Andrew Reid

On 10/30/2025 at 6:58 PM, fuzzynormal said:

Regarding Andrew's original post, unfortunately for many of the camera companies, not just Panasonic, I'm a consumer that feels pretty comfortable being behind the curve in exchange for bargains.  Meaning, I only buy older used cameras.  Just bought another GH5 for $350, for instance, to help my wife do YT content creation. Not only is that cheap, but it's still better than anything else I could buy brand new for under $400.  Are there enough people like me?  Combine like-minded-folks and typically obtuse Japanese attitudes about the global market and the magic 8-ball sez "Outlook Not So Good"

Same with me, I haven't felt the need to buy a new camera for years and years now. And by new I mean paying more money for no reason. I still class a used Z6 III as a new camera, it's just a smarter way to go about buying one (for example an open box mint condition with warranty just cheaper).

But the urge is lacking... What is it that any of the new cameras are doing to justify such high pricing?

Fair enough if you're working as a professional and haven't upgraded your autofocus for 7 years... Splash out.

2 hours ago, ArashM said:

IMHO the image out of the GH5S still looks amazing when exposed properly 

Same sensor as Blackmagic Pocket 4K

But it's a much more feature packed and better built camera, with an excellent stills photography pedigree as well.

GH5 for $350 is pretty good but I've seen GH6 for under $750, that's possibly an even better deal.

GH7 is too new to see a big fall on the used market unless you get lucky, but you can get the similar spec G9 II for a pretty nice $1400-ish.

Keep an eye out for GH5S too, it's an underrated bargain now

That's a terrible result from the Alexa 🙂

Some test results...

SlashCam have the S1R II 8K at 22ms, but I think open gate brings that closer to 30ms?

Sony a1 is at 15ms for 8K, no crop.

The 4K/120p is also much better / cleaner on the a1:

S1R II

https://www.slashcam.de/artikel/Test/Panasonic-LUMIX-S1R-II-Sensor-Bildqualitaet---Debayering--Rolling-Shutter-und-Dynamik--Rolling-Shutter---Panaso.html#RollingShutterPanason

This is important because 4K/120p is usually what sets apart your £3k new camera from a £1k used S1H.

Granted there's a few new features that have come through since.

But if you don't need the speed, the a1, S1R II, Z8 and so on seem a bit pointless to me?

There's so many cheaper options if 60p or even 30p is your only need.

a7 IV, S1H, Fuji X-H2, and so on.

23 hours ago, MrSMW said:

I don't know about the Sony A1 but against the Z8, the S1RII might be?

What follows is not my opinion.

Just a bunch of facts.

23 hours ago, MrSMW said:

I do think the S1RII is the best of the line. It's more capable than the S5II/X for video and offers quite. bit more than the S1II for stills, so for hybrid users like me, is a bit of a gem.

8k 30p @ 300mpbs video with stellar IBIS, especially if the E stab is switched on with a quality that for every test I have seen, just looks better than the S1II.

Sony a1 is £2800 used now.

Let's suppose Sony a1 is same price at point of acquisition as a new S1R II - ok you may have to get a used Sony with a few marks and 10k shots on it, but such is the nature of the used market these days you'll easily find an offer with 1-2 year warranty like a new cam.

For 8K it is 422 10bit 500Mbit H265. The equivalent to H.264 at 1000Mbit.

300Mbit is a bit low for 8K and the much slower sensor in the S1R II means rolling shutter is problematic in the 8K and open gate modes.

But that's an ok trade-off if the price is lower.

But it is £2999 at WEX. So for sure the a1 is a direct competitor.

E-mount is more adaptable. I can even autofocus my manual focus lenses on it.

There's fewer native lenses for L, and fewer adapters.

E-mount is all-round superior because it's been around longer and has a larger installed user-base.

I like L-mount, but it just doesn't give you as wide a choice in glass.

And we must take into account the size, design and build quality of the body, where subjective opinion matters a lot - but there's no denying the S5 II body which houses the more powerful panasonic tech is a mid-range £1300 consumer-grade construction and feels like one, whereas the a1 is firmly in the professional bracket, along with the a9 series.

And AF on the Sony still way ahead.

23 hours ago, MrSMW said:

Or 7.2k 30p open gate as I have been shooting most of this year, but pretty sure I am going to 8.1k 30p next year using the 2.39:1 crop markers (ie, the flexibility in post to do anything within a 17:9 output but see and shoot in pano mode).

