PannySVHS

Maybe they're just being polite? 🙂

>EDIT
Wrong thread.

Congrats on getting the camera, from the reviews it looks like a winner if you don't mind the size.
You might be interested in this thread:
 

I've seen great footage from the LX15, this included. Today, I went on a walk to get some berries and took a few shots with the GX800 and the kit lens:
 

2/3" crop/sensor estate is not too shabby at 2.8. If you watch Harisson Krafts videos you might possibly not feel so sure about the RX100 3 to V being the winner in the image quality department. @John Matthews The lens looks magical at this aperature on the LX15 throughout all focal lengths. It sports the same sensor as the RX10 1,2,3 afaik. Crop in 4K mode did not hinder me to film some of my best personal footage ever with it. The cake is in the pudding of the lens. Processing in 4K is just as good as on the GX85.
I still need to experiment with profile settings a bit more, but I would leave saturation untouched, noise reduction and sharpness all the way down though. I have started to treat it like a S16 F4 camera. I got two of them but only with one battery for around 120 Euro from a youtuber. Heck of a two camera deal. 🙂 At 200 Euro used price I would still consider it a good purchase for image tinkerers. One needs to massage the image in Davinci a bit and save some presets and secret sauce for best effect. But that´s half the fun of it.
 
 

2/3" crop/sensor estate is not too shabby at 2.8. If you watch Harisson Krafts videos you might possibly not feel so sure about the RX100 3 to V being the winner in the image quality department. @John Matthews The lens looks magical at this aperature on the LX15 throughout all focal lengths. It sports the same sensor as the RX10 1,2,3 afaik. Crop in 4K mode did not hinder me to film some of my best personal footage ever with it. The cake is in the pudding of the lens. Processing in 4K is just as good as on the GX85.
I still need to experiment with profile settings a bit more, but I would leave saturation untouched, noise reduction and sharpness all the way down though. I have started to treat it like a S16 F4 camera. I got two of them but only with one battery for around 120 Euro from a youtuber. Heck of a two camera deal. 🙂 At 200 Euro used price I would still consider it a good purchase for image tinkerers. One needs to massage the image in Davinci a bit and save some presets and secret sauce for best effect. But that´s half the fun of it.
 
 

2/3" crop/sensor estate is not too shabby at 2.8. If you watch Harisson Krafts videos you might possibly not feel so sure about the RX100 3 to V being the winner in the image quality department. @John Matthews The lens looks magical at this aperature on the LX15 throughout all focal lengths. It sports the same sensor as the RX10 1,2,3 afaik. Crop in 4K mode did not hinder me to film some of my best personal footage ever with it. The cake is in the pudding of the lens. Processing in 4K is just as good as on the GX85.
I still need to experiment with profile settings a bit more, but I would leave saturation untouched, noise reduction and sharpness all the way down though. I have started to treat it like a S16 F4 camera. I got two of them but only with one battery for around 120 Euro from a youtuber. Heck of a two camera deal. 🙂 At 200 Euro used price I would still consider it a good purchase for image tinkerers. One needs to massage the image in Davinci a bit and save some presets and secret sauce for best effect. But that´s half the fun of it.
 
 

This forum needs a section called 'Ask Kye'.
Again, I'm just messing and do enjoy your posts 😘

It does both zoom and focus position.

Is there an option for resuming or fixing focal distance as well?
One thing I love on my LX10 is the character of the lens. Using it at F2.8 in its 2/3" 4K mode gives me a DOF equivalent of F8 in S35. I am very fine with that. I actually adore the fact that it crops into 2/3" sensor format, showing me how little sensor estate I need and how little of technical prowess is needed to produce an image of cinematic beauty. The little LX10 provides. Give me that in S16 4K 10bit 150mbit HLG and a MF mode with hard stops. Price it 649 EUR. The HD 24p AVCHD mode seems to be of similar quality like the G6 in it´s best mode. 50p is very brittle though. 25p might be the same.
TZ100 is for sure an interesting camera to buy in 2024 unless one has committed to the non purchase rule for the upcoming year. 🙂

Is there an option for resuming or fixing focal distance as well?
One thing I love on my LX10 is the character of the lens. Using it at F2.8 in its 2/3" 4K mode gives me a DOF equivalent of F8 in S35. I am very fine with that. I actually adore the fact that it crops into 2/3" sensor format, showing me how little sensor estate I need and how little of technical prowess is needed to produce an image of cinematic beauty. The little LX10 provides. Give me that in S16 4K 10bit 150mbit HLG and a MF mode with hard stops. Price it 649 EUR. The HD 24p AVCHD mode seems to be of similar quality like the G6 in it´s best mode. 50p is very brittle though. 25p might be the same.
TZ100 is for sure an interesting camera to buy in 2024 unless one has committed to the non purchase rule for the upcoming year. 🙂

