IronFilm

At least you have an Amazon!!! (not the case for me) 

As posted a few months ago after my haha moment while trying the Vision Pro 3 months ago I brought a dual fisheye (already had the R5c) and a Meta Quest 3 (kind of Vision Pro for the poor 🙂)
So far I have filmed:
-Bungee jumping on the James Bond Goldeneye jump, probably the most impressive so far that I did.
-Basketball 
-Horse showjumping
-Bike
-Car
-5 Star Luxus Hôtel

Everybody that I have filmed, and I show them on the Quest they just say "ohhhh wow just incredible it seems to be there". It is definitely an early stage, but I feel the tech is finally mature enough for early adopters.
 
Every time I look at the footage it seems unreal.... yet you need to wear a heavy and clumsy device to experience so the 1M$ question is: will Vision Pro style devices become mainstream and if yes when?

I also started filming some family moment, not really a lot of work as the camera is normally static just to have some memories in case the tech will really take off.


Anyway, I'm happy that Resolve will have tools for immersive (VR180) as right now is a bit of a pita the process, some stuff is quite complex like stabilization...
 
What I would dream of an Insta360 X4 but VR180... I watched some of this year Alaskan Snowboard 360 trip video on the Quest and is just wow, but 360 is not as great as VR180...

Seems like the BMD EVF works on the Canon C400's USB-C output? Or that is what I've read. 
 

Makes it very easy to fit in with established workflows using ARRI cameras. (if that's not your world, then it's much less of a big deal this particular announcement) 

Official certification by ARRI is surprising indeed!
If anything can cause an explosion in seeing Panasonic mirrorless on film sets I work on, it would be THIS! 
Would instantly make the GH7 the #1 choice for crash cam / B Cam / etc, anything that needs very awkward mounting, such as mounting a camera for a shower scene or riding a motorbike or a snorricam. 
 

That BM aquascooter looks pretty wild and you'd hope they are producing the lens system as a separate swappable option for the 17K camera rather than it just being a single unit.
Its certainly got the resolution to make the most of shooting VR and commercially if you are one of few people shooting for a content starved device (and consumers) like the Vision Pro then it makes more sense maybe than being A.N. Other shooter of "regular" content.
Its a risk though as you'd be gambling on this being the trigger for more widespread adoption of a very expensive device that has received far higher praise for its technology and conceptual aspects than its actual utility.
Of course, the "consumer" priced version may be just around the corner but, again, thats a bit of a risk and the whole thing is very chicken and egg.
The R7/3.9mm dual fisheye is a very different proposition entirely though.
I think this is something where you have to forget about a wider audience or naysayers ("Its too low res bro") and likely any commercial use, particularly at the current time, and look at your own needs and say will creating stuff with this please me ?
 From content that I've watched on my Quest 2 that is made by its bigger brother R5/5.2mm combo then I'd say, yes, it does please me, particularly considering the price differential.
The R7 is a very capable and compact camera that is great for travel and this (along with events) is what I would use it for to capture nice looking immersive 3D memories.
Years ago, I had one of the Sony TD20 3D camcorders and I actually thought it was pretty great for that stuff but then, like a lot of people, got sucked into the "I'm going on holiday to France, I simply cannot shoot anything that doesn't look like it was shot by Roger Deakins" bollocks. 
I just don't enjoy a packing list that reads "Swimming shorts, sunglasses, flip flops, sunscreen, three lenses, ND filters, matte box, follow focus..." for holidays any more.
Thats why I've gravitated towards the Osmo (if indeed I take any camera) these days and I think this combo would give me some way to bridge the gap and make something more interesting. 
With the option, of course, of taking one of those small RF primes or zooms if I felt like using it as a regular camera.
However.....despite being far cheaper than the R5 equivalent, the R7/3.9 mm has a combo price of around £2300 which is way over the top for me these days for a "that might be fun" indulgence but I certainly look forward to enjoying what other people do with it.
In this video, Canon are advocating using it the 4K/30/25 fine mode for maximum quality (as its from oversampled 7K) but it would be interesting to see it what it does in the R7's 4K/60/50 mode.
 

I think you're discrediting the French. They were probably expecting a message from Nikon over Minitel, not fax.

