Emanuel

I know the Single Biggest thing that would make the G9ii sell in the truckloads.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
...
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
A Netflix Certification 😎

Thanks!
It is a tricky thing that basically every piece of technology faces - how do you cater to entry-level, intermediate, and expert users all with the same product:
- If you make it too simple then the experts complain about lack of customisation (which is what Apple has done here - there aren't enough options).  
- If you make it too complex then the entry-level people can't work it out or end up setting things wrong, then blame you for the bad results.
- You can't even make a "pro" mode because half of the entry-level people who don't know anything think they're "pro" and will screw it up and blame you for the results out of embarrassment alone.

Black magic app and iPhone 15 could replace travel cameras 
 
 

There's a breakdown of production costs for the hit indie-movie Pi, here.
Cost of shooting this movie was $60,927
Post-production costs matched this because it was shot on film. Today, that could be reduced.
Pi made $3.2 million in US cinemas; despite limited release (68 theaters). That's excluding later DVD sales and foreign distribution etc.
More interesting still: Pi is not a horror movie, it's a psychological-thriller. It demonstrated how good-story transcends everything; and that a $60k budget, good script, and strong team can propel you straight to the upper echelons of the industry. As Darren Aronofsky discovered.
 

That SSD via USB-C is crazily driving me to there... DR looks improved too. Let alone BMD camera user interface, well, it is hard to resist, isn't it? ; ) If I'd be them, I'd hire people like you @kye as consultant in less than a fraction of a second, that's the only part of the puzzle they need, no more no less :- )

I got quite excited when they originally released the Prores support in their previous model as every camera I've seen with Prores had great images that had minimal processing, but unfortunately they just implemented it as a high-bitrate version of the same heavily processed mess that they sent to h265 compression.
However, I'd be extraordinarily happy to be proven wrong!  I use my phone as the second camera on my travels and it would be great if it could live up to its potential 🙂 

Are polls still there? 
Maybe this topic requires a poll? With suggestions for the options, before the polls are opened.
Mine would be 'too slow to adopt PDAF', and 'abandoning small cameras like the GM/GX lineup'. 
Their supply chaim and marketing are also disappointing. 

Canon was always going to have an advantage because of their legacy lenses and near native performance on their RF cameras. Plus the name is just massive.
 
I think though that camera sales are only part of the picture. Are those people buying new lenses, or are they using their legacy lenses on the new bodies?
 
Also, what is the regional break down? I see A LOT Sony cameras these days, especially professionally. Most social media and web content teams use them for photo and video, from local companies to national companies (my friends working for WWE, All Elite Wrestling, and the UFC all shoot on Sony, for example.) The social media teams for most major venues in my neck of the woods, like TD Garden in Boston, also are using mostly Sony. But I'm also located in the Northeast United States/New England, so it might be different in other parts of the world or even other parts of the country. I also want to, but cannot for certain, say that Sony has the edge here for wedding shooters, though Canon has a heavy presence there too, especially amongst older professionals.

Canon are also one of the few that don't use Sony sensors.
The colour science of the other brands has been gradually improving, but Canon had it right from the start, in addition to their lenses which was a huge advantage of course.

Looking back it seems odd to me that Canon could establish two new systems Cinema EOS and EOS R, with the first camera in these lines being quite mundane, the 8bit C300 and the 5D Mark IV in mirrorless form, EOS R.
But it actually makes perfect sense when you think about it in terms of lenses.
C300 appealed to all those pros using EF lenses on their DSLRs.
And EOS R appealed to all those enthusiasts and semi-pros using EF lenses on their DSLRs.
When you have such a large established base of users, it's very hard to naff it up isn't it!

For ages they had the mirrorless market to themselves.
Now Canon DSLRs are finally dead, the mirrorless market has a new leader
https://www.eoshd.com/news/how-panasonic-and-sony-let-canon-steal-the-mirrorless-camera-lead/
Canon!
I take a look at how this happened.

I also from time to time intercut to (R5, R5c) iPhone footage, you can spot it but most of the audience does not even notice. I even intercut 360 reframed content that is even more lower quality. But is more important to get the shot.

As you said not everywhere is easy to be there with a R5 type of rig. I also started to record with the iPhone on top of the R5c as I tend to use really long lenses in the  300mm to 600mm range so I can have a second view much wider with the iPhone (77mm).

I have a 13 Pro Max and contemplating a move to the 15 Pro Max for 3 reasons: 120mm instead of 77mm, satellite emergency (I can skip the Garmin and its subscription) and the most important for me the workflow as the lighting (non really lighting speed 🙂 ) is a huge pita. Hopefully with direct SSD/CFexpress reader support I can record directly or quickly copy to an external storage.

I use to use Filmic Pro but is now a robbery and also the UI imo was a bit cumbersome especially when I'm in hectic places so I went back to the normal camera app. I just installed the Blackmagic one and it seems ok but I need to test it out more.

Overall I truly hate filming with the iPhone but it get the job done when it would be hard to have a bigger camera. 

