like about twelve other ones as well. The indecision is saving me a fortune.

Nikon cornered themselves with nomenclatures in this one. They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle. This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake. If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year. I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed. Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting. And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

Well, Nikon have come a long way in 10 years since the D750 at least. R3D, a proper screen, 32bit float, IBIS all very welcome as you say. But Nikon should have made a much bigger splash with the first Cinema Z camera. It should have been a cutting edge flagship at a really aggressive price. Instead they have gone with what is practically a point & shoot camera. It fits the philosophy of the "DSLR video revolution" though doesn't it? Cheap (by today's norm), small, light, cinematic image quality, great codec and hybrid photo/video features. Micro SD and HDMI is idiotic though.

I think this is a really compelling camera, especially for the price, BUT the card slot on the bottom, lack of active cooling, and no back up recording is really disappointing. The screen is very cool, though. I really hope more cameras come with larger, brighter screens like this. If I was choosing between the C50 and the ZR I think I'd go with the ZR on price alone, but also because of IBIS. Overall though, I'm pretty content with my Lumix S5IIX and two S5s set up. None of these releases have made me feel like I'm missing out.

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there. I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things. Highlight recovery would be nice too. Maybe more advanced controls will come in subsequent versions.

Sort of a new Raptor. It's just a reduced/cheaper version of the existing V-Raptor. It's basically the same as Komodo vs Komodo-X. At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise. I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding. Why shouldn't they? They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows. This is where I am, but $2,600 isn't "cheap" for me. Sub-$2k, though, and I'm starting to pay attention. Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

IBIS for me was a total game changer, and it's crazy that no one has been able to come close to Lumix in this department.

You are welcome.

53 minutes recording 6k 30p continuously 31 degrees Celsius in the shade before the heat warning came on but it kept rolling and the speech ended before I got to experience a shutdown. Not too shabby!

Willing to bet that was a typo and should have said "EF mount."

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves? And E mount coming third-party rebranded by DJI? And EF and PL mount from third parties? If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount. I think you're just flat-out wrong on this, sorry. DJi have a total of 6 lenses for DL mount, IIRC. 16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ. These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens. The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car. I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP. There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses. This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration. So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera. That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

