ntblowz

I agree with this sentiment entirely 😉

“Crappy” 8-bit 420 non-log. 

Live update from the counter of the shop as I’m making the purchase.
It has very much NOT gone as expected.
More news to follow  

In my opinion, camera companies should be giving their $2,000+ uncompressed internal RAW recording in a simple manner. The Canon 5D II can do this but the $2000 Panasonic S5 II cannot. 

I disagree.
Creativity is about creating, plain and simple.  While we can debate if making videos or films is "art" or not, and we can debate what is and isn't "art" forever (because that debate has been going for the entire history of mankind practically), I don't see that the level of creativity of a final edited video/film relies solely (or even that substantially) about if you hand-hold the camera and grab 10s clips or if you put it on a tripod and record 20 minute clips.
I don't know you, and I don't know what work you have or haven't done, but you're not speaking like someone who understands the entirety of the creative process.
Camera YouTube and the online camera ecosystem of forums and blogs gives a completely fictitious impression that the camera is the main item when it comes to creating moving images (moving in an emotional as well as literal way).  I have come to understand that the following things are so much more important to the creative process that they eclipse the camera entirely:
Whatever preparation you do prior to filming anything (writing, scripting, concept designing, location scouting, etc) What you put in front of the camera (casting, production design, lighting, directing, acting, etc) What you do with the footage you have captured (editing, vfx, story structure, music and sound design, etc) What you do with the final edit (audience selection, distribution, promotion, etc) If you can't understand how recording footage from a tripod could be used in a deeply creative way, then you don't understand film-making that well.  A large proportion of TV/streaming content is made from long recordings of fixed cameras - reality TV, documentaries (that typically have hundreds or thousands of hours of interview footage), game shows, most talking-head YouTube content filmed in a fixed location, music videos, etc.  Is there lots of content where the camera is taking short clips, preferably from a moving camera?  Sure, but it's not the only type of content.
Take this recent comment from the Godfather of vlogging:
It's not until you really study how professional content is made that you start to understand what goes into things.  Are you familiar with shooting ratios?  
Feature films can vary wildly:

and documentaries are often a lot larger (as you may not know what the story is going to be until after it happens, so you tend to just shoot everything):
Source: https://blogs.lse.ac.uk/usappblog/2014/06/07/how-much-data-do-you-need-like-documentary-film-making-research-requires-far-greater-coverage-than-the-final-cut/
So, you may think that capturing 30 minute clips from a static location makes for boring footage, and you're likely right, but that's literally what editing is for.  This is one of the (many) reasons that film-making is hard work.  Going back to our friend Casey Neistat for a second, during the time he did a daily vlog for something like 800 days in a row, he mentioned that most of his vlogs took between 5-9 hours to edit.  That's somewhere between 15-60 minutes of editing time per minute of final footage.  I don't know how much footage he actually shot, but when he's interviewing people he's often severely chopping the footage down.  He recently mentioned one example where he cut down 25 minutes of interview (during which the camera was rolling the whole time) to 60-75 seconds in the final edit of the video he made.
If Casey Neistat, who revolutionised vlogging, needs a camera that can roll for 25 minutes reliably, then making the claim that long locked-off shots aren't "creative" then you've eliminated vast vast sections of the content created.
I understand why it overheats, and why Sony would make a camera that overheats.  The thing I find bizarre is that customers have somehow come to accept that cameras overheating is somehow normal, and not a sign of an inferior product.
It's pretty clear that professional environments require equipment that has rock-solid reliability, and so the high-end / professional cameras are built for reliability.
Where I think there is a lack of understanding is when it comes to lower-budget environments.  If you have a lower budget then you're probably shooting in situations where you are less in control of the environment.  So not only does this mean that you're less able to control the situation that the camera is in (and ensure it's not exposed to adverse temperatures / conditions) but you're also likely to require longer record times because the likelihood of getting the shot you want is lower.

