majoraxis

This was introduced last week and offers a raft of new features but the one that seems to be catching everyone's eye is the (paid for) ARRI LogC3 option.
https://www.panasonic.com/uk/corporate/news/articles/panasonic-introduces-extensive-new-firmware-updates-for-its-lumix-s-series-cameras-s1rii-s1ii-and-s1iie.html
Surprised there hasn't been a discussion about this already on here.
I'm guessing that could be that no one has yet bought those camera types or is too busy wondering why they are spending so much effort looking after a cat that isn't their cat but has just turned up and convinced itself that it is now indeed their cat to be discussing camera firmware updates.
Or, in my case, both.
A bit of a caveat is that it doesn't work in RAW...
 

I'm not aware of any existing generative AI model that could be even remotely considered to be ethical in its construction and any of use of the generated results should be considered generally unethical.  Any use of Generative AI is using an unprecedented amount of stolen material.
The AI companies even admit as much, saying that being obliged to require permission from the rights holders to use their existing content would be fatal to their business model.
It's like a thief saying that the invention of locked doors presented an existential threat to their business model.
 
And keep in mind that the end game for most/all of these AI companies is not to make your life better unless you are one of the huge businesses that are financing their development or a totalitarian government.

Ok I bought the C500 mkII. Can't wait to create the first project with it. First tests the AF is so much smoother then my S5II, maybe not faster, but it feels more natural. As does the image. The dynamic range is not crazy better over an S5 or S5II it seems. The highlight rolloff seems smoother though. The internal Nd's are fun too.
 

I don't know anything but in the last Media division S1 II review they showed a goggles linked to the camera used as a monitor or something like that. 
 

Of course, Lumexa😎
 
S16 gate on the S1II would be around 2100 x 1250px, considering a 2.88 crop factor and a 1.66 aspect ratio. That's not too bad, better than the og pocket. Mft sized gate would sport around 3000px in width.

Here it is, the camera i have wanted 5 years ago! 
https://www.canon.co.uk/cameras/eos-r50v/
A strange time: so many options: a cheap red komodo for that indie movie,  a supersmall canon camera with 10 bit codec - things everyone would have dreamt of 5-8 years ago.
 

Published by Canon (JP 2025-040484) a month ago... 
«To provide a compact imaging optical system that’s wide and fast.»
The prototype coming (or is it mere proof of concept for patent purposes?) would be for a 24mm f/0.7 from those white papers announcing they have worked out «a long-standing challenge in lens design» but according to Canon rumors, any RF f/1.0 lens is then just arriving around the corner, very likely.

I'm about 80% there with you, but if the so-called "AI" tools are also for things like making smarter masks/object tracking in Resolve, I'll gladly take it.  I have 0 interest in generating random lamp posts in my footage, but for my last short film, I spent a bunch of hours doing object tracking manually for somebody's eyes to turn them black when she gets possessed because when I tried the automatic tracking, the machine kept losing track of them.  When I looked online to see how to improve the hit rate for automatic tracking, the general advice seemed to be "adjust some parameters and try again and keep doing that until it's tolerable."
If there's some machine learning model that makes it track like super duper well, I'd even consider paying a small upcharge for it.  As it is, I'm probably going to pay more than that to have a real special effects person do it because my end results are a bit trash (though thankfully most people watching don't comment on how the blackened eyes are shifting on the face a little bit).

If it's subscription, I think there will be rioting in the streets and a lot of users migrating to Final Cut... including me.
On the other hand, given that I paid like $200 for my license like 5-8 years ago and have been receiving free upgrades ever since then - and now I have a second license that came with my camera, if they were to ask for $50/year for license upgrades, I wouldn't be upset.
After all, if Resolve either makes no money or loses money, they have no incentive as a business to keep supporting it.  I'm not upset about that.  If, however, they want me to hand them $20/month to use it, I'm done.

02:37:32 "We'll probably eventually charge some kind of upgrade for this."
Looks like we can expect to pay for major version upgrades in the future. Still better than a subscription, thankfully.

