Emanuel

@newfoundmass@MrSMWFX30's stabilization is not necessarily bad at all... it requires a proper operator! : P Maybe @kye is serious up there, maybe not ; ) I am :- )

The FX30s are still really great values. I realistically could get away with three of those and be set for the next half decade at least. The biggest issue I'd have is just the poor IBIS. IBIS is hugely important for my work, even more than auto focus and all the other comforts people wanted over the years. 
That's what has kept me in the Lumix camp. I plan to switch out one or both of my S5s for a S5II or S5II X here soon. Amazing IBIS and really good auto focus... no real reason to switch. 

That would not surprise me a bit and although I have not watched a single review other than the CVP one…and even that, not all the way through, I have noticed a while recent bunch of LUMIX converts posted they have one.
I imagine a bunch of them at least will shortly be posting a piece regarding why they flopped back to Sony, soon enough…
I’d have no problem flipping back to Sony myself, but it would be the FX3A and FX30’s plus A7RV, all used, because all of that kit is more than good enough for me.
The A7RV is still the best stills camera I have owned, though my S1Rii’s are better hybrid and as that is my bread & butter…
It’s an unlikely scenario though as my LUMIX gear just works and shiny new stuff for the sake of shiny new stuff, is not enough of a draw for me personally.
Still, no harm in looking and pondering from time to time!

I'm already shooting 2x anamorphic open-gate on my $30 Charmera keychain camera, so nothing new for me here.
Nice to see that Sony has finally caught up though!


 

This is a beast of a camera for sure, but man, almost $5K??? I mean, I get it, it's almost a cinema camera, but no internal ND, SDI etc....

I guess I'm just grateful you can pick up a used A7SIII for around 2K and get basically the same image at the end of the pipeline. Or even an old F5 at $1k for that matter... It's funny because I'm at the stage in my career where I can kind of choose to shoot with whatever cameras we want within reason. More often than not though, I end up going with older cameras because we get basically the same image at end of the pipeline, and they are like 10x cheaper. The budget saved can be invested into cooler on camera stuff. Spoiled for choice I guess

It's the best compact cine camera in the market, for NOW. But I'm not sure it can hold that position for long. Maybe they know this and keeping some features unavailable today to be unlocked at 2027. Firmware update these days are more a marketing policy (our product still competes) than an engineering challenge. I mean 4k240 is not some issue in the code you want to resolve. Its a switch. 

Let the chat commence…
 

the download is on their homepage -demos at Cine Gear Expo tomorrow

@Emanuelhaha well, you know, life gets in the way. Since posting that, I've stayed plenty busy growing my little Utah-based production company — we did documentary and commercial projects in 10 different countries last year — while juggling getting married, having a little baby son, with another on the way now, so becoming a YouTuber on the side never quite worked out. Thanks for checking it out five some odd years later though, lol.  I always intended to get back to it, maybe I will at some point. 

"UNFORGIVING HIMALAYAS" (looping version) - is this week's free-to-use-with-attribution music track now in  Ogg format.

You can listen to it here:
https://soundimage.org/wp-content/uploads/2026/07/Unforgiving-Himalayas_Looping.ogg

And download it here:
https://soundimage.org/world/

The standard, non-looping version is in Mp3 format, so if you're a video content creator, this is the one you'll want to use. Same for all the tracks on my site.  🙂

OTHER HELPFUL STUFF

My Ogg Game Music Mega Pack:
https://soundimage.org/ogg-game-music-mega-pack/

My Ogg Genre Music Packs:
https://soundimage.org/ogg-music-packs-2/

Custom Music
https://soundimage.org/custom-work/

Attribution Information:
https://soundimage.org/attribution-info/

Enjoy!  🙂

Now, about using it in summer... are we talking about a mild summer, or an actual summer that isn’t even properly hot, where the camera doesn’t need to suddenly remember it has thermal limits?
Here’s a useful 45-minute guide:
And last but not least, one of the best comparison tests I've found so far, if not the most interesting with a unique range of pros and cons is here, as well as probably the smartest use of a fine example for low light is there (serves as tutorial too).
To those who still think this unique accessory called the POV Head Tracker is merely pointless/meaningless, take a look at what Insta360’s CEO Insta360’s CEO said on the matter, when he said he hopes “that one day everyone will forget cameras even exist” : o
 
