Marcio Kabke Pinheiro

Agreed. Very strange indeed, because the last time thet I've used an Oly for video was the E-M5 MK II in 1080p. The resolution was not good (compared to the 1080p from Panasonic at the time), but the colors were wonderful. Much better than in this video.

I moved from m43 just because I don't see this kind of camera in the future. In Panny camp, do not see another GX model, maybe a Gxx at last. Looks like they plans for m43 is niche video, GH6 and vlog cameras. The last lenses releases indicate that too. In Om Digital camp, only probably a O-M10 (but if they do the same move of the O-M5, and package a E-M5 MK III in a E-M10 body, plus mic input and with PDAF, could be a VERY interesting camera). But their future is unclear - and they are betting heavily in the wildflife / adventure crowd. A GX9 with pdaf, better EVFand mic input would be a perfect camera for me. But I doubt that t will exist.

Some things that I've noticed just now. - Saw no photos of the card slots, but someone remembered that ProRes should mandate the use of CF Express cards; this could be one difference between both models (SD Cards only for the S5II, CF + Sd for the S5IIX. - The camera have active cooling. You can see vents underneath the front hump of the EVF and on the sides of it.

https://www.l-rumors.com/fully-leaked-s5ii-s5iix-and-14-28mm-specs/ Looks like that the X have ProRes and IP streaming functions. Still, strange to have a specific model just for that.

Got the Falcam F38 too, I think I even opened a thread here some time ago. Since I'm an amateur, my need for a quick release is, when travelling, rapidly put / remove a camera from gimbal when doing movies or stills; and to have another QR in a neck strap to carry the camera when not doing both. PGYtech Snap Lock is perfect for the gimbal part (very fast removal and mounting), but I have a lack of confidence to use it in a neck strap - all the weight of the camera would be supported by the two locking tabs on the QR. The QR have a 10 kg payload, MUCH more than I need, but...if it fails, camera goes to ground. But if the intended use it to switch between gimbal and tripod, would be my choice. Got the Falcim, because they have a special base made to use with straps, and it have locking pins - when using with a strap, all the weight is supported by the locking mechanism, and, if it fails, the two security pins will hold the camera. Cons: mounting / demounting takes a little more time. Falcam have another system, F22, that is smaller - could not find the payload of these, but since is used to connect handles, it might be sturdy. Manfrotto made a similar system to the PGY, but bigger (and probably more expensive): https://www.manfrotto.com/global/collections/supports/manfrotto-move/

Love this lens. In fact, will be one of the few m43 lenses that I will not sell.

I like his reviews, even when I disagree in some points. Had a A1000 because of his review, was an amazing value at the time. I liked what I saw form the Aircross S, but after using a little this kind of gimbals with two holding points, impossible to come back. Is SO much comfortable.

Good point, no mounting points. Remembered that Feiyu had a Rosetta attachment, but is for the Scorp C / Scorp. Will take some time to proper test mine (amateur here, and this time of the year is busy), and have no FF cameras.

Completely agree with you about the Fuji, specially in slow pans, is jumpy as hell. Never used the Canons, but the footages that I saw looks good. And Olympus was always the best for me, had the E-M5 MK II and was superb. Even the E-M10 MK III, which in theory had in inferior IBIS, was better than Fuji, and on par with my GX9 when I had both. Dunno if they changed something.

Just a little add - the Scorp models could use a very affordable focus motor from Feiyu (US$129) that is operated using the wheel on the gimbal.