Absolutely!
If we all only did what the manufacturer suggested we do then you might as well erase half of the footage online, across all streaming services and content hosting sites.
Some notable mentions (that make using a ZV-E1 for film-making look completely normal) include:
Using GoPros in major feature films, like the $66M Need For Speed - https://www.filmmakersacademy.com/gopro-hero3/ Filming feature films entirely using a smartphone, like Tangerine - https://en.wikipedia.org/wiki/Tangerine_(film) Using the Magic Lantern firmware on Canon cameras etc etc In fact, using DSLRs to record professional video at all was not intended by the manufacturers.  Had we followed their guidance we wouldn't have had the entire DSLR revolution, this blog, and an entirely new chapter of indy film-making which includes indy features but also all the forms of video social media around.  Ironically, had we only followed the manufacturers guidance, the ZV-E1 probably wouldn't exist.  
So when @markr041 talks about how the ZV-E1 should only be used for travel and vlogging, it goes against the entire idea that created the camera, both travel film-making and vlogging genres, and also the existence and purpose of this whole site.

The 28-60 has no OSS. The 24-70 has OSS, so in principle, if they coordinate, there should be more stability with IBIS. I use Active Stabilization for static shots, reserving dynamic stabilization for moving with the camera. I have not tried that (yet) with the Zeiss/Sony lens.

Does Dynamic Active Stabilization works on the 24-70 F4?  I heard it doesn't work on 3rd party lens, but I m not sure about older Sony lens.  Your video there is really stable, I think more stable than 28-60mm?

The ZV E1, paired with a good lens, like the Zeiss 24-70 f4, does really provide a nice image. And that sticky tracking focus assisted by AI really works and is needed here (the dancer moving and turning, for example).
Here is Hare Krisha at Washington Square Park.
Oh, and the audio quality of the camera is above the usual.

One thing that is essentially invisible on these forums is relative cost of these devices.  When I joined a bunch of Facebook groups related to MFT and GH5 etc a few years ago I realised a few very interesting things:
There were pros shooting music videos on MFT cameras like the GX85 and G9 - fully booked working professionals There were people who didn't know anything technical at all doing real paid work...  posts like "I've just bought a GH4 and a vintage 50mm lens, my first real camera setup.  I've got 8 paid gigs scheduled starting in 5 days time - what does the mode knob do? and is 50mm a good lens to use?" There were people who were incredibly excited to get (what we would dismiss as being) old has-been cameras..  I saw many posts of people saying that they'd saved up enough money to buy a GH4 or GH5 as it was "their dream camera".  These were often people in poorer countries / areas. Adding to this other factors such as:
There are countries that still broadcast in SD, or 720p People do work for community media channels (which have no money) People do work for not-for-profits (which have less than no money) What this means is that working with cameras that are sub-optimal or lower budget is very much a consideration and reality for many or even most people out there.  When you add to the situation that to shoot events with a multi-cam setup you have to spread your budget across multiple cameras, all this becomes amplified and there are people literally sleeping on the floor of their friends and family to be able to buy equipment.
So, to you and me this $2K camera might seem like a "low-end" option, and for more "serious" work people should spend double or more for a better model, this is to many a completely ridiculous price for a camera (maybe more than a years salary) and so if this is a way to get into FF Sony then why not add fans and all manner of jerry-rigging to it.
All of the above applies even more-so to people trying to film their first (or tenth) feature film, or filming documentaries (where long takes are required for interviews etc).
The more I get exposed to the wider world, the more I realise that my home videos are often shot, edited, graded and delivered better than a lot of stuff that appears on commercial TV.  
So, is this camera the right choice for such works?  Probably not.  Will some people try to use it for these things by adding fans and all manner of other things? Absolutely.  
But let's ignore that and just assume that no-one would ever try to do anything that this camera isn't capable of doing.  Should we just discuss cameras in a non-critical way?  Should we just thank the manufacturers for giving us whatever half-crippled products they decide will keep their bottom line as rosy as possible?
No.  We should push against the manufacturers at all times to do better.  We should explore the options provided by the manufacturers from whatever angles we think of, so that not only will the less wealthy lurkers who read the forums but don't post have ideas about what is and isn't possible with each camera but also so that the manufacturers can see what improvements make sense in the context of each model.
Panasonic was greatly admired over the time when it released the GH1-GH5 line because....  *drum roll please*  .... they improved each model from the last by basically doing what people requested.  The reviews had consistent themes of "in our review of the last model we made a wish list and this new model ticks all those boxes".

