Marcio Kabke Pinheiro

Or a Moza AirCross, which sometimes appears on sale. I have a Crane M, work very well, but have the same weight restriction of the G6 - even less, 650g. Worked very well even with my GX85 with the Rokinon 12mm f/2, but now I wished to get a stronger gimbal to fly heavier cameras.

I saw an article once saying that Youtube switches to a better codec / bitrate when you upload your video in 4k - except if you are a Youtube Partner, then you always have the best encoding options.

Rooting the Samsung's S is not advisable anymore. Since the S6, they've put a hardware "fuse" that detects that your phone is rooted and it disables Knox (and it is not recoverable like in the past, using Triangle Away apps). And without Knox a lot of Samsung apps do not work (like Health and Secure Folder), making your phone less valuable if you decide to sell it used ahead.

43rumors is saying now that "the resolution will increase". This means that probably the current 20mp 4/3 gen sensor will be used. If the same lens is used (which I think is probably the case - don't see Panasonic spending resources to a newly developed lens, and Fuji take the same path on X100 line), the resolution would be 15mp. Maybe changing the sensor / lens distance a little bit to achieve 16mp (remembering that the LX100 lens did not cover the whole sensor). Do not see IBIS in the camera too, only lens stabilization. Flip screen, probably. 4k60 is possible, but probably limited (5 ou 15 minutes), maybe 4k30 and 24 could be extended to 30 mins - overheating and no-canibalization issues. For the same two reasons, probably a big crop when in 4k mode (which would be very silly, but since the Canon M50 did it...). And unfortunately, the same sequential field EVF. Hoping A LOT that I'm wrong (since I'm very interested in it, still have my LX100), but don't see Panasonic spending too much resources in the new version - and yet, depending on the price point, could be a very tempting camera even with the above restrictions.

Since we are in prediction land, my two cents: - The more expensive one will be exactly a D850 mirrorless, with on-sensor PDAF, IBIS and maybe some more video helps (zebras, peaking, etc), but same video quality / specs. Will not exactly canibalize the D850 because of a higher price tag, better performance with F-mount lens and photographers that prefer OFV's. - The cheaper one will be a A7 III contender, specs by spec. And probably this will be enough for a lot of people. Their first priority is keeping the current Nikon users on board, still photogs first. Stills photographers still buys much more units than the video crowd. Don't expect 10-bit or 60 fps 4k in this first iteration, maybe 10-bit in HDMI out. They will start with the land that they know. At the same time, don't think that they will restrain themselves to not canibalize DSLR - jut will try to keep the prices reasonable at the start to get traction (A7 III put a lot of pressure in prices). For me the clearly see the Z mount as their future - that HUGE size, for me, is to have the possibility to go to medium format at the future with the same mount (and use FF lenses with crop), not to make a better IBIS.

Top of the grip looks classic Nikon, and the LCD display looks like the same of the Leica SL and Fujifilm X-H1. But the dials are strange - the left one looks like a mode dial, but the right one is kind of large to be only a exposure compensation / programmable one...

Muscle memory, that it is. And guess what: I bet that the new lenses will keep focusing in the opposite direction of the Canon ones. Nikon does not want to infuriate their long time customers.

Don't know. Sony almost abandoned their APS-C line, A6500 is kind of long in the tooth, no good APS-C lenses. Nikon and Canon could got to the same way. Fuji could be the king of APS-C format.

About the size of the mount / rear LCD: remember that manufacturer's rendering are not always exactly "correct"- just remember a short while ago the first renderings of the GH5s that looked like it had a s35 sensor inside...

Blurry "leaked" image of the Nikon Z. https://www.mirrorlessrumors.com/first-real-world-image-of-the-new-nikon-full-frame-mirrorless-camera/

The audio could suck with testicle syncs, depending in what kind of film industry you work.

Only thinking that expecting 10-bit and 4K60 form this initial batch of Nikon FF mirrorless will lead to disappoitment. They want to compete (I guess) in stills at the start - with Sony, in fact. Probably they will put video specs to only match the Sony stills cameras - 4k30, 8 bit, and Log, nothing else.

I use the Poor Man Drybox: Daiso hermetically sealed plastic boxes, with bags of orange silica and a little digital higrometer inside each box (I've read that below 42% of humidity in your dry box could dry the grease of some lenses). Keep the silica bags until reach the desired humidity, take the bag out and (for the less opened boxes) it is enough to keep the humidity in the same level for weeks. Box looks like this one (I have only small cameras): but any sealed box could serve (there are much larger ones). Higrometer like this one: https://www.ebay.com/itm/Mini-Digital-LCD-Indoor-Temperature-Humidity-Meter-Thermometer-Hygrometer-WOUS/182188821858?hash=item2a6b4ccd62:g:0Y8AAOSwhOVXc-07 But by far the best solution is a dedicated powered dry cabinet like @jonpais have.