Just got the Scorp Mini, arrived this week. Did not tested extensively it, though. I have the Feiyutech G6Max, and since the arms / adjusting mechanism looks the same, I guessed that it was just the same gimbal with a new form factor and a better screen. It is not. The rear screen is a game-changer, very fast to change settings, did not have to remember "x clicks in the trigger" to change modes. Footage looks much more stable than the G6Max. And the top handle design is better for normal use too, you could use both hands and reduce fatigue a lot. Bad points: plasticky design, helps with the weight but feels much flimsier than metal gimbals, and the G6Max was spalsh-proof and this is not. Does not comes with a carrying case, opposed to the past Feiyu gimbals. But yes, your setup would be near the maximum payload - for instance, I hated the new Zhyiun scheme of not anymore stating the payload of the Crane Ms, just supplying some camera / lens "supported" combinations. Highly doubt that the Crane M3 could handle more than the Scorp Mini - in fact, the Crane M2 have motors around the same size of my G6Max, but half of the payload. One possible solution could be the Feiyu Scorp C, which is very popular around here. It is heavier (1,2kg), but the dual handle design allow to use both hands, which helps; and it have a much higher payload (2,5 kg). Did not have the Scorp Mini's screen, though (Isuspect that a new version could come with it in the future). Usman from Sonders Creative made a very critical review of the Mini, but at the same time praising the performance. Balancing problem occurs just on the roll axis, keeps returning to center, but had the same issue with the G6Max, and did not affect the performance after auto-calibration. On-off button, bad position really, but need a 3 sec press to turn on and a very strong push, and the last firmware update puts the gimbal to sleep in 5 seconds when the roll axis is locked. Plate: the screw is in a separate bag inside the box, and have an integrated lens support (that comes in the box too). Is just kinda short.

Got a lot of small stuff from Aliexpress, good deals in 11/11 and Black Friday, when you got the right coupons. Best deal was Viltrox 13mm f/1.4 for Fuji for US$305 - normally US$429, locally is sold for 60% up that price.

I prefer IBIS, but it have to be good for video. Oly is best, Panasonic and Canon are almost on par, dunno about Nikon. Sony still have some work, and Fuji is worst. But even Fuji is miles better than the Sony's initial generations. I like a lot the idea of gyro data, and saw VERY good footage from it. But you have to shoot wider than expected, because gyro uses a crop, and the crop factor will be only known when you stabilize on computer.

Indeed - it you have an office, studio or someone's house with good internet connection, better put a connected NAS in two places and keep them in sync. And yes, you MUST have an offsite backup, be in cloud or remote NAS. People always think that backup is for a failing drive, but forget that you equipment on site could be robbed or cought by fire. Extreme situations, but these are the ones that you will lose your data forever.

Have the 85mm and just got the 13mm Viltrox. Did not test them too much for video, but for stills, the 85mm is lightning fast, on par or better than my Fujicrons (35mm and 50mm). The 13mm looks snappy too. And Viltrox updates constantly their firmwares - the 23mm was very bad for video, some firmwares later is great.

Yep, my two biggest gripes with Fuji (and I'm not a professional) are the AF and IBIS. As @SMGJohn said, for static and "tripod like" shoots (with Boost IS enabled) their IBIS is pretty darn good. But make a slight pan and it becomes jumpy, as if a single algorithm is used both for still and video. OM Digital still have the best, but my latest Panasonics are almost on par, Canon looks very good, Nikon too, even Sony got better. AF: no video tracking, only in recognized subjects. Not even a bad tracking: no tracking at all. And eye AF becomes nuts when there is more than one person on screen, jumping from one to another. I've got a old FZ1000, an 8-year camera, and its eye tracking is better than my X-S10. Not exactly for video (1st gen DFD), but the detection is much better - get the central face and keeps with it. And if you move the focus zone, prioritizes the closest face. Just like it should be.

I use iDrive. Ok upload speed, have the option to backup both to a external drive and the cloud.

My FZ1000 arrived. Good news - everything is working beside the problema that the previous owner said. The EVF looks a little hazy (or I forgot how are the EVFs from the past) but very workable, the lamination of the LCD is kinda bad - but only when the camera is off, with the LCD on it dissapears. Did not test the HDMI, conector looks ok, probably a bad solder. The rest of the camera is in excellent shape - and came with 2 batteries and a 64Gb Sandisk Extreme card. Not so good - the "dust in the lens" is not in the lens, is in the sensor. Since I will almost always use it wide open at concerts, probably will go unnoticed. Will try the "bottle with vaccum cleaner" technique that people use with the LX100, but I do not have very high hopes. If the dust bothers me, probably will use the iFixit guide to get to the sensor - as last resort, the procedure looks easier than most cameras, but the sensor assembly is mounted on springs and probably is very easy to lose the sensor calbration. But for $270 (the prices here of the FZ1000 used are around double than that), I'm happy.