Well let's face it, everybody likes to save money no matter your income. So when the Sony shills on YouTube are out there spinning the ZV-E1 is an A7S3/FX3 for almost half the price, eyebrows get raised. What's the catch? Well its quite simple, Sony stripped the camera to its bare bones and it overheats during long takes as result. And the shit show commences.
Overheating is a controversial subject. Most people I think feel a camera past a certain price point shouldn't have such limitations. Sony did put a lot of effort into making sure this camera is identified as a VLog camera. It's not in the A7 series its ZV. And I guess that for its intended use, the camera performs to satisfaction. So why the fuss?
Because price aside, there are a few cool things about the ZV-E1. It has features neither the A7S3 or the FX3 have thanks to the AI processor. The AF is really impressive, it has breathing comp etc. Also the touchscreen supports gestures etc. The camera just feels snappy and the AF doesn't skip a beat no matter what you throw at it.
So in a few ways, the ZV-E1 kinda feels like an updated A7S3/FX3. And that's rather alluring, especially in the US at its price point. But that's when reality hits and you must realise its a vlog/travel C-cam intended for short takes. If that's your method of shooting, well you're in luck. If not, its probably going to be a hard pass. Its as simple as that. 

I actually got a few project coming up that I m gonna try with E1 instead of using C70/R5C.
 
I think i've gone overboard with my response and can't edit those post anymore so I m just gonna move on.

I actually bought the fan

I actually got a few project coming up that I m gonna try with E1 instead of using C70/R5C.
 
I think i've gone overboard with my response and can't edit those post anymore so I m just gonna move on.

I think there is a misunderstanding going on here. I don't patronize you guys, still wish we all would find back to kindness. We are pretty kewl people and a bit cheek in tongue shall not lead to hurts. I try to do the same.

Quite a few people on here are filming things like weddings or concerts where you need to run multiple cameras for a long time and have them run unsupervised because they're operating a roaming camera while the others are rolling.  In these situations it's not uncommon for each camera to need to record for an hour or more, sometimes in full sun, without encountering any issues.  If you are shooting a wedding with three cameras and one of them shuts down after 25 minutes then you're potentially screwed in the edit.  
I've watched wedding videographers edit a 3-camera multi-cam from a wedding ceremony and even though they didn't have a camera overheat and stop working, there were points in the edit when two of their three camera angles were unusable and they were down to one usable angle.  Had that camera overheated, they'd have been down to zero (or forced to use the angle that was setup when everyone was sitting but in the moment that everyone stood up it just showed the backs of the people sitting in the back row - not exactly a professional moment).
Add to this the fact that in these situations it's useful to have identical cameras so that all the lenses and cards and accessories are all interchangeable.  So if one camera is at risk of overheating then it isn't impossible to have multiple cameras overheat, which would well and truly screw you.
Besides, 87F is pathetic in terms of overheating tests....  I have overheated an iPhone before because it was 107F, I was recording clips that were several minutes long, it was in full sun, and the brightness of the screen was up full so that I could see what I was pointing the camera at.  I literally submerged half of it in a river to cool it down because I was missing moments (the people swimming in the river).  You can't do that with most cameras, and if they overheated without them being attended, you'd never know until it was too late.
One thing that causes almost all the head-scratching (and starts almost all the arguments) is when one person cannot understand that someone else uses their equipment differently, to achieve a different result, for a different audience.  I suggest you start paying closer attention to how people talk about their camera choices - video is one of those fields where there are lots of ways of doing things and where techniques from one approach can be really handy to understand in your own work which might be very different.

