sanveer

The original G9 was released at $1699, and often, it costed $999 at great sales. The G9ii should have been released at $1499, mostly because Fuji, Sony and Canon have alternatives at competiting price points. Though those may have their shortcomings, especially for video features and overheating issues. Panasonic should price this very competitively. And target Indie Filmmakers and Film Students. Forget the photographers for this one.

That's great. Overheating is scary. Its great that its been addressed well by Panasonic. I checked the website, and also the screen grabs. The video seems to have a superb organic look about it. The noise reduction is minimal, and there is an inherently film-like grain in the frames shared. Very reminiscent of the GH2.

I wonder if the G9 ii overheats, considering they removed the fan on the S1ii size body.

Cameras overheating in 2023 is a crime. Perhaps, certifying agencies should rate cameras similarly to (NCAP for) cars for safety and reliability, rating them on camera overheating (just like like dust and water protection ratings). How possibly expensive can a tiny fan or a thin liquid or hard metal layer be, that camera manufacturers are too stubborn not to enforce it, for heat dissipation.

Though I've used the pocket 2 only briefly, I absolutely loved the form factor and stabilization, and the quality of video is pretty decent. It does have its little quirks, but they can be easily be ironed out. I feel DJI should improve on the design and just improve on everything. The new Air 3 has this superb dual camera setup, which, IMHO, looks like the perfect setup for the Pocket 3. The specs are: "Dual 1/1.3 inch cameras capable of shooting up to 4K/100 slow motion, 4K/60 HDR, and 2.7K vertical Bottom camera: 24mm equivalent, F1.7, 2.4um pixel size Top camera: 70mm equivalent, F2.8, 2.4um pixel size 48MP stills" (https://dronedj.com/2023/07/16/dji-air-3-everything-we-know-so-far/) The dual camera setup seems like the natural progression from the present Pocket 2, especially since its coming in the Air 3, making the design and camera specifications easy to fit into the Pocket design. What do you feel? Have you used the pocket? Do you like the form factor and ease of use? Do you feel the pocket needs version 3.0 with this dual camera design of the Air 3?

Fair enough. And good point 👍🏼

I saw a few video, including one quoting Gerald Undone among a few other people. And most of them recorded those cameras at 24 degress and lower (indoors I am guessing). And still overheating in most cases. In direct sunlight, and at 30 degrees, they would definitely be more susceptible to overheating. Since @backtoitwould use them outdoors for his Vlogs.

"But I really want to expand and get back into making fun videos. Additionally, I do "walking tours" where I visit cities/parks/hikes and do 1-2 hrs of straight shooting with me walking around the location, sometimes with commentary (DJI mic). I currently do this on an iPhone 13 with a gimbal. I really want to upgrade at this point." You basically need a camera for Vlogging right now. The Sony fx3 or fx30 may not be the idea choices, especially since they're an overkill, probably too heavy for hours of continous shoot, probably too noticeable for places that would require permits for larger cameras, may have overheating issues like most Sony cameras anywhere outside of cold winter, and also have issues with enormous file sizes for long shoots. You should ideally get a good VLogging camera, as a stop gap solution. Learn editing along with grading and some post work. And once you're better at post work, and wanna get more creative with your music videos and other things, you could pick up a camera made for controlled shoots, with better video quality. My two cents.

It just seems awfully abrupt. Not even a months notice and they're shutting down.

“Developing the image sensors for the ALEXA 35 camera with ARRI shows our ability to develop high-end sensors that are low cost and high quality while maximizing performance,” said Ross Jatou, senior vice president and general manager of ISG at onsemi. I always assumed, that if these sensors are so good, and in such high end cameras, they would cost a fortune. It almost seems like OnSemi want a much larger customer base for a much wider (semi-pro) consumer base, almost like for Hybrid ILCs or perhaps like much cheaper like Cinema Blackmagic.

For a phone apparently made for cinematic video, shouldn't it atleast contain all the classical zoom ranges used for fimmmaking, to begin with?

The silence regarding him is eerie too. After youtube banned so many channels and an account of mine, I realised he may have been silenced. Or RED did something even stranger to him? Or maybe he's been cancelled? Pay some money, or use influence, and anything can be done to anyone.

Would love to see a shootout between the GH6 and the X-H2s. I am guessing for pure image quality it would win by a whisker, and for autofocus it would be much better (maybe not great though). For everything else (stabilization, high speed, low light etc, they would be closely matched). Did anyone figure who Panasonic got the sensor from? And why it's so lousy in non dynamic range boost mode?

