markr041

I agree the 18-105 is a really versatile lens: power zoom and near par focal. A little deficient on the wide end, but now there is a perfect complement: the Sony E PZ 10-20mm constant f4.
Shooting Sony APS-C has real advantages in terms of video-advantaged lenses.

I accidentally shot 8bit cDNG 4K RAW on the internal sd card (I forgot to switch to the external drive):
 

8K 24P Test in Low Light with the Low-light Stabilization Setting used When I Move with the Camera
It appears that the low-light stabilization setting pushes up the shutter speed and ISO. You can see that in those clips (identified by whether or not I am moving with the camera) there is considerably more noise. The colors are retained and sharpness does not seem to be reduced, and the digital artifacts from low-light digital stabilization appear to be absent.
Audio is good.

8K 24P in the rain:
Dark day, suggests 8K 24P when walking with the camera will not look very good at night without the special lowlight stabilization setting.

Yes, exactly. Steady shots are great, the resolution is there.

8K 24P in the rain:
Dark day, suggests 8K 24P when walking with the camera will not look very good at night without the special lowlight stabilization setting.

I went with four friends to see The Hobbit in a theater that showed it at 48 FPS. I knew it was at 48 FPS, but my friends didn’t. I asked them after the movie if they noticed anything different and none of them did.
I liken this nostalgic liking of 24 FPS with hipster’s liking of vinyl LPs over CDs. Technically, CDs are much better in every measurable way than LPs, but these people somehow prefer LP sound despite the snap, crackle, and pops and the obvious distortion and wow and flutter. I suppose that’s because that’s what they’re used to or because they’re lemmings following the latest fad.

Art is conceit.
Cinema is a altered from reality by default.  Because of that, it's perfectly fine when some filmmakers decide for it to absolutely fail to be accurate in certain ways.
Flaws are beautiful.  They invoke an alternate reality.
Some filmmakers like 48 or 60fps.  So be it.  I like 24fps and a 360 degree shutter.  My preferences ain't wrong, they're simply mine.

the displaying technology is improving, most 4k tv now has 60 hz or 120 hz or even 240 hz, youtube has 4k 60p, the trend will follow. new generation of viewers used to youtube 4k 60p never care about 24p. in the near future, 24p will be a nostalgic look, like betacam, lomocam, sepia, etc. 

That's a defeatist attitude that will impede progress.
When The Hobbit came out a few years ago, some people were ready to break out the pitchforks and torches and march on Hollywood, but I loved it--those movies looked much better to me than the typical 24 FPS stuff.

I agree with you. I don’t want footage that looks “cinematic”, I want footage that looks good, and higher frame rates look better to me. The only reason we were stuck with 24FPS was because film costs were lower at lower frame rates and the studios were cheap.
I don’t like a bunch of other things that have become more or less standard in Hollywood. The biggest thing that irks me is hand-held footage. Some of it is so jittery it’s nearly vertigo-inducing. It wasn’t used in the old days because cameras were massive and not hand-holdable by any stretch of the imagination. Now that cameras are smaller and lighter, the trend is to use more and more hand-held footage in movies. Some claim it offers more of a “you are there” first-person experience, but I disagree. When I see the world with my own eyes, I don’t see a jittery, shaky view at all—it’s like my vision system has built-in IBIS.
Another thing I don’t like, but seems to be gaining popularity is to add film-like grain to digital footage. This can only be due to some misplaced nostalgia for the old days, because why make the footage look worse? I prefer the pristine look of good digital, again because when I look at the world with my eyes, I don’t see any grain. I don’t need to be reminded that I’m watching a movie—I already know that.

24p is hailed as cinematic. it was just a frugal approach at the time of film days. 
5k 60p of gp 12 is so smooth. seeing is believing. 

The key innovation of the insta360 Ace Pro is its low-light stabilization setting. This appears, from my test video, to have almost eliminated the artifacts of digital stabilization while moving the camera in low light. Of course, all the digital noise reduction and processing results in a mushier video (compared to the non-processed (no noise reduction, no digital stabilization) video from the Pocket 3). But the results, if not looked at too closely, are impressive - colors are good and the dynamic range in "Pure Video" is pretty good too.
My assessment about low light is that when the cameras are standing still, there is not that much difference - the difference is when the camera moves, given digital stabilization  - GoPro is hopeless, and the insta360 Ace Pro does its magic, but the quality is still worse than mechanical stabilization, as seen in my video. To see the degradation from camera movement from the digital processing, look at the sign writing in the first insta360 clip at the end - when the camera is moving the print on the sign is doing peculiar things, when the camera stops, they become much clearer and precise.  You do not se such a dramatic change at the end of the Pocket 3 version.
One can invoke the low-light stabilization setting while shooting 8K 24P, so it would be interesting to see how that combination does at night, perhaps minimizing the mush. The "Pure Video" setting seems to push up exposure, and I reduced luma in post to make the video more realistic to the scenes. But I am not sure how that setting contributes to low-light prowess.

