ntblowz

I guess more of those will pop up once the average people got the real world experience.

Finally got some time to navigate all the menu and do some quick tests. Call me impressed.

Surprise one: one little old desire (that nobody mentioned in the reviews) was that now the "3d" electronic level could be enabled pemanentely on the screen / EVF; in the X-S10 - and I guess in all the last generation's Fujis - only the horizontal level was permanent, the 3D version should be activated by a custom button, and disappeared after taking a shot.

Surprise two: a new focus assist tool, only in video mode - Focus Meter. Is a "needle gauge" that shows where to turn the focus ring to bring the image in focus, and that could be used in conjunction with peaking. Works very well and very accurately.

And finally, the AF. The face / eye AF interface and working mode was completely changed form the 4th gen Fuji's. In these (X-S10, X-T4, etc), when face / eye AF is on, the camera selects a face / eye and shows it on the screen in green, the other faces are marked with grey boxes, and you could change the face to focus with the joystick. In theory, a good system - until you hit record, and the camera goes haywire changing the face focused at will. For me, with more than one face on the frame, was unusable.

Now, you choose a area box (that you could resize), and the camera will focus on the closest face of the box. Period. And tends to stick quite a bit in that face before switching to other. Not a perfect system - did not tested the worst situation, with all other people standing in place and the focused person going to the edge of the frame, far from the box, which in theory will make the camera changing the face focused - but if you keep the subject in the same spot of the frame, or move the box with the joystick, works perfectly.

There are more subtleties to discover - one test was filming my wife's father, my wife and my daughter playing in our living room, tracking my daughter (an electric 4 year old), a case which the X-S10 failed completely; the focus point moved from person to person if they are close. With the X-S20, started tracking my daughter, and NEVER let her go. Focus spot on 100% of the time. And with an unexpected behaviour when my daughter got very close to my wife's father, instead of jumping faces, the old gray box appeared on his face, but the AF was kept on my daughter. One touch on the joystick, and then he was in focus - even with my daughter closer to the AF box. Another touch, returned to my daughter. Just as I wanted to be.

The detection is much improved too. In the X-S10, if the person turns and the face did not appear, the camera reverts to the original AF mode. The X-S20 recognizes the back of a head - when the person turns, it starts tracking the back of the head. The person turns back, it revert to the eyes again. And the face / eye detection works in much farther distances than before, and gathers eye / face instantly.

Is a completely new behaviour, much, much better than before.

If it's any consolation folks, I suspect in the not too distant future, many of those YouTuber's are going to feel some heat themselves...
I think it's a 'temporary madness', this, "I've been in the photography/video industry 5 minutes but I'm jacking it all in and burning all my bridges to follow my dream of becoming a YouTube influencer".
They are already complaining about revenues drying up and as even more jump on the bandwagon...
Same as so many of our colleagues who jacked in proper paying jobs to become 'part-time workshop trainers for full-time incomes'. How's that now working for you?
So many have packed it in and left the industry as that market rapidly dried up due to free YouTube 'education' and they could not face going back cap in hand to venues or planners saying, "err, actually I am available for weddings again".
YouTube for the majority I am pretty sure is heading in that direction. Maybe they can leap over to TikTok because surely having to only make 3 second productions, that's going to be an easy life and you will soon not only be rolling in it, but loved by 10 billion fellow shallow fuckwits.
Or maybe I'm just also an old goat. Baaaa 😚

There's a name for this already, which I've heard on occasion in videos.  IIRC it is "Hollywood" - ie, "we grabbed a few runners and just Hollywooded the lights because we had to shoot quickly as the sun set".

..the real problem with these is going to be the severe overheating. A7IV already overheats in a full size Alpha body, these will toast faster than white bread.

Now, tests of Dynamic Active Stabilization Slowed 2X (from 4K 60P) in a 4K 30P video + Clear Image Zoom with a power zoom lens - the AI-assisted capabilities of the ZV E1.
Climbing a hill and other moves.