In other news, after cancelling my pair of S5iix preorders, I made a final (honest guv) decision re. final 2023 line up…and just ordered another (used) vanilla S5ii.
So cracked my 3 camera, no lens change matrix:
S5ii + Sigma 16-28 f2.8
S5ii + Sigma 28-70 f2.8
S1H + Lumix 70-200 f4 
Happy with that. And getting my black Sharpie out tomorrow 😬

I used to work out of my little Mazda Bongo camper a lot back in the day.
Same logic regarding the savings and convenience particularly when I had to cover games late at night or be at pressers first thing in the morning.
Great to use it as a mobile office as well to file from too.
The biggest cost savings were covering long multi day events away such as football tournaments and particularly like here when shooting the Tour de France.
Using the camper saved me a lot and meant I could ram it full of boxes gear as well as utilise it as a mounting point for remote cameras !

Its got me quite nostalgic for covering the Tour again to be honest, although these days it would be far more lucrative shooting it as a vanlife vlog than it would as an editorial photographer. 

The cart:

 

Panasonic GH2, 2023 edition
Very nice.

Yes it can, I been doing in camera recording multi cam livestream with Canon many times on R7, R5 and now R8 beside C70 and R5C.
 
Don't choose the camera +hdmi option period if u need recording in camera 
 
 

She didn't compare them with a cinema camera - how am I supposed to watch a review that doesn't do that???
What I concluded from this review (and others) is that: 1) this entire category is half-baked and camera companies are light-years away from providing a solid and slick vlogging experience, and 2) these reviews are like watching people half-way-through the process of getting Stockholm Syndrome....  they clearly don't love them, they clearly don't enjoy the process, they don't like the price, and then their conclusions are positive - like they're saying "please send me the next one to review".
Blink three times if you need help!!

So the ZV-1 Mark 2 has been announced today and Sony have indeed addressed the wide end being wider so it now starts off at 18mm equivalent instead of 24mm equivalent.
But it isn't optically stabilised like the original so you lose a fair amount of that 6mm by having to use the electronic stabilisation.
And the long end has been cut from 70mm to 50mm.
And it is now a lot slower (f1.8 to f4 versus f1.8 to f2.8).
And now we go over live to the Head Of Hopes & Dreams at Sony .....

Not connected with anything above, I just cancelled my preorders for BOTH S5iiX's.
Nothing to do with the camera per se, but I came to the conclusion that if I was going to be shooting 6k 30p 3:2 on the the things, then why not just stick with the S1R's which do 10 bit 5k 30p 3:2?
OK, they crop pixel:pixel but that does not bother me and OK, they don't shoot log either, but they produce a really nice clean result in the Flat profile that I am used to working with.
AF not needed as I have the S5ii for that.
So why spend approx 3000-3500 euros to change?
Well I decided it wasn't worth it and actually I gain/retain the 47mp S1R stills capability so that's something.
I'm just going to carry on with what I have the rest of this year and wait until there is any sign of an S1R and an S1H replacement and then make any future decisions.
So it's back to a pair of S1R's for hybrid on me at all times plus the S5ii purely video on gimbal/tripod for entrances, exits, couple and static stuff with the S1H purely video on tripod for just ceremonies and speeches, ie, most of the day I'll only be working with 2 units, occasionally 3 and at certain times, 4, but then 2 will be static at that point so other than the set up and switching them on, 2 really.
I just bought (for 70 euros!!) however, a 4 wheel cart with a handle that I can load all my gear into straight out of the back of my camper/motorhome when at gigs and just trawl the whole lot in; tripods, light stands, light, power bank, extension cables, camera, - the lot...in one single trip. Saves 3-4 trips! Now that IS a worthwhile purchase. Especially as I have gone all in on my lighting now.

I didn't say it's good...  just that it's designed for vlogging!
The Canon PowerShot V10:
Pocketable, flip-up screen, integrated stand 19mm equivalent FOV, and the EIS crop isn't that much Everything else is just like a PowerShot though.....  1" CMOS sensor, Contrast AF, low bitrate, etc

It's a sad day when simply combining an ergonomic chassis and a wide enough lens counts as innovation, but it does.  I've seen at least one camera YouTuber say that if they keep the form factor and improve the specs then this might tempt them away from the high-end S35/FF cameras they currently use.