Open gate is definitely a plus for the Panasonic.

As people who own multiple cameras though, my choice would be to bring out the trusty S1H for a grand when open gate or anamorphic is needed.

When it comes to other more common scenarios like autofocus shooting, higher frame rates, 4K/120p, low rolling shutter and a wider choice of lenses, most people would be served better by the a1 than the s1r II or s1H.

23 hours ago, MrSMW said:

From a stills perspective, I think my old A7RV had a slight edge, but I had my editing of those files absolutely nailed down to my taste and it's taken a little longer to dial in the S1RII and again, probably going to start using the in camera Jpeg 65x24 crop mode whilst retaining the full 3x2 raw file in case I wish to use it.

The a7rv sensor is fantastic.

Same sensor in the Sigma Fp-L... which is why I kept hold of it, despite it being an odd duck.

23 hours ago, MrSMW said:

I think Andrew, you'd come around to the S1RII in time, especially as the prices come down.

I don't think I will 🙂

It's a great camera but just doesn't light my fire enough.

The Sony a1 is nearly 5 years old and has a better spec, a better lens mount, is smaller and better built.

The GFX 100 is king for manual focus vintage glass... the large sensor is just glorious, and the design - although it's a bit of a chonk - is just such a pleasure to work with.

I'd rather have the Sony a1 and GFX 100 at the core of my camera world, and everything else I add to that is either a bargain or a niche use.

For example I love my X-Pro3 for a small street photography camera, and the Ricoh GR OG.

Definitely considering adding an S1H to the bag again though, as it's entered bargain territory and is one of the very few modern mirrorless cameras still to have that oh-so-rare AA filter.

The S1H's image is better than the S5 II and the differences to the S1 II or S1R II are probably pretty tiny. 6K is enough for me.

23 hours ago, MrSMW said:

Would I trade it for a Z8?

Easily...but only as a sideways move as there are pros and cons to each...

S1RII to Z8 for stills? Probably...

Z8 is the best spec on paper for the price in today's world.

23 hours ago, MrSMW said:

I loved my S1H and I do see my S1RII(s) as a mash up of the S1R and S1H but more capable than either, in a pretty decent body.

You mean in a worse body 😉

On 10/22/2025 at 11:57 AM, sandro said:

How did topic turn out to be? Seems like this is best camera in the market right now?

I am considering going back to an OG S1H, just think the new cameras have lost that true flagship feeling, and the price isn't low enough to justify the trade-offs. Still no S1H Mark II but other than it being faster, and probably worse in low light with a more oversharpened image, I can't see what it will bring to the table and will probably be four or five and a half grand!

The S1R Mark II / S1 Mark II, whilst better than an S5 or S9, are not a good alternative to a Sony a1 or Nikon Z8.

And Fuji GFX 100 still has the best look of everything.

It makes full frame look like a toy!

X-T50 is the new X-T30 whereas this is a side-step.

I reckon the X-T50 is worth the extra to be honest.

Or get the original X-T30 which used is around 600 euro.

The GFX 100 RF has a great sensor but it's a bit pointless to have a sensor size advantage only to shoot at F4 max.

The sensor size advantage = better low light, a more shallow depth of field, more character from the lens - all of that F4 works against.

And the sensor size of the 100 RF comes with a big premium. So you're paying quite a lot extra for no advantage.

Much better to have a full frame + F2 combo unless you really need 100 megapixel - but then who wants such a large sensor only to crop down to Micro Four Thirds framing?

My beloved GFX 100 is at its best when you can ignore all the slow Fuji lenses and put a Minolta MD 50mm F1.4 on there.

It's time

https://www.eoshd.com/news/why-its-time-for-fujifilm-to-go-full-frame/

And a full frame X100 without the RX1 III or Leica Q price tags would be fabulous thank you.

Actually... The boom in raw codecs is being driven by clients

That's my hunch.

They want the best possible quality master files to do whatever they do with them.

And lack the understanding that H.265 is more than fine, or that LOG should *shock horror* be graded!

On 10/3/2025 at 12:15 PM, Davide DB said:

I would prefer H.265 or similar files that are lightweight and pleasant to work with. I have seen files from the FX3/FX6 that were spectacular and graded like butter in the Color page.

I prefer H.265 as well, over the pseudo raw formats.