Panasonic (and Sony) both put fans into mirrorless cameras before external fans started to become more and more of a thing. You see, until recently, it seemed as though overheating was becoming a thing of the past. See: why I keep saying it feels like we're going backwards. 
People's purchasing decisions impact all of us. So yeah, I do care that people keep supporting this nonsense. You give these camera companies an inch and they'll take a mile. Only when you hold them accountable and force their hand do they start to improve. You need only look at Canon trying harder after the R5 debacle to see evidence of that.
What we've seen from Sony is that their overheating issues have gotten worse despite showing that they are more than capable of doing what is necessary to prevent it, given they did it before. What we're also seeing is an army of influencers and paid shills doing everything they can to downplay it, to the point that now people not only accept overheating but applaud third party manufacturers for creating a solution for a problem that shouldn't fucking exist in the first place!
Maybe you weren't around back then, but there was a time when everyone loathed the 30 minute record limit imposed on these cameras. EVERYONE celebrated when those limits were removed. It was one of the things EVERYONE could agree on, a rarity! Just a few years later and now people defend cameras that can't even record for 30 minutes before shutting down! "Who records that long anyway?!" It's ridiculous and disheartening. 

Seriously?
Well it seems so…
No idea who this fella is but if I subscribed to this fella I would immediately unsubscribe because that kind of statement is beyond dumb.

A little trick I use is my external SSD's (which I work off with my MacBook) sit on my glass desk when in use and as a result, don't get too hot.

SSD do need fan, I get overheating from editing which it disconnect itself from the computer halfway

Without forums and old school youtubers, the video nerd world would be a dull place.

Yeah who the hell films outside sun 🌞  I guess everyone should only film indoors from now on, filming under sun is forbidden 🚫 
S5ii and FX30 with build in fan is probably the only camera that can film under full sun without overheating at this price range.
 

All female DJs I follow are super model first and a DJ second 🙂

Indeed. My X-S20 just arrived, and have 6k 10-bit 4:2:2 with good(ish?) AF and IBIS in a body roughly bigger than a GX85. 4-5 years ago, it was unthinkable.

But ergos are all over the place - this a thing that could improve. I've taken my GH2 out of the dry box to use it to test the last m43 lenses that I'm selling. First, this thing is freaking small - since the GH3 we forgot how small it was. And, even small...look at the image.

Left dial, focus area, with a lever to switch the AF mode. Main dial (with 3 custom positions!) with two lever, one to set drive mode and other is the on-off switch (in a amazing position, very easy to access with the thumb). 

I miss this a lot.

(and good internal mics - the GH2 mics are VERY good, much better than all the other Pannys that I had (never had a GH5 or G9, though).

Yeah that way you only need 1 camera instead of 2, and FX30 is quite bit more bulky/heavier than A6700.

I had a tip off by a man who should know, that a certain Leica SL3 is coming in March next year, which will be a huge updated based on Panasonic's latest tech, which means we should see an S2H or S1H II whatever it will be called before then, perhaps even this year. The S1 and S1R will get an update too, so not long to wait for some excitement in Panasonic land.
By the way I just noticed that WEX in the UK have an S1H for £1399, which is simply ridiculous.
This was a 4 grand camera when it came out and is Netflix standard!!
It is amazing how the market punishes Panasonic for such a high quality piece of kit.
In fact I felt sorry for it and bought it. Autofocus be damned.
The S2H is sure to have PDAF but will it be an 8K overkill monster and lose some of the low light creaminess that the S1H is well known for? That is the question.

Here are my thoughts
https://www.eoshd.com/news/oppenheimer-review-70mm-imax-screening/

Professional means you earn the money through you skill, you can use whatever gear you want, that how I interpret. Like you don't judge the chef by their cooking gear would you? 
Most people would be hobbyist chef, cause they don't cook to earn money.
How chef cook using their equipment is their choice, all we want is delicous food that come out.
Anyway there are bts wedding video people using just iPhone..I guess they are "professional" if they earn their income that way?

As long the fan can fit on the back of the camera it should work regardless of make or model.

Professional means you earn the money through you skill, you can use whatever gear you want, that how I interpret. Like you don't judge the chef by their cooking gear would you? 
Most people would be hobbyist chef, cause they don't cook to earn money.
How chef cook using their equipment is their choice, all we want is delicous food that come out.
Anyway there are bts wedding video people using just iPhone..I guess they are "professional" if they earn their income that way?

I will say (about to play my bragpipes here) that seeing Oppenheimer in 70mm IMAX at the Chinese Theatre in downtown Hollywood — the largest traditional IMAX screen in the world — was truly mindblowing; the sound mix was beautiful, no problems hearing the dialogue at all. 