EDIT — Worth adding too: the new Pocket 4P/Pro filters are already starting to appear, alongside the brand-new D-Log 2 enabled by an equally new next-generation LOFIC image sensor.
And what about noise texture or quality of the grain in D-Log and D-Log 2 when testing the ISO range?
A 2nd test, colour included, plus a comparative analysis between the two and against S-Log3 no less*, from another reviewer here.
BTW...
Also not to forget the bitrate difference likewise highlighted by this old-school written comparison/review:
Pocket 4P/Pro goes up to 180 Mbps versus Luna Ultra’s 120 Mbps, exactly 50% higher.
The question is: what will be the real-world impact of that extra compression headroom in demanding scenes and heavier Log grading?
 
* A 5-stop difference in D-Log 2 and a full stop in D-Log... a 4-stop gap between the two! Well, who would have guessed? ; )
+ another test:
compared with the full-frame a7 V [LINK]
: X

Let's hope they updated it more than they updated the ZV-1 Mark II over the ZV-1 (or for that matter, the RX 100 V).  From what I remember, that "upgrade" was really just giving the new model a wider-angle zoom lens closer to the focal lengths on an iPhone and reducing some other specs (like getting read of the burst video modes).
My guess?  At most a small incremental update over existing RX10 bodies.  Any substantial upgrade would see Sony risking letting their point and shoot camera have superior specs, if even on paper, to their prosumer gear.  6K?  240fps 4K?  Higher dynamic range from a newer sensor? 
My guess without looking at rumor sites?  It'll have a somewhat updated 1" sensor and add USB-C to replace the micro usb port on the existing RX 100 IV (unless they already released an updated version with better USB?).  Maximum 4K recording will go from 30 to 60fps.  Full HD from 120 to 240fps.  Memory stick + SD card will be replaced with CF Express A + SD Card.  SD might get faster with the second row of pins that's on newer SD cards.  Still images will go from about 20 megapixels to 24-26 megapixels.  Video crop will go from 1.09x to 1x and open gate in either 4:3 or 3:2, whatever the sensor dimensions are, will be an option.

Had the OG…or was it the II back in the day and quite liked it as I’m quite partial to a fixed zoom camera.
Changed it for a camcorder with the same sensor in the end but that was about 117 cameras ago or something…

Well it’s been a while but, as they say in their trailer for the launch, the wait for a refreshed RX10 is almost over.
A lot has changed in the nine years since the last version so it should have a significant bump in features but, equally, it will likely get a significant bump in price (from an already pricey base point) that we’ve seen everywhere else in that intervening period.
It certainly has the potential to be more than enough camera for more than enough people otherwise they wouldn’t bother bringing a new version out but equally it could also just be a grab for them.
The internal ND of the Panasonic FZ2000/2500 gave it the edge for me over the RX10 so that’s one area where Sony might have come back at it but, then again, Panasonic show little sign of refreshing the FZ2000/2500 so there may be no need.
All in all it might be something interesting or a head scratcher.
 

Found this guy — no idea if he is one of us EOSHD’ers : P but if not, it would be nice to see him here ; )
https://www.youtube.com/@TheGrowingPro/videos
Seems fairly enthusiastic : ) Fascinating collection of stuff to dig into, and a bit of variety among all the new releases.
He’s a fan of the GH series too, with some lovely thoughts on a few cams, opinions, ideas and concepts many of us share here (brand-agnostic as well, which is always a plus in my book), and he’s also into medium format! Maybe not the kind of fancy channel people are used to seeing pop up there ; ) but that can actually be a good thing these days : D Pretty much gets my vote ;- )
 
@Parker I've just watched the full 6:13 video you shared with us. Thanks for that, I really enjoyed it. Pity you haven’t kept going with more stuff since then. What happened in the meantime? To borrow from your own thread title: why not? :- )

I see a tons people complaining about the marketing/hype machine that is the "filmmaking sector" of YouTube, and I hate a lot of those clichés too. That being said, it has been in the back of my mind to try out for a while, so yesterday I had some free time and I finally decided to give it a go!
Turns out it's actually a lot harder to film yourself and talk right to camera than I anticipated (I very quickly abandoned my plans to shoot it anamorphic, focusing on my S1, all by myself, was just way too difficult) and the whole process took me far longer to shoot and edit than I expected. 
Anyway, here's my (first ever) attempt at this kind of video:
I'm assuming a good number of users on here consume as much YouTube as I (sometimes regretfully) do? 
I've always considered Eoshd as a cut above the rest of the internet filmmaking-afficcionado crowd. I'd love to see anything anyone else on here is making in this space too, and/or see if we can start a discussion about good, lesser-known channels to follow that aren't specifically about shoving gear/affiliate links and clickbait sensation down our throats. 