Kind of a lottery. Went to a festival some days ago, they stated clearly "no professional or ILD cameras allowed", which blurries the boundaries even more, hehehe. Did not wanted to risk it, brought an old Sony HX9, some usable stills shots. In the entrance, saw a hipster trying to bring in a Leica M with a 50mm Summicron - not the best combo for a 20000+ people festival, I must say. 😄 The security just asked "it changes lenses" and the idiot said "yes". The guard was in a good mood and just said "ok...go in". In general, they just hate "DSLR style" cameras (hence my preference for "rangefinder" bodies - not for nostalgia, is just everybody thinks it is a film camera). With my m4/3 bodies, the only concert that my cameras were banned was when I brought a GH2 with kit lens (because it looks "DSLR") some years ago...all the GXs, even with tele lens, no problem at all. Probably my X-S10 with the 55-200 would be green lit, but since would be a time consuming trip to my home, did not wanted to risk. But the FZ1000 is getting on just in case, for big festivals could be indeed a good choice - usually the stage is well it and the smaller sensor would be less of an issue.

iFixit have a VERY good disassembly guide, probably will take a look. Same for the lens dust - if it is in the front elements, is very easy to solve; the seller told me that the dust is not visible, hence it could be in the sensor. But in the same guide they show how to get to the sensor, and it is much more easier than most current cameras.

Still hope that lower models keeps the 26mp current sensor with the new processor - which for me, would be ideal.

Unearthing an old topic, because I have a very cheap (US$ 280,00, with a defective HDMI port - looks like only a broken soldering - and a little lens dust) FZ1000 on the way. Music festival / venues are becoming more strict here and started to ban all ILC cameras, hence I needed a fixed lens one. @BTM_Pix, do you remember how your FZ1000 worked with your html commands?

You always note the difference - I tought than moving from the 20mp m4/3 to 26mp X-mount will not bring too much of a difference, but I was wrong. Both in quality and storage requirements... For some instances, 40mp would be very useful. For concert shooting, the ability to crop from 40mp to 20mp would be very welcome. But for "no crop" work, not so much. One thing that was never explained (or tested): if you drop the resolution from 40mp to 20mp in stills, it is oversampled or line-skipped? If you don't need the 40mp for some work, a oversampled 20mp image could both bring less storage requirements AND (maybe) more color accuracy. This would be a very interesting alternative to me - albeit, if oversampled, probably would not diminish rolling shutter (could even increase it). And for video, the 40mp sensor needing to crop to be oversampled in 4k was a HUGE bummer.

...or current days, if you don't use a X-T4 or X-H2. Filmed my daughter's birthday with my X-S10. Ok, I always use Boost Mode ON, but the 1st battery died with only 40 mins of non-continuous shooting... X-S10, with IBIS, just chews smaller batteires.

I thought that you were with Fuji again, I'm not entering here as often and is hard to keep tracking of tour camera changes. 😁 Now I saw that with the X-T5 only have 4k oversampled with a crop. Dunno how is the quality of the not-oversampled 4k, but it is a step back from X-T4. Ok, X-T5 is clearly a stills focused camera, but it is bringing me VERY big concerns about the rest of the Fuji line. I'm a mid-range camera user (have a X-S10 now), and if this 40mp trickle down the line with even worse video specs, it will be a problem for me in the future - I want the (maybe) better IBIS and the better AF, but not downgrading the video quality. My hope: the X-T50 and / or the X-S20 keeps the 26mp sensor (more than enough for me) with the new processor.