As with all rumor mills take this with a grain of salt, instant-buy if this is verdict : Canon EOS C50 Sensor and Image Processing 32MP Full-Frame BSI CMOS Sensor: Adapted from R5-series tech but at a reduced 32MP resolution for better heat management and faster readouts in video modes. (~6936 x 4624 pixels in 3:2 aspect ratio for stills; supports Open Gate full-sensor readout for video). Features Dual Gain Output (DGO) for enhanced dynamic range (15+ stops), borrowed from C300/C70 technology. Analysis: With the help of the BSI CMOS sensor, the low-light performance of the camera improves, as well as heat management issues become much better due to the lower resolution sensor compared to the R5 Mark II with 45 megapixels. So, the lower resolution choice makes it an ideal sensor for cinema workflow, making it highly efficient for solo professionals. DIGIC Accelerator + DIGIC X: Dual-processor setup added with AI DIGIC Accelerator, the Canon 32MP sensor has fast sensor readout, despite being a non-stacked CMOS sensor, and reduced rolling shutter. Analysis: The image processor is responsible for the overall performance of the camera. Paired up with Canon’s homegrown AI image processor known as DIGIC Accelerator, it boosts the AF performance of the camera. The Accelerated Capture system reduces rolling shutter distortion, ensuring smooth footage during fast action. Advanced Dual Pixel Intelligent AF, powered by the DIGIC Accelerator, offers precise subject tracking. Canon EOS C50 Video Capabilities Resolution and Frame Rates: Canon C50 is available to capture 6K RAW at 60 FPS (full-sensor readout; oversampled from 7K / 32MP for high detail). 4K at 120 FPS (uncropped or minimal crop, 10-bit 4:2:2 internal). Additional modes include 4K 60 FPS oversampled (from 7K-equivalent downsample for superior quality, no line-skipping) and Full HD at 240 FPS. Analysis: The core video specifications actually outperform the Sony FX3 4K 120 limit in resolution flexibility, focusing more on cleaner capture by oversampling from 7K. The Canon C50 camera also has an active full cooling fan inside, so no recording limit. Codecs and Log Profiles: Canon RAW Light (LT/STD/HQ), Canon Log 2/3, HDR-PQ, XF-AVC, MP4 (H.265/H.264). Features internal ND filters (up to 10 stops), timecode I/O, proxy recording. Analysis: The above codecs, resolution, and frame rates all qualify for high-end production needs, and it will very easily make its space in top Netflix-recommended cameras. Canon EOS C50 Autofocus and Stabilisation Dual Pixel CMOS AF II: AI subject detection for people, animals, vehicles; up to 1,053 AF zones; face/eye tracking with registration for up to 10 subjects. Analysis: The need to track 3D moving subjects even in complex scenes makes it very ideal for documentary-style or event shooting. At the same time, with the AI enhancement, users will experience a major shift in autofocus performance compared to the Canon R5C. In-Body Image Stabilisation (IBIS): Up to 8 stops, with electronic IS coordination for video. Analysis: The Canon C50 allows you to shoot handheld videos due to the presence of its sensor-shift image stabilisation system. Further, you can also use gimbals or external stabilisers to enhance performance. Canon R5C and FX3 — neither of them had IBIS. Canon EOS C50 Build and Connectivity Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot). Analysis: The new Canon C50 is a rig-ready camera, a mix with the Sony FX3 design. You can easily mount several accessories on the mounting threads all around the body. Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter. Analysis: Lots of upgrades in the new C50 body — starting with a full-size HDMI port (HDMI 2.1) and timecode I/O support for multi-cam setups, positioning it above consumer hybrids. Battery & Power: LP-E6P battery (2+ hours of 4K recording); power delivery via USB-C; optional battery grip or V-mount compatibility. Other Features The Canon C50 will be Canon’s first cinema camera to offer Open Gate recording for flexible aspect ratios. Waveform/vectorscope monitoring will also be there, along with false color. A new feature is anamorphic de-squeeze functionality, and AI upscaling to 8K is proposed (not available in the initial version of the camera). Canon C50 Pricing [Expected] and Value Proposition Canon C50 Price: $3,499–$3,999 body only [Approx]. Analysis: At this level, the C50 enters the higher-end cinema EOS lineup, positioned below the C70 ($5,499). It offers more than the FX3 ($3,899), but the C70 was less popular due to its price point and limited Canon’s RF lens ecosystem (lenses start at $300+). Hopefully, this year, third-party makers will release a massive range of full-frame RF autofocus lenses. For indie filmmakers, the C50 represents excellent value for money—delivering 6K capabilities at half the cost of a RED Komodo ($5,995). However, if Canon opts for a higher tag (e.g., $4,799), it risks alienating budget-conscious creators. https://thenewcamera.com/canon-c50-rumored-specs-price-release-date-and-in-depth-analysis/

They mention it at 1:06:21 - below is linked to timestamp: I must admit that if BM camera supports it then it's a step towards it being supported in Resolve. It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet: I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't! 😆 😆 😆

I don't know, but REDcode uses RED processors, I remember the guy from RED saying how the Nikon one, that is the Xpeed, was super efficient.

Recording 2 different ratio (1:1/16:9/9:16 etc) to 2 card... that is something new!

Who needs embargoes? Preview in Italian (turn on English subtitles):

OK, the new Canon looks good, despite the spec not yet fully known and I suspect the Nikon ZR will also be competitive so Lumix, over to you, - how is that S1H coming along because the time to pop it out would be immediately after the other kids do otherwise you risk all the newly found brand hoppers, hopping in their direction?

The more I think about this, the more I think it is a confusion between the release two days ago of the Silver ZF and that ZR cameras. No one predicted the Silver ZF and it is the only camera in the Nikon lineup that has a combination of SD and Micro SD card. It is too much coincidence, they must have mixed from their source. The likes of "Hey Nikon has a next camera with have SD and Micro SD, and it was the Silver ZF". For those that don't know the Nikon lineup. The Nikon Zf is a retro style FF photo camera that was in black only. And Nikon just this week, released a Silver version out of nowhere.