Patent and IP Corruption in the United Stated is just monumental. Disney has been drinking the blood of customers since forever. And thanks to the rampant bribery, many of these corporations are more powerful than Senators and Governors.

Sony and Samsung presented papers on triple gain sensors (hough those sensors may not have been merging signal for the final image?). I wouldn't be surprised if this sensor has triple gain, with the previous dual gain sensor, specifically for highlights and shadows spaced out wider, and allowing the middle signal for improving merging details across a much wider range.

Write the story about 20-30 times, filling in smaller nuances, that help get characters, trigger points, back stories etc well developed. How about breaking up the scripts into small meal size bites, like parts of the story. And shoot some small portion of it, as a short film cum teaser of the film. It will help you get perspective, learn the ropes, and help investors get an idea on what to expect in terms of the final film. Also, I recommend not doing cinematography on your own film, as it interferes greatly with direction. Find an emerging cinematographer whose work you like, from vimeo or youtube and probably collaborate with him or her.

Interesting. Is it also simply a mismatch in refresh rates between the lighting in the shot setup, and the video frame rate setting of the camera? I read somewhere that this is visible in Sony and Fuji cameras too. So maybe this could be compared. Maybe its visible across many digital camera, regardless of dual gain signal or the regular signal circuitry.

Thank you @kye

Please do share the details here, too. (I find that the GH6 seems to have been improved in so many amazing ways. The 100MP handheld alone is pretty insane.).

We all know, that the Exposure Triangle is mostly not applicable for video. Because one cannot have super high shutter speeds for 24p video, or randonly keep varying the f-stop across frames or scenes. While ISO limits have probably becoming wider in terms of usability, camera which have minimum ISO for log profiles have lesser options, since the base ISO starts pretty high. While this may be acceptable for well controlled environments, it may not be possible for most run and gun shoots, or shoots without absolutely natural ideal lighting conditions (natural and cameras specs being coincidentally complimentary) or shoots without elaborate controlled lighting. So, would be be fair, that for video shooting, ILCs/DSLRs, not having internal NDs (whether manual or electronic), is actually a bad unfinished job. Because without internal NDs, the cameras are not truly factory ready for shooting video. They could be for photos, but not for video. So, why even make the video shooting devices without such NDs? What do you think?

Actually the Quad (Pixel) Theory is on the OM-1, and it is (IMHO) solely limited to the autofocus pixels. Panasonic's GH6 doesn't have the Quad Pixel CFA. Interestingly, OM is claiming to working on finalising more features, since the OM has some insane processing capabilities. I am hoping it does 14-bit HDR RAW, by combining multiple frames, like on smartphones. I hope it can also do smartphone kind of HDR video as well, at 10-bit 4-2-2, instead of merely 4-2-2.

I was thinking on similar lines. Either it does it like the photo modes of (single frame) uncompressed RAW on photos, or, that it does it like the Alexas, combining 2x14-RAW channels and creating a 16-bit frame (for video). While it would be superb, either way, if it were for video, it would obviously leapfrog the competition, just like the GH5 did, because it combines 2 exposures, having a lot more dynamic ranges and also having insane exposure latitude (way beyond everything at its price range and a lot beyond). This would mean that Panasonic finally gets much better quality photos (one of the complaints of M43 users was not having photos with much greater exposure latitude, like the 14-bit on larger sensor cameras). Usually sensor have many different readout speeds at different frame rates. So, it could also be possible, that Panasonic uses this sensor in another specialist camera, that does 16-bit video, instead of on the GH6. Though that would be a huge missed opportunity for the GH6.

"Featuring a 20% increase in resolution, the GH6 touts a new, higher-res Micro Four Thirds sensor." Isn't 20MP to 25MP a 25% resolution increase? Or am I missing something? So they count the sensor resolution, beyond the effective pixels?

At 27:45, he mentions 16-bit RAW. Which me6snd that the signal strength (can be further widened and?) can help with exposure latitude making it as good (if better than) RAW codecs on larger cameras. Though he mentions that it's for photo (for now?). Maybe, if it does external 16-bit RAW, that would be superb. Also, I hope Panasonic releases a much thinner version of that awful looking Yagn, for real-time compressions into an external RAW recorder (SSD) at 1:3 to 1:18, thereby circumventing that RED patent and also having a recorded for quicker turnaround.

Wasn't Sony having TSMC fan their sensors?