Btw my R5 in 8K RAW never overheated but I had once the iPhone on top in 4k 25fps overheating and shutting down 🙂 

It would also be cool if you could use it directly as a wired monitor..... but for Apple is too much to ask...

To be fair, the Godfather was a right fucking mess before he stamped his White Balance skill on it.

 

Got to up your offer even further! Let your daughter borrow a Fujifilm GFX100 
 
Well, the GH7 will probably be at a higher price? 
And will likely have even more video features:
1) mini XLR??
2) mini SDI?? 
3) built in fan? 
4) 4K 240fps??? 
5) multi aspect sensor?? 
6) six channel audio recording?? 
 
True. Better to have a "do it all camera" than a specialist stills vs video mirrorless. 
Wish Panasonic would 

Wish someone would bring out a 12mm to 120mm powered zoom MFT lens with that 10x zoom range (16x would be even better!) so as to make MFT that much better for such applications. As otherwise, the only reasonable way to do this is with adapted B4 lenses (where 16x lenses are quite common place). 

After spending far too much time in the G9ii thread bemoaning MFT, I'm now hypocritically looking to buy another MFT lens so after some opinions about this one if anyone here owns it.

It caught my eye during the demo from BMD about the new Micro Studio Camera4K as it has power zoom controllable from an ATEM and I will be using it on the exact same camera (and/or Pocket4K) controlled in the exact same way.
Power zooms are thin on the ground for most systems but I have the Panasonic 14-42mm and I'm interested in this one for a slightly wider range but also because from what I've seen it is a lot less clunky when zooming than the Panasonic.
If anyone is using it in the same capacity with an ATEM controlling it then I'd be very interested to hear your thoughts but if anyone just uses it as a general lens then I'm interested in that as well in particular its longevity.
It is likely that I will be getting a reasonably old used one for cheap as I don't want to throw much money at it.
This means a bit of a leap of faith as I won't have the ability to test it in the way I'm going to use it and won't easily be able to return it (I'll only briefly be in the country I'm buying it in) so if there are any horror stories regarding zoom motors going rough etc then that would be good to know.
I'm also interested in if anyone has used it with a BMD camera (original Pocket or new) if there is a lot of distortion at the wide end that, of course, is not corrected in those cameras.
Thanks

I understand the criticism of Andrew but rather true, kye : ) your voice, Andrew, is more prominent than any of us can estimate. And as you wrote, this format is much more important than people tend to see. Well observed. So, I don't exactly see it as a negative remark.
I guess Andrew is more disappointed with this specific camera release sorta glass half empty throughout their camera line and the way the management pursued by them along these years since the GH3 introduction, as exclusive responsibility of those who launched it, than anything else as far as this format concerns though. Or am I wrong on this idea of mine?

This is awesome. Finally a cheaper Nikon option with internal 10 bit. Might be my next camera. And I could keep my Z6 as a b-cam. 

I love the retro body so much.

I feel seen !
The last wedding I went to a few months ago had announced a complete ban on posting pictures online and as a consequence no one took any pictures at all, presumably because if they weren't able to post them in semi-real time then they had no value at all.
As a consequence, the only person that had any images at all was this old duffer.
I tell a lie, there was one person who ignored it which was the groom's sister who took the position that her brother and new sister-in-law aren't exactly Jay Z and Beyonce so there was no embargo with Hello magazine to honour. 
 
 

Which has strange design choices, including 1 card slot that is "(UHS-I) Micro SD". I had to read that Many Times to believe it. 

Nikon have just announced the $2K full frame Zf which is in that vein for compact full frame.

Ironically, the Z mount is so adaptable that it is able to take MFT lenses too ! (Albeit dumbly)
 

I understand the criticism of Andrew but rather true, kye : ) your voice, Andrew, is more prominent than any of us can estimate. And as you wrote, this format is much more important than people tend to see. Well observed. So, I don't exactly see it as a negative remark.
I guess Andrew is more disappointed with this specific camera release sorta glass half empty throughout their camera line and the way the management pursued by them along these years since the GH3 introduction, as exclusive responsibility of those who launched it, than anything else as far as this format concerns though. Or am I wrong on this idea of mine?

I agree with most of your thoughts Andrew except possibly two…
The ‘chonky’ S5ii is fractionally smaller and lighter than the GH6, thought a tiny bit more than the old G9. 
Leading on from that, maybe…just maybe, they went with the S5 architecture because by doing so, it allowed them to develop the G9ii at a lower cost than with its own unique body? And they may even have not developed a G9ii otherwise and the GH6 might have been their last ever 4/3 body?
But otherwise yes, totally agree. I would also liked to have seen 4/3 be a ‘micro’ sized camera, especially when some of the larger sensor stuff is getting smaller. Lenses aside, just look at a GFX 100S or Hassie X2D next to a GH6. The Fuji is only marginally bigger and heavier but the Hass is smaller and lighter! OK, different beasts I know, but anything bigger than the OM-1 is too big IMO for a 4/3 sensor camera.