j_one

This is something I don't see people mentioning enough. That era, right before the gen2 S series cameras, they were nailing color science in lumix bodies. I'm keeping my eye on used prices, sensor streaking issues n all.

My personal kit resembles OP categories, though I'd add some refinements to those categories for my use case: 1) The "on-set" IO cam: This is "usually" the big daddy unit that that has all the ports and power needed to get through a shoot day with 3+ crew. It usually is going to be some box-style or camcorder-style body that has SDI for others to monitor. Solid body. It should be designed (or rigged out) to last several hours without the need to hot swap batteries. Size rarely deters build options/needs since this unit will be on sticks 80% of the time. This cam usually has the most robust codecs, media, and IQ, though it isn't a given due to modern mirrorless units closing that gap. Not always the first option for the solo operator, depends on shoot needs and client. 2) The "fill in the gaps" hybrid/gimbal cam: to be used for all abstract shots that could benefit from a lighter/smaller body. Handheld + IBIS, gimbal, steadicam, overhead shot, second angle...this fills in the use cases where the big camera can't. This unit is usually faster to boot up to and operate, might have some kind of PDAF autofocus system, etc. This camera is also first pic for any "videography" jobs that require you to float around. This cam preferably has the same lens mount as the first camera. Usually a box cam or low mp hybrid mirrorless. A much better tool for vertical shooting, (smaller body to flip, open gate etc) 2b) The hybrid stills monster: Basically the hybrid camera from before, but with an emphasis on photography features. So your hybrid flagships that can produce images of the highest fidelity (R5/II Z8/9 A1/ii S1rii). They don't have to be 30mp+, but it seems most flagships are anyway. 3) The quirky character cam: The one most people have to ask "what is that" because its rarely seen out in the wild. The one that looks like its more of a struggle to operate because of some quirky compromises or functions in design...but that's the pull. Whether it be the operating ethos, the IQ, or both, you don't expect others to understand why you use this camera because it's just for you. ( 4) Smartphone. Yeah, I'm definitely finding myself intercutting more and more iphone prores LT footage with the other cams for most videography jobs (3rd angle, pick up shots etc) and nobody bats an eye...not fun to operate AT ALL but I cannot deny the IQ coming from phones nowadays relative to the time it takes to set up the shot (literal seconds). Any shot with deep focus and adequate lighting can be handled by the right phone if you need it in a pinch.

So maybe it could be the case that the c50 in super35 could get in the ballpark of the c70 without the need of DGO sensor…thoughts?

Oh my goodness FINALLY YES!

What sensor do you think this is? New one? Can’t be eos r or r7 right?

Would you consider just upgrading to a used z6iii whenever it makes sense to financially? Just the fact that you’d be able to get arguably better internal recording than the atomos / not having to hook up the atomos all the time..

Oh wow. It’s been this price for at least a month now, surprised it’s still up. I was able to take advantage, had a mate grab it for me since I’m not in the UK.

NX1 A7s mk1, GX85, GH2, GH6, LX100mk1, S1H Any Sigma foveon, agreed

But why 24-60mm? Of all the lenses they could have developed for this launch..

I've been hearing/reading opinions that the way the story would have been perceived by the audience wouldn't have changed all that much if it featured more traditional cuts, and that the gimmick of the oner was just that, a gimmick, to show off the marvel of technology and the immense talent/coordination of the film crew. (The exception to this being episode 3 with the session between the psychologist and the teen. The continuous take suited that scene the best.)

I think this was to be expected, regarding rolling shutter. It's similar to the Ursa Mini Pro G2 clock speeds == RS improvement situation over the G1, but this time in reverse.

Anything is possible, but based on Grant's past remarks about subscription models as well as how things were phrased here, I'd bet the outcome will be in favor up license upgrades (which may end up being some tiered annual payment) vs monthly subscription. That might not be all that different but the key is that with subscription, they cut off your service if you don't pay. Upgrade models, you stay at what version you want and aren't punished for not paying for the service at any particular point. Either way it may hurt the brand; A lot of what makes Resolve attractive is that is has been both freely accessible and stable for the most part. Even the more casual crowd that uses software like CapCut for social edits have found Resolve attractive after they moved to $10/mo subscription. Yeah, perhaps it may be a la carte for the AI tools. We'll see.

I hear you for sure. You’re definitely right. I think the point behind the nitpicking is to figure out where the current gen Lumix bodies stand in comparison to the competition and last gen, including IQ. It’s been a while since they released a pro body like this so it’s good to see where their focus is now in their positioning within the pro market. Things like downscaling and cropping do factor in to purchase choices just like features, ergonomics, and reliability do. Some want paint brushes. Some want tested utilitarian tools. Some want some balanced mix of both for their money. It may or may not make a difference; some of us just want to know what’s happening under the hood. Because if we’re gonna say that clients don’t really care what we see, how come most of us don’t just pick up a few secondhand 5D3/D810/A7Sii/GH5/C100/P6k/FS7 and call it a day? Some answers to this may reveal legit analysis paralysis. Others, not so much. It’s something every artist or business has to answer for themselves. Like I really don’t care for the FX6 since what I have is good enough, but if owning one fits well into existing clients’ workflows AND gets me more jobs then hey it’s time to consider upgrading. (Remembering that we’re pages deep into a topic discussing video performance for a supposedly photo-focused camera model haha)

You sure about this? Or just speculation based on the online comparisons? The internal processing of the S5ii is almost offensive when compared to the previous gen, but I hardly notice it in practice since it’s less aggressive in Vlog. And I really only shoot in vlog or burnt LUT. The bigger issue on that camera is the green tint to the noise floor in the internal codecs that is visible as soon as 1-2 stops under, and that seems to be pretty much gone in the S1rii. I’ll agree though I was looking forward to their first internal raw recording in full frame, but it is what it is. Reminds me of how I always cropped in on the a7rii for anything video for the best rendering.

It was about both. The recording option that 1) doesn’t require an external recorder 2) provides the best IQ, color information and (most importantly) bypasses the processing witnessed in the S5ii (though it seems its not as bad in the S1rii) 3) doesn’t require transcoding to Resolve.