I'll have to catch in a regular cinema and see how much worse it is in comparison. Huge improvement over Tenet though, which was so loud it actually hurt my ears, and I couldn't understand the majority of dialogue. Although, let's be honest, even with crystal clear mixing and subtitles, that plot is still completely unintelligible anyway. 

I thought Barbie was pretty bad though. Beautiful production design, solid performances, but a lot of jokes that didn't land at all, and a didactic, preachy mess of a script in my opinion. Fun weekend at the movies all around though, regardless of which one you saw. Definitely felt like "movies were back." Hope it stays that way! 

Another great bit of advice I got in my early days was to go study paintings.  Particularly Vermeer's and Caravaggio's.  
As an idiot that didn't understand what made a nice image work and a bad one fail, just analyzing and deconstructing the craft of painting helped a ton.  Absolutely brand-dead simple ideas like having your subject brighter than the background (contrast) confounded me as a newbie, but once I started seeing the techniques like that in practice I couldn't unsee it, and I got better.
Which is why I'm pretty camera agnostic these days.  There's so many fundamental techniques that need to be in place and exercised to create awesome images.  Grabbing the most expensive camera/lens doesn't accomplish that for you, it only assists.

I've learned a lot about film-making over the years, most of it came through discovery and experimentation, but the best film-making advice I ever got was this...  
See how much contrast and saturation you can add to your images
This probably sounds ridiculous to you, and I can understand why it would, but hear me out.  Not only is it deceptively simple, but it's hugely powerful, and will push you to develop lots of really important skills.
The advice came from a professional colourist on some colour grading forums after I'd asked about colour grading, and as I make happy holiday travel videos it seemed to be a logical but completely obvious piece of advice, but it stuck with me over the years.  The reason I say "over the years" is that the statement is deceptively simple and took me on a journey over many many years.  When I first tried it I failed miserably.  It's harder than it looks...  a lot harder.
The first thing it taught me was that I didn't know WTF I was doing with colour grading, and especially, colour management.
Here's a fun experiment - take a clip you've shot that looks awful and make it B&W.  It will get better.  Depending on how badly it was shot, potentially a lot better.
It took me years to work out colour management and how to deal with the cameras I have that aren't supported by any colour management profiles and where I had to do things myself.  I'm still on a learning curve with this, but I finally feel like I'm able to add as much contrast and saturation as I like without the images making me want to kill myself.  I recently learned how the colour profiles work within colour management pipelines and was surprised at how rudimentary they are - I'm now working on building my own.
The second thing it taught me was that all cameras are shit when you don't absolutely nail their sweet-spot, and sometimes that sweet-spot isn't large enough to go outside under virtually any conditions, and that sometimes that sweet spot doesn't actually exist in the real-world.
Here's another fun and scarily familiar experiment - take a shot from any camera and make it B&W.  It makes it way better doesn't it?  Actually, sometimes it's astonishing.  Here's a shot from one of the worst cameras I have ever used:

We're really only now just starting to get sub-$1000 cameras where you don't have to be super-gentle in pushing the image around without risking it turning to poop.  (Well, with a few notable exceptions anyway...  *cough* OG BMPCC *cough*).  Did you know that cinematographers do latitude tests of cinema cameras when they're released so they know how to expose it to get the best results?  These are cameras with the most amount of latitude available, frequently giving half-a-dozen stops of highlights and shadows, and they do tests to work out if they should bump up or push down the exposure by half a stop or more, because it matters.
Increasing the contrast and saturation shows all the problems with the compression artefacts, bit-depth, ISO noise, NR and sharpening, etc etc.  Really cranking these up is ruthless on all but the best cameras that money can buy.
Sure, these things are obvious and not newsworthy, but now the fun begins....
The third thing it taught me was to actually see images - not just looking at them but really seeing them.
I could look at an image from a movie or TV show and see that it looked good (or great), and I could definitely see that my images were a long way from either of those things, but I couldn't see why.  The act of adding contrast and saturation, to the point of breaking my images, forced me to pay attention to what was wrong and why it looked wrong.  Then I'd look at professional images and look at what they had.  Every so often you realise your images have THAT awful thing and the pro ones don't, and even less often you realise what they have instead.
I still feel like I'm at the beginning of my journey, but one thing I've noticed is that I'm seeing more in the images I look at.  I used to see only a few "orange and teal" looks (IIRC they were "blue-ish" "cyan-ish" and "green-ish" shadows) and now I see dozens or hundreds of variations.  I'm starting to contemplate why a film might have different hues from shot-to-shot, and I know enough to know that they could have matched them if they wanted to, so there's a deeper reason.
I'm noticing things in real-life too.  I am regularly surprised now by noticing what hues are present in the part of a sunset where the sky fades from magenta-orange to yellow and through an assortment of aqua-greens before getting to the blue shades.
The fourth thing it taught me was what high-end images actually look like.
This is something that I have spoken about before on these forums.  People make a video and talk about what is cinematic and my impression is completely and utter bewilderment - the images look NOTHING like the images that are actually shown in cinemas.  I wonder how people can watch the same stuff I'm watching and yet be so utterly blind.
The fifth thing it taught me was how to actually shoot.
Considering that all cameras have a very narrow sweet spot, you can't just wave the damned thing around and expect to fix it in post, you need to know what the subject of the shot is.  You need to know where to put them in the frame, where to put them in the dynamic range of the camera, how to move the camera, etc.  If you decide that you're going to film a violinist in a low-bitrate 8-bit codec with a flat log profile, and then expose for the sky behind them even though they're standing in shadow, and expect to be able to adjust for the fact they're lit by a 2-storey building with a bright-yellow facade, well... you're going to have a bad time.  Hypothetically, of course.  Cough cough.
The sixth thing it taught me is what knobs and buttons to push to get the results I want.
Good luck getting a good looking image if you don't know specifically why some images look good and others don't.  Even then, this still takes a long time to gradually build up a working knowledge of what the various techniques look like across a variety of situations.  I'm at the beginning of this journey.  On the colourist forums every year or so, someone will make a post that describes some combination of tools being used in some colour space that you've never heard of, and the seasoned pros with decades of experience all chime in with thank-you comments and various other reflections on how they would never have thought of doing that.  I spent 3 days analysing a one-sentence post once.  These are the sorts of things that professional colourists have worked out and are often part of their secret-sauce.
Examples.
I recently got organised, and I now have a project that contains a bunch of sample images of my own from various cameras, a bunch of sample images from various TV and movies that I've grabbed over the years, and all the template grades I have developed.  I have a set of nodes for each camera to convert them nicely to Davinci Wide Gamma, then a set of default nodes that I use to grade each image, and then a set of nodes that are applied to the whole project and convert to rec709.
Here's my first attempt at grading those images using the above grades I've developed.  (This contains NO LUTs either)

The creative brief for the grade was to push the contrast and saturation to give a "punchy" look, but without it looking over-the-top.  They're not graded to match, but they are graded to be context-specific, for example the images from Japan are cooler because it was very cold and the images from India were colourful but the pollution gave the sun a yellow/brown-tint, etc.
Would I push real projects this far?  Probably not, but the point is that I can push things this far (which is pretty far) without the images breaking or starting to look worse-for-wear.  This means that I can choose how heavy a look to apply - rather than being limited through lack of ability to get the look I want.
For reference, here are a couple of samples of the sample images I've collected for comparison.
Hollywood / Blockbuster style images:

More natural but still high-end images:

Perhaps the thing that strikes me most is (surprise surprise) the amount of contrast and saturation - it's nothing like the beige haze that passes for "cinematic" on YT these days.  
So, is that the limits of pushing things?  No!
Travel images and perhaps some of the most colourful - appropriate considering the emotions and excitement of adventures in exotic and far-off lands:

I can just imagine the creative brief for the images on the second half of the bottom row...  "Africa is a colourful place - make the images as colourful as the location!".


In closing, I will leave you with this.  I searched YT for "cinematic film" and took a few screen grabs.  Some of these are from the most lush and colourful places on earth, but..... Behold the beige dullness.  I can just imagine the creative brief for this one too: "make me wonder if you even converted it from log...."

 

I got this pop up from fb feed, I think design wise this is probably the best with build in suction cup instead of velcro to stick on the camera.
As earth getting more hotter I think fan might be mandatory in the future for videos.
 https://www.ulanzi.com/products/ulanzi-camera-cooling-fan-for-sony-canon-fujifilm-c072gbb1
 
 

https://leicarumors.com/2023/07/26/the-latest-af-35-150mm-f-2-2-8-full-frame-lens-is-rumored-to-be-samyangs-first-leica-l-mount-lens.aspx
I think they have people on social media checking which lens have the highest request.