A couple of things the LX10 has in its favour are the integral automatic slide away lens cap and the lens resume option.
With the latter enabled, when you power on the camera it will automatically return to the last used focal length so its like having a prime attached in that respect.
The caveat I suppose is that if you have it set to a longer focal length for your last shot then that might not what you want to happen on power up but its a selectable option anyway.
The speed of operation of the camera lens wise is also helped by the dedicated aperture ring and the control ring which defaults to being the zoom barrel but auto switches to be a focus ring when you have it in manual focus.
It can also take my Cinelike D/V hack as well which is a bonus if you want to match it to other Lumix cameras.
Beware of the crop when in 4K though (36mm vs 25mm equivalent) and also that the full 5 axis stabilisation only works in HD mode so in 4K you are "limited" to OIS.
As per previous discussions about the LX10, it accommodates ND filters and WA/TC adapters easily via an affixable filter thread adapter.
If you are looking to trade reach and some functionality for a slower lens then the 10x Zoom version of the same camera is called the TZ100. Doesn't get much discussion but its an option for travel when the standard zoom range of the LX10 might be a bit too limiting. It takes the Cinelike D/V hack too.

@PannySVHS yet... As soon as I will have other Android devices in hands I will test the app with, for sure ; )
Those LG (the V50 model for example) you've mentioned look to fulfill the cup on budget though, as for instance in this sample:
 

Quite fascinating, not to mention revealing, videos on how Sigma manufacture their lenses and FP/FP-L cameras.
 
 

My experience with shooting under tungsten light and wanting a warm cosy look is not to use a clinically correct manual WB but rather a higher color temperature like 4200K. Unless an Aces workflow will change that completely I found it close to impossible to reproduce that warmth in post after a technically correct WB, even with 10bit cameras. Merry Christmas everyone. 🙂

In the real world (as always) things are more complicated.
Getting things right in camera is normally considered good advice because it's assumed that the results will be higher quality than not getting it right in camera and then adjusting afterwards.  It can also be good advice from the perspective that depending on the situation it can take significant time / effort to process in post, and there's a risk that the desired results can't be obtained, and by then a re-shoot might be very difficult.
On the other hand, some situations will be made better by getting in wrong in camera, but in some way that provides an advantage.  ETTR is getting it wrong in camera, and can improve the image once adjusted in post.  There are other situations where this might be the case, depending on the situation.
Your shot might have benefited from being exposed normally and then be pulled down in post, assuming nothing was clipped.  Your shot might also have benefitted from being shot at a normal WB, and then having the red and green channels pulled down to make the image blue (ETTR but only of those channels).
Good old fashioned "movie magic" involves trickery from time to time, sometimes by a huge margin (e.g. shooting day-for-night) and sometimes getting it wrong in camera can be advantageous to aid in the illusions.  

Astonishment by the sheer sensation of a blue hour magical moment, dreamyness, a story possibly to unfold or having end. You got that right in(front) the camera. 🙂 @PPNS

getting things right in camera is one of those things im not sure how to interpret. Ive posted this still before on here, to put it in context, it was shot around blue hour, but it wasnt quite as blue as it was here. I maxed out the white balance, to get it this blue. is that getting it right in camera or am i being a hack? 

I wouldnt highten one skill on the expense of another. I wouldn´t label a certain skill set as nostalgic just because off the point in time it was working wonders. But then you know about your art and skills of DJing and can put it into context, which both I am unable to. Getting things right in camera is not about story but about the ooc image.

GF3, no way I will be buying that thing:) But you made it shine. @kye Got my LX15 with me for Christmas. It gives the GX85 a good run for the money. The LX15 has been doing great things for me, way above its weightclass. But in two situations it was not performing to my new high expectations which had been awakened by it. Still trying to find out about the parameters which made it perform less stellar on these occasions.

GF3, no way I will be buying that thing:) But you made it shine. @kye Got my LX15 with me for Christmas. It gives the GX85 a good run for the money. The LX15 has been doing great things for me, way above its weightclass. But in two situations it was not performing to my new high expectations which had been awakened by it. Still trying to find out about the parameters which made it perform less stellar on these occasions.

I still got my F3 waiting for prime time. Well, that would be leisure time personal filmvignettemaking.;) Meanwhile, when I am still talking, some others have been walking: some more Cinealta F3 goodness and some tasty 80ies style color palette and visual vibe. Wanna do an 8bit F3 filmvignette? I would finally have a fun reason to use mine. @IronFilm
 

I wouldnt highten one skill on the expense of another. I wouldn´t label a certain skill set as nostalgic just because off the point in time it was working wonders. But then you know about your art and skills of DJing and can put it into context, which both I am unable to. Getting things right in camera is not about story but about the ooc image.

Coolest thing is a well lit set making many cameras look good. Some ooc looks are still lackluster. I found the G6 had to be graded, no matter what. But what 709 beauty it revealed. It was only after some grading tricks that I built into a powergrade and later into my first own worthwhile lut creation. We should or could do an 8bit ooc challenge. But noone has been liking a challenge for years now:(