sanveer

That would be great. 

Panasonic has partnered with DJI to integrate their LIDAR technology, which when coupled with a focus motor, can do AF on any manual focus lens.
The technology is coming.
Ironically, if Panasonic releases this soon, they'll be the only manufacturer who provides easy AF on MF lenses, and then we'll see if all the Sony/Canon PDAF folks obsessed with plant-eye-detect-AF switch over because Panasonic would have the best AF in town....

Correct. But glass is still what I love going along this format. No other one matches the most affordable and smallest variety of glass options we can find. Let alone from slow to fastest ones. Always light and convenient. It's a hell of a format. Everything or almost, even PL mount, LOMOs, anamorphics and so on, fits there. Therefore, FF look too ;- )

Indeed. I completely understand you. This is one of my wishes for coming one of next Christmas... : D
 
 

The G9ii is similar in size to the S1ii, both of which would be enormous as travel cameras. The Sony A6700 may be a better bet for travel. As long as you don't need the absolute best video quality for it, that should do for most situations. 

True. I wish some of the f0.95 M43 glass would re-emerge. At one point there were so many f.095 M43 lenses around. I secretly even hoped for an autofocus version, solely because it would be a little easier to use at night. And at that aperture level, it looked very ... Full Framish 😉

Wish there were Anamorphic Lenses with autofocus 😁

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. 

I've just watched/listened to the PetaPixel (Chris and Jordan) and Geeky Nerdy Techy YouTube reviews, and both of them reported that at room temperature anything below 4k120/4k100p mode recorded until the battery died (which I think for 4k60p was around 1h 20m - 1h 30m). 4k120p overheated after about 25-30 minutes.
So pretty good I think.
Interestingly Jordan said the G9ii might become his favourite everyday video camera - it would be a bit ironic if the G9ii turns out to be a serious GH6 killer, despite being supposedly aimed at stills shooters...
Both reviews said the automatic (versus manual on the GH6) 'dynamic range boost' function works well, and also the IBIS is extremely good (as in 'best we've ever used').

That is where I'm going with this to be honest and, despite all the hand wringing on here about it, I don't think the motivation for change will come until the 10% become the 90%.
Maybe the EU will come galloping (or more likely sashaying considering the pace they work at) to the rescue with a standard rating system for cameras denoting the number of overheating shutdowns per hour.
Call it the Sum of Heat Induced Terminations and measure it on a 1-10 scale with the higher number obviously being the worst.
It would offer more clarity and might actually shame them into doing something about it.
"So, Mr Sony, regarding overheating, what is the SHIT rating for this new camera ?"
"Oh, its very SHIT indeed."
 

I’ll preface this by saying that that is some spec and it will likely be a very decent camera.
However….
A smaller sensor inside a smaller body with smaller lenses at a smaller price was the whole raison d’etre of the Micro Four Thirds system.
The clue was right there in the name.
Panasonic seems to have looked what BMW has done since it acquired the Mini and thought “yeah, that’s the path for us too”.
In a world where their own full frame S5ii exists, let alone the compact APS-C feature laden cameras from all the other manufacturers, I don’t get where they are coming from with their latter day MFT releases and, in my opinion, they have completely lost their way with the system, particularly in terms of attracting new adopters.
Even for the old guard, you’d have to be pretty attached to that native lens collection to go in again.
Panasonic seem to have a borderline kinky reluctance to refresh the two cameras that would actually cause a resurgence in the ideology of the system as well as sales.
Namely, the GX80 and the LX100.
Putting a mic jack on them and giving them 10 bit 4:2:2 internal and VLOG would be a piece of piss for Panasonic and they could sell them all day long at their equivalent launch prices.
They might have to push the boat out and put IBIS in the LX but I don’t even think that is a deal breaker.
I’m at loss to where they are getting their market research from that’s telling them there is. Bigger demand for small sensor cameras in large sensor bodies at large sensor prices.
 

A GX95 with PDAF and mic in will be perfect.

seems like it has most of the same overheating issues as the a6700. 
 
 

Yeah if you only shoot indoor aircon should be ok.

And they all said the same thing about the 6700 😉

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.

Nikon really dropped the ball when they released this camera with N-Log, which is not capable of maximizing the sensor's DR. They need to release "N-Log 2" in firmware if they can, since all the non-RAW formats in the camera still suffer from N-Log's limitations. The tests linked above demonstrate the significant difference between N-RAW processed in N-Log gamma and N-RAW when using ARRI Log C in Resolve:




 

Nikon should pay this guy! That video will sell cameras.










 
 

Having music constantly playing over dialogue also didn't help. 

Interesting..  I thought this was a good explainer:
TLDR; Nolan only mixes for the best theatres, and doesn't care about shittier ones.
I guess that arrogance has run its course, since you saw it on IMAX and still couldn't hear it!

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Currently waiting for a gig to start tonight with my Pocket.
Fashionably early though !
Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

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.

Fair enough. And good point 👍🏼