Amazing jump. One stop already means 2x light. Now imagine five stops!

About a week now the camera section of the internet has been harping around the latest FX5 rumors. A lot of people seem disappointed that it may not have a global shutter or even built in NDs. Whether those rumors end up being true or not isn’t really my point. My point is that everyone seems to forget Lumix.
Does anyone remember in 2019, Panasonic announced its 8k organic sensor tech? 8K LUMIX    Instead of having the sensor basically doing everything in one layer, the light capturing and the electronics are separated. What are the benefits? Well, higher dynamic range, global shutter without the usual hit in DR, and to me the most exciting part, electronic ND built into the freaking sensor. And in this 6 years old video a Panasonic rep specifically says this tech will trickle into LUMIX cameras.
It’s now been close to 7 years since the original S1H. If Panasonic has been quietly refining this technology all this time, I wouldn’t be surprised if the next S1H or a new compact cinema camera is the one that finally delivers the combination of high dynamic range, global shutter, and built in ND filters that so many people have been asking for.
 

These two [1*] [2] Korean hands-on videos are probably among the most useful references I have seen so far on the Luna Ultra / Pocket 4P discussion.
EDIT — plus this one from another reviewer elsewhere: [3]
Not because they end the debate, on the contrary : ) but since they also help show the real operational trade-offs better than most spec-sheet comparisons, while still offering some fairly clear findings on the usual comparison points, such as outcome, colour or dynamic range, whenever those aspects are covered.


source
 
*In this 1st video, right from the start, you can see exactly that approach: using this kind of camera as a serious B-cam tool (Osmo Pocket 3) in commercial work, very close to the way I have also been using small capture devices in a similar role, as mentioned before.

The gyro control itself is not new, correct.
But I don’t think the interesting part here is simply that “gyro control exists”. Of course it does. Larger gimbals, phone apps, remote monitors and systems such as the Ronin 4D have already explored that territory. The question for me is not whether the underlying idea existed before, but whether it becomes useful in a different way once the whole system becomes small enough, fast enough, integrated enough and unobtrusive enough.
Many ideas in cinema technology existed before they became truly useful.
Stabilised camera movement existed before Steadicam became the right combination of body, balance, operation and image. Small cameras existed before 16mm, and later DV, changed the way filmmakers could move through reality. Remote operation existed before it became practical in the hands of a one or two-person crew.
So yes, if we reduce this to “a gyro controlling a gimbal”, then it may sound like nothing new. But if we look at it as a pocket-sized 1-inch 10-bit Log gimbal camera, with several focal lengths, proper monitoring, autonomous operation and a dedicated head-tracking accessory, then the proposition changes.
It is not only the control method. It is the form factor plus the image pipeline plus the operating mode.
And this is also where the remote / detachable screen side becomes important. If this is not a meaningful step forward, then how do we explain that DJI, despite all its experience in this category, still seems one step behind on this specific point? Not necessarily behind in image quality or engineering as a whole, but behind in this particular operational concept. The comparison makes that fairly easy to see. DJI can offer remote control through its ecosystem, apps and accessories, but Luna Ultra brings the detachable screen, remote monitoring and camera control directly into the body concept itself.
To be fair, DJI still has a major advantage in ecosystem continuity. If, apart from the optical accessories, the Osmo Pocket 3 accessories remain compatible with the Osmo Pocket 4P/Pro, that is obviously a strong point. It means users are not forced to abandon an existing accessory ecosystem. But that is a different kind of strength. It is backward compatibility and ecosystem maturity, not necessarily a new operating concept.
That matters because the remote is not just a convenience feature. It changes the way the camera can be used.
There are also small operational trade-offs on the DJI side that are worth noticing. For instance, the dedicated low-light video mode tops out at 4K30p, while Luna Ultra records up to 4K120p in regular video mode and offers PureVideo low-light capture up to 4K60p. Not the whole story, of course, but another sign that Insta360 seems to be moving ahead of DJI* in a few practical areas here.
And yes, we have already seen Insta360 explore part of this same logic with the GO line, namely the GO Ultra. With the GO Ultra, for instance, you already have that very useful modular idea of separating the camera unit from the monitoring/control/battery side of the system. In the Luna Ultra, this logic is taken into a different class of camera: the detachable touchscreen remote allows independent monitoring of battery information for both the main unit and the remote, and the system manages charging between both parts. Even if the remote does not appear to support fully independent USB-C charging while detached, the operational concept is still important. The monitoring/control side and the image-capturing side start to behave as distinct elements of the same camera system.
That is precisely the point. The more the monitoring, battery handling and control are separated from the visible camera body, the easier it becomes for the device to disappear into the situation. And for documentary, BTS, production diaries or observational work, that can be a much bigger deal than it first appears.
A phone strapped to your head controlling a larger gimbal is one thing. A compact dedicated device that can sit inside a BTS, documentary or walk-around setup, become boring after a while, and follow intention without the operator constantly raising, aiming and correcting the camera is another thing.
That is where I think the usefulness may appear.
Not necessarily for everyone. Not necessarily for controlled narrative setups. And probably not as a replacement for a skilled operator with a proper camera package. But for small crews, making-of work, observational documentary, rehearsals, production diaries, street work and situations where the act of operating the camera visibly changes the behaviour of the people being filmed, I can absolutely see the value.
In that sense, I don’t see it as revolutionary because gyro control is new.
I see it as potentially revolutionary because a previously awkward idea may finally be arriving in a form factor where it can become natural, invisible and operationally useful.
 