You can attach an eGPU with an RTX 4090 to just about any PC laptop with either a Thunderbolt or USB 4 port.  I'm not sure if there are any Oculink laptops yet, but if there aren't, it's only a matter of time.
As for the processor, nearly every one of those mini PC's uses a laptop processor so...  a decent laptop will have a similar processor.
And still, if you're going with a desktop, you should probably just save the money by going with a normal-size one with a GPU in the case.

news and events can be at this level. you still can break the bank account too. lol
 

canon cinema line is designed for handheld shooting. I tried many different configurations. once you mount a big zoom lense, and a zacuto top handle and a zacuto base plate, the rig is too heavy to hand hold. it is only for tripod. in that case, other cameras are better, like f3. 
now I set one of my c300 ogs with an efs 10-18 stm is, I don't use the top handle and the xlr lcd unit at all. I put on a small battery based mike with 3.5 mm plug in. I put on a rail based v mount mini battery to power the nano flash. I use the evf as one contacting point, the v mount battery against my chest as another contact point. my left hand hold the buttom of the c300 og, use the left thumb to touch the hard buttons at the left side, and use the right hand to hold the grip,  the right index finger to touch the start button, and the right thumb to touch the nipple and the button 7 which I set as the af lock. I use continuous af as this c300 og unit has the dpaf upgrade. the footage looks very stable.   
 

Panasonic S line has the option of a crop for pixel to pixel HD. It provides a width between 16mm format and S16, of about 11.4mm. Height is smaller than both, ca 6.4mm vs 7.46mm / 7.5mm.
I would love more cropping options on cameras, like S16, 2/3", 16mm, S16 width with 4 to 3 ratio and so on.

So Nikon Z6iii is going to get released on the 17th. 
 

No Z cameras have a s16 mode. I could see that changing with a Nikon that has bought RED, but I would still be surprised if it showed up in the Z6III. Do any FF mirrorless bodies have it? Canon does on their cinema cameras; but don't remember reading it as a feature on any Sony or Canon FF models.

I had a hard time listening to the dude next to the Panasonic man, but the interview is intercut with logC footage from the GH7 and a longer bit in the end of the video, shot in auto exposure for some daft reason. But the colors look really good to me, better and more Alexa-like than a color space transform in DaVinci, for sure.

if you shoot 5.8k raw, there is no extra crop, 8 mm is 16mm ff. 

If you using an 8mm lens on your GH5, it will be the equivalent of about an 11mm lens on the GH7 in DCI 4k RAW mode. Open Gate 5.7k RAW will have the same FOV as there is no extra crop in that mode (so an 8mm lens will still be 8mm).

To be clear, lenses don't have a crop factor.  Lenses project an image circle of a certain size.  When the image circle is smaller than is needed to cover a full camera sensor, you will get dark corners or in some extreme cases, the outline of a circle.
As long as the sensor is smaller than the image circle, though, you will get an image that covers the entire sensor.  If the sensor is 24x36mm (full frame), this would be referred to as a "1x" crop factor in modern terminology.
If you put a smaller sensor with the same lens or only capture a portion of the above sensor, the crop factor will increase.  We usually calculate this by calculating the diagonal lengths of the sensors and dividing them (or the areas of the sensors and dividing them).  So a sensor of around 22.3 x 14.9mm ends up with a diagonal about 1.5x that of 24x36 and Micro 4/3 is about 2x.
If you then choose to use only a portion of the Micro 4/3 sensor, the crop factor would increase again.  So in raw, going to 4k from 6k is usually an additional 1.5x crop and going to 2k from 6k will be closer to a 2x crop.  

No but I don't criticize it.
I think it is impossible to judge cameras by videos. This is a bias that was born on social media and will never die. 
I have never heard about a film that it would have come out differently if they had used one camera or another and yet this BS on social never dies. 
The videos say more about the skill of the author than the camera.
I would like to see Roger Deakins with a GH2.... 😉
 

Panasonic must be pretty confident about the LogC implementation.  They got this guy to shoot a film with ARRI as A-cam (Mini LF) and GH7 as B-cam, and also specifically told him to try and break it (which he failed at, despite it being kicked into a brick wall and falling onto a concrete floor from shoulder height - twice - as well as taking other knocks).
and the short film itself:
 

Use an external monitor/EVF, and shut the F3's monitor screen into its body. (but with the screen facing out! Not in)

Ah well, something to store your cigars with instead? 

It would make good sense.  The cost to develop one's own chips/signaling for it would be pretty high* so one might as well use the perfectly good open standard.

* Exception being Red who used open standards unchanged, but found douchey ways like proprietary connectors to still render things generally inoperable

Saying something is popular with a niche group (high frame rates) of another niche group (Panasonic L mount camera owners/shooters) does not make it less niche.  😉

I ended up ordering the s-mic 3s.  Showed up today.  I laughed more than a little bit at the box it came in (the image at the top of the thread didn't register with me for some reason).  Nice of 'em to include a wooden box, but it's kind of a bummer there's not an option to order without the fancy box for what's going to be used as an on-camera mic!

does z6 iii have s16 mode? z mount is shorter than c mount.