Cinema DNG is still the best quality RAW in terms of the film look and unprocessed sensor readout.

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

18 hours ago, Fairkid said:

I really like the look of this camera but ultimately Canon just doesn’t have a native lens selection that appeals to me - they are mostly too expensive plus I don’t like the build of them. They need to open their lens mount for me to be persuaded back to them. Still think the FX3 is the better all round camera. 

Less adapters as well and no Sigma (full frame).

24 minutes ago, Django said:

There are some great things in this camera: R3D code, huge screen, 32-bit float audio, IBIS etc but then some real head scratchers like the micro sd, micro HDMI, battery card slot, no fan, no open gate and overall confusion with the dual color sciences that indeed makes this a Frankenstein camera. Clearly feels like a first gen collab product. I think I'll wait to see the next iteration but it's still very encouraging and solid effort. 

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.

Btw I think it's a strange first Nikon RED launch product.

They don't seem to understand marketing.

The first camera with RED tech should be higher-end than this, a statement.

Instead they've gone and done a YouTube camera.

It'll be interesting to see whether the volume of sales to content cretins makes up for the devaluation of RED's brand.

It's not really a cinema camera... maybe it's 2025's answer to the Blackmagic Pocket OG?

WOW they finally did it... A world beyond the 3.5" LCD exists!!!

If it is cheap and does REDCODE 6K to CFexpress then it's game on.

Cripple hammer may have to retire.

4 hours ago, Django said:

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/

Doesn't seem right to me.

650g with internal ND mechanics and IBIS, with a full frame sensor?

I don't think that's realistic.

A clearer shot.

I am running Linux on a gaming machine... Bazzite on a Legion Go. Windows 11 on that was a catastrophe and it was a massive relief to wipe the slate clean of Microsoft's spyware.

Still no video mode on the X2D II.

The DPReview preview doesn't even mention it.

https://www.dpreview.com/reviews/hasselblad-x2d-ii-100c-initial-review?utm_source=self-desktop&utm_medium=marquee&utm_campaign=traffic_source

Yet they added IBIS and an articulated screen, like the GFX 100 II... it has the same sensor as the Fuji... yet doesn't even do 1080p, let alone 8K!

This is odd behaviour from DJI!

Also still no curtain shutter, so no adaptable lenses (electronic shutter speed is too slow).

DJI are not handling the Hasselblad brand very well in my view.

And X2D II sounds more like a star wars robot than a camera. X Two D... Two... Why the two twos?

Why isn't it called the X1D Mark 3?

On 8/25/2025 at 2:54 PM, Davide DB said:

This is also a classic pattern in journalism here in The Banana Republic Of Italy. The big company or industrial group, or even the wealthy politician, sues the journalist. Anyway, they have a host of lawyers already on salary, and even if they lose the lawsuit, the amount doesn't even slightly affect their budget.

As with the fair use copyright strikes there needs to be a layer of legal protection for the smaller guy who doesn't have access to lawyers. Before the lawyers get involved, a judge should be able to quickly throw out spurious BS cases.

On 8/25/2025 at 8:34 PM, eatstoomuchjam said:

Yes, this is also a symptom of late-stage unrestrained capitalism when there is no longer a lot of competition in the market, but instead there are a handful of well-established/entrenched players who can gamble with losing some sales in the short term.  Don't buy a VW this time around because they added a stupid subscription?  They'll be in the running next time after all the others add shitty subscriptions too.

The same applies to stuff like car vendors trying to move away from supporting Carplay/Android Auto because they really want to sell you subscriptions to connected features in the car, despite that you already have all of those things paid for in your phone already.

I think more than ever there is a power struggle between the law and corporations, we'd do well to keep an eye on that - since most of the normal rules which keep companies in check like product and competition are becoming less of a factor. We have quite a few duopolies, even monopolies in many markets and in many countries.

What the corporate bastards have also realised, is that since the pandemic they are able to act like a cartel with patterns of cartel-like behaviour like all of them raising prices in unison and creating exclusivity of market share for themselves, and also making the consumer increasingly dependant on tech as a service... Less of a product, more of an app or a cloud based service. The pandemic accelerated all of this.

And that of course is where all the recent subscription bullshit comes in.

But of the two quite different topics raised in this thread...

I am way more worried about the abuse of the legal system to stifle journalism.

The companies in question are Nvidia and Universal Records.

I suggest to think twice before handing them your hard earned.