First, comparing the in-camera (Flowstate) stabilization in 4K 60 with the 4:3 FreeFrame setting using Gyroflow stabilization in post:
Second, 8K 24.0P video, complete with that beloved 24 fps motion:
Third, a video shot in 4K 60P, complete with moving with the camera (forwards and backwards), the 2X zoom, 2X slow motion (from 4K 120P), and audio.
Maybe I will try a night video. I wish it was a sunny day.

1. "insta360 Ace Pro set to Pure Video with low-light stabilization" = 4K 30p, fixed. That is the camera's best low-light setting. 
2. The slow motion parts of the 4K 60P daylight video were shot in 4K 120p. There are three consecutive clips. Since this was a 60P video, the slow motion is 1/2 speed.

insta360 Ace Pro versus DJI Pocket 3 at Night
insta360 first then the Pocket 3 for each scene.
insta360 Ace Pro set to Pure Video with low-light stabilization, sharpening low. DJI Pocket with noise reduction at the lowest level (-2) and 10bit HLG profile.
Both auto white balance and auto exposure. No noise reduction in post.
Pocket 3 HLG transformed using color management to REC709.

And the new HLG 4K slow motion test: in HDR:
 

4K 60P Holiday Video at night (for all audiences):
Looks spectacular in HDR, when YouTube gets around to showing it. Looks good in SDR.
Nothing beats a gimbal for nighttime video with movement.

thx boss.
i finally figured it out. 
in qrcode app, there is a tab called extension. there are many items in the pull down menu. the description can be found at th gp labs website. all of these are advanced features. gp is very smart, this way isolates experts from green hand totally, minimizing complaining and liability. 
now gp 12 even has a live histogram, basically i can do manual exposure. and the tonemapping, etc. these features make gp12 very interesting now. i will enjoy playing this little toy for a long time. 

LOL You look like a tough poster as you probably already know but in the end, you're one of the most valuable contributors with your real footage posted over these pages... You know something?
I'd like to see your tests as you've usually offered us every time there's a new one just arriving to the town.
Pity my subjective entries on this one don't incentivate you to go and bring us your street videography on low light shots BTW as usual coming from your NY walks.
Osmo Pocket 3 is also welcome, speaking of devil : )
As well, your thoughts on your findings to compare the most sainted trinity to my view nowadays:
Z8 (you already have) / Osmo Pocket 3 / Ace Pro :- )

I can't argue with subjective opinions, to which you are certainly entitled!

Thanks for the promotion to colourist @markr041!
It seems like we need to get a handle on what the relative strengths and weaknesses are across the options.  Certainly, lower DR in a camera used to record outdoors in uncontrolled conditions with a wide-angle lens likely to have the sun in-shot is a long way from the ideal situation...   and just for your information, I am currently revising my setup to include a second camera to my GX85 because I want something with more DR for exactly these reasons.
Realistically it's going to depend on what you're shooting and how that aligns with the relative strengths/weaknesses of the different models.
So far we have what...   iPhone 15, GoPro 12, Insta360 Ace (Pro), DJI Osmo Pocket 3, and DJI Osmo Action.  Are there others in this fixed-lens / super-compact / small-sensor market segment?

There is 4K 120P RAW on the Z8/9, but cropped.

FIXED! Latest firmware adds 10bit color and choice of Dlog M or HLG for 4K 120P.

GoPro issued a new GP-Log LUT (November 9, 2023) along with new firmware, leading to much improved video.
2.35:1 aspect ratio from 16:9 5.3K 60P clips. Noise reduction was turned off, sharpening was set to low, and the bitrate was increased to 180 Mbps using the latest GoPro Labs firmware. The last clip, an interview with a tea farmer, was shot in a very dark room, and DaVinici Resolve noise reduction was applied to the clip. No noise reduction was applied in post to any other clip.
Meitan is a major tea-producing area in China.