It’s paid by the importer and then passed directly on to the consumer, though fixed costs such as handling and transport fees after the port of entry mean that the calculation isn’t always a straight addition to the current retail price as those costs don’t include any additional increase.
The original $4995 is now $6595.
If they’d added the whole 34% directly on (which is on top of an existing 20% by the way) then it would be $6693.
The reason for it not being that much is that fixed costs such as US based handling and transportation charges do not carry the tariff.
 
 

How they calculated that? Is it Made in China? 

The US price has now been updated to incorporate the tariffs.

A $1600 increase then.
If I was in the US, I think I’d be holding off on that pre-order for a while until the presumably inevitable walk back.
 

If you can wait 2-3 months after it ships, you'll find it barely used for that much or even a bit less.  That's the nice thing with YouTube-popular cameras these days.

Had to listen to the livestream while on the road for work. Man oh man does Grant love his broadcast stuff. I drove my full nearly two hour trip before he even hinted at cameras lol. Anyways, the Pyxis 12K is super exciting to me. It makes sense that its price is exactly halfway between the Pyxis 6K and Cine 12K…. But $4500 USD would have felt worlds better to me haha.

It is the S5ii as far as I’m aware.
I’ve pulled this from a demo of the new functionality and shows switchable contrast and phase detect in the UI.


Full video is here 
 
Yeah I think it will become clearer what BM’s intentions actually are for the 12K when they are doing demos and interviews at the show itself.
 

Mmm…In terms of AF, it was only actually stated to be coming for the Cine 6K and then by extension, when that firmware is out of beta, for the PYXIS 6K.
I’m wondering if a misguided conclusion has been leapt to here by me that it will come to the PYXIS 12K.
The other two share the same Sony sensor and it’s one we know to have PDAF capabilities because it’s used in a number of other cameras.
The 12K sensor though is all their own work so I don’t know if it actually does?
 

There’s dumb L mount adapters for most legacy mounts so just use electrical tape over the PYXIS end contacts to be on the safe side.

Yes.
I’ve only used it as a studio camera with an ATEM so all I can say is that with a P4K on another ATEM channel they look the same !
I find comparisons between the OG and new Pockets a bit moot as you can get them close enough for jazz visually so at that point it’s all about the rest of the deal.
The new Pocket trounces the OG in every metric bar form factor.
Depending on what you’re doing with a camera on any given day, the form factor of the OG can make all of the rest of the Pocket goodies irrelevant.
The Komodo gave pause for thought over the PYXIS and the new PYXIS has given pause over the Komodo.
You know how that goes.
The bank balance has given pause over all of them though 😂
It remains to be seen what Nikon do as well with a new Cine line too.
The Z mount is a great leveller for me because I can put anything on it.
L mount is OK but the Z mount smokes it really when you’ve hoarded as many lenses in different mounts as I have.

Fantastic announcement! I'm not a fan of the side screen, and I don't need 12k or even 8k, but a $5k FF camera with <10ms rolling shutter in high quality codecs and (subjectively) amazing color is sweet! Although I suppose we don't know for sure whether the readout speed is the same as the UC12k.
The two additions that I would like are NDs and 32 bit dual gain audio. Ideally, NDs could be handled with an L mount version of this. https://www.metabones.com/products/details/MB_NDEF-E-BM7. 32 bit audio is of course very easy with the minor annoyance of syncing in post. Another recent announcement was the H5studio, which has a builtin wireless receiver module, which I find extremely interesting.
So all things considered, this basically hits everything I'd want from a cinema camera, with a few accessories.
 
While probably not something I would get, I'm quite impressed with the camcorder handle and grip. What a great idea (this is me patting myself on the back--I 3D printed something similar for my Z Cam. Of course mine was shit execution, but it was the same idea).

If it doesn’t burst into flames or require a portable power station, that PYXIS 12K is going to be a huge winner for them.
The fact that they will finally have AF is the icing on the cake.
 

Autofocus!

Here we are in hour three then and no end in sight.
Grant will have to be helped off stage like James Brown by the time this is over.
 

 
 

So far, the Resolve upgrades don't include ProRes RAW, but they are editing footage from a Korn concert in part of it - so... at least they have the glory of 90's Nu Metal going for them.

They also mentioned earlier that Resolve 20 will be announced.  I'm really hoping that they are finally breaking down and adding ProRes RAW now that it's not "that Atomos thing" and instead, it's "That DJI and Panasonic natively in camera" thing.