Absolutely. I could not work without a camera with great stability and I mean great, not merely OK. If it can be achieved digitally, I’m OK with that but yes, Lumix is the best I have seen and experienced. I have my S9 set up to be ‘gimbal like’ with both mechanical and digital IBIS, but it’s not reliable enough for consistency and next year I am going to pick up (for the 4th time 🙄) a gimbal, except this time it won’t have a camera that needs balancing, ie Pocket 3.

Canon Should try any current Lumix camera for hand held IBIS work. They are very good and there is a good portion of what I shoot now where I don't have to be on a gimbal!

There is, car wobble, and thermal won't be as good as sensor sticking directly to thermal plate.

You forgot Chris and Jordan LOL

How is this marketed as a hybrid when its C line and the teaser today show it on sticks with a top handle on a film set? For all we know this won't even do stills like all the other Cxx/Cxxx. That would be ultimate cripple hammer lol. This is clearly an FX3 competitor and the FX3 isn't much of a hybrid. It can take stills but it's cumbersome compared to the A7Siii. The absence of an EVF and possibly mech shutter will damper most serious photogs. Another thing to consider is the absence of IBIS, that would be a big mistake imo but Canon took it off the R5C and no C line camera has it. Also just saw the teaser on Instagram, it adds "Open your World" another hint towards open gate!

Open Gate alone is a major game changer. 6K RAW / 32MP stills make it a serious upgrade for hybrid duties. Now stuff like triple-base ISO / DGO sensor & NDs would make it epic but I still doubt that'll happen. That said if you're happy with FX3 or locked into Sony, see this as more pressure on them to up the ante on FX3 II.

Wonderfully shameless rip off of the FX3. Now let's just hope that the C50 is better than the upcoming FX3ii. https://www.youtube.com/shorts/780PWiZDFo8

While all the rumour sites sites try and flex about who was first with the leak about the C50, this guy is sat there quietly with a TWELVE YEAR lead 😂

Or maybe they are a progressive thinking company for whom the glass is half full and their thinking is; we are a major player in the action cam market, we are a major player in the niche high end camera market, we are THE player in the drone market, we have a pretty unique piece of filmmaking kit in the cinema market, is there are reason we cannot bring some of our momentum and perhaps innovation and enter the MILC market? It’s not a question therefore if they can, but if they should and that is up to them to determine but brands come and go and if anyone can make a strong case for entering into this specific part of the market, it’s probably DJI. But we’ll see… They either will or they won’t but if they do, my money is it will be with L Mount.

Exactly. We live in a world where component and platform sharing becomes increasingly the norm. IMO, if DJI were to release a FF mirrorless and try making that fly (not literally, - they have other products that do that) with their own tiny range of lenses, good luck with that, but it would be a recipe for disaster. E Mount is dead so yes, using older lenses etc is all well and good, but Canon are all in now on RF. And to truly compete against the likes of Canon/Nikon/Sony/Lumix, it almost certainly needs to be a hybrid rather than a pure cinema camera. DJI already have strong links with Lumix, - the S1RII and Ronin 4D share a sensor (not officially stated but the general consensus is it is) and are already in the L Mount system, so a bit of a no-brainer. But then maybe the the whole DJI mirrorless camera is just a fantasy...

On the subject of the thread title of YouTubers fighting, it appears that two prominent ones have been fighting so much that they are getting divorced. But sharing custody of the YouTube channel.

The form factor of the Tascam FR-AV2 and Zoom F3 make that less of an issue nowadays, imo - have you tried either of those options?

I dunno, couple weeks ago it was an APS-C sensor, yesterday it was the 45MP FF R5ii sensor, and today it's a 32MP FF sensor.. which Canon doesn't have AFAIK. Maybe it's the new rumoured sensor from R6iii or maybe its APSC. Also it apparently has open-gate which would be a game changer... stay tuned folks!