*And not only when compared with DJI or another compact device... ; ) take a look at this higher-end comparison too : X

Now, about using it in summer... are we talking about a mild summer, or an actual summer that isn’t even properly hot, where the camera doesn’t need to suddenly remember it has thermal limits?
Here’s a useful 45-minute guide:
And last but not least, one of the best comparison tests I've found so far, if not the most interesting with a unique range of pros and cons is here, as well as probably the smartest use of a fine example for low light is there (serves as tutorial too).
To those who still think this unique accessory called the POV Head Tracker is merely pointless/meaningless, take a look at what Insta360’s CEO Insta360’s CEO said on the matter, when he said he hopes “that one day everyone will forget cameras even exist” : o
 
EDIT — Worth adding too: the new Pocket 4P/Pro filters are already starting to appear, alongside the brand-new D-Log 2 enabled by an equally new next-generation LOFIC image sensor.
And what about noise texture or quality of the grain in D-Log and D-Log 2 when testing the ISO range?
A 2nd test, colour included, plus a comparative analysis between the two and against S-Log3 no less*, from another reviewer here.
BTW...
Also not to forget the bitrate difference likewise highlighted by this old-school written comparison/review:
Pocket 4P/Pro goes up to 180 Mbps versus Luna Ultra’s 120 Mbps, exactly 50% higher.
The question is: what will be the real-world impact of that extra compression headroom in demanding scenes and heavier Log grading?
 
* A 5-stop difference in D-Log 2 and a full stop in D-Log... a 4-stop gap between the two! Well, who would have guessed? ; )
+ another test:
compared with the full-frame a7 V [LINK]
: X

Well, a bit hard to resist to 17-stops of dynamic range of the new D-Log 2, isn't it? ;- )


source
More on that here, in the edit.

Can't wait to receive mine!

In the meantime... today, 8:30am EDT:
EDIT -- 9am (less than 5 minutes to go)
https://www.youtube.com/live/GW05hlCl8sw
 
Just a small note: anyone who shoots every day, across very different and often demanding shooting scenarios, will understand why this launch (with internal 32-bit float stereo BTW when coupled to Mic Pro) is so exciting.
 
EDIT 2 -- And here is, just released Melbourne by one of the usual suspects:
 

Most people will probably end up buying both and using them with two different focal lengths, as in the case of the filmmaker you referred to. That level of flexibility is hard to beat.
 
 
After all, they’re portable and easy to carry around. The footage matches pretty well too. I wouldn’t even mind making a few minor tweaks, if any are needed.