Samsung will not come back to professional camera market. Period. Nor will supply sensors to this market. Smartphone sensors are much more profitable (better yields, more volume). They pŕobably already repurposed the NX1 sensor factory line to make smaller sensors - if they are willing to sell that amazing NX1 sensor to other vendors, they would done it a long ago. I doubt that Nikon, Panasonic, Olympus, Fujifilm like to be in Sony's hands when it comes to sensors. About this collaboration with Fujifilm: Fujifilm still have a very strong chemical arm, and I remember some time ago an announcement of a plastic film designed to enhance sensor's performance - this collaboration with Samsung is just it, supplying a product to enhance their sensor performance, and that's it. Samsung coming back to professional cameras is just wishful thinking. They are leaders in smartphone camp, which makes MUCH more money nowadays than stand alone cameras. And profit margins are MUCH higher in this camp too.

@sgreszcz I have a Crane M, never messed much with the default settings, use much heavier lenses with my GX85 and it works ok (albeit rarely do the movement that you are describing). Did you manually balance the gimbal with the camera + lens combo? When I started playing with it, incorrect balancing even sometimes shut down the motors. Correct balancing and "resetting" the gimbal - there is a (somewhat complicated) procedure for it in the app that seemed to help. After a while, when I got the hang of balancing it fast when changing lenses, no more problems. I recommend to put a very small Arca clamp (I used one like this: https://www.ebay.com/itm/FC-25-Quick-Release-Plate-Clamp-Adapter-for-RSS-Arca-Swiss-Benro-Tripod-Ballhead/382455971141?hash=item590c26fd45:g:JP8AAOSwG~ta1b6X) since it helps the balancing (and take the camera out) without much weight.

About the Xume adapters: I've bought it for my last vacation trip to Europe, because I was using a single camera to stills / video, and wanted to remove the ND filter for stills (and occasionally put a polarizer). If you will use a variND with them, be sure that your variND does not need a lot of force to rotate when adjusting, like mine - when used directly in the lens thread, it is an advantage (since it is harder to make unintentional shifts on adjustment), but when using Xumes it could cause all the filter to rotate, instead of just the front part. Xume's magnets are strong (no problems at all with falling filters), but I had this issue. And could be just unluck in my part, but after 3 weeks (changing filters a lot of times during the day, I must say), the magnet on my Xume's lens adapter detached from the adapter. Managed to glue it back, but was an annoyance.

Use a Spyder 4 Pro too; have two monitors, with some years of age between them, and even calibrating both, the color (especially saturation) is somewhat different. But since I'm an amateur, did not invested in better ones. For final color grade I use the newer one, since most of the people see videos on mobile screens nowadays, which usually are more saturated. Interested in the development of this thread - curious to see how are the solutions that people here have.

They are so scared of smarphones that the next will be RX100 X, with a notch on the rear lcd. Maybe to realize (which now should be obvious) that video CDAF will never get traction with vloggers...

Thanks for the site / forum / content, Andrew. Even as an amateur, EOSHD is one of the responsibles for falling in love with video. About the GX9: I second the opinion for a straight comparison with the GX80/85 - almost all sites compare it to the GX8, which I think it is downright silly (the GX9 is not a GX8 sucessor). Especially about resolution / low light performance / crop differences / color science - I have a GX85 and still thinking if it is worth to upgrade.

Never will could thank @BTM_Pix enough for the Cinelike-D hack. Never used another mode since (except in that occasion that I need to match the GX85 to the LX100, went Natural on both) .

I guess (more experienced users can correct me if I'm wrong) that the colors could be somewhat different - I have a LX100 (same generation from the G7) and a GX85 and, using the same settings (picture profile, etc) between the two, the colors are not the same, LX100 (and maybe the G7) have a more greenish hue, as used to be in the past Panasonics.

About the problem switching between stills and video mode: put your preferred settings for each mode on the custom positions of the mode dial (1-2) does not work? (I use my GX85 for shooting concerts alternating between modes stored in the C1-C2 memory - even with Cinelike-D enabled in C2)

Maybe you can use it with a counterweight to help balancing, if your gimbal can handle the weight of the camera+counterweight. Moment, which makes lenses for smartphones, sell a counterweight with this purpose: https://www.theverge.com/circuitbreaker/2017/11/21/16686030/moment-lens-dji-osmi-gimbal-official-counterweight-iphone-8-plus

What a contraption. https://***URL removed***/news/1929459569/the-yongnuo-yn43-is-a-micro-four-thirds-smartphone-clip-on-camera-with-canon-lens-mount

It would be awesome. But I guess that the noise levels will not get better, it was the GH4 image pipeline. Never had a GH4 to know how was Cinelike D on it, though.