John Matthews

The things that impress me most about this camera are the frame rates and processing. In addition, it’s so damn small and light. I purchased it, and it’ll be here tomorrow.
I’ve seen both super positive and super negative opinions about it, but it really does feel like a new category. I have a few assumptions about it, though: I think it will be a stellar performer when it comes to moiré and rolling shutter. It’s also going to be pricey to get wide, sharp lenses for it.
That’s why I plan on using it with my S9. I feel like they could complement each other well. I’ll definitely be playing around with it over the next few days.

If your use case is with C mount Super 16 lenses, "a bunch of lenses" might fit in a coat pocket.  The tripod can also be an insanely light tripod or even something like a Manfrotto MP-3.
 

This highly-cherry-picked reel appeared in my feed.  The image quality looks pretty impressive, so when the stars align the potential images from this thing are very nice.
I guess the question for me is how many situations would the ILS be the right camera choice for?  For example if you're going to pack a bunch of lenses, a tripod, and rig it up with filters, then go somewhere to shoot, setup your gear and potentially direct the scene in front of the camera, using a larger and more capable camera wouldn't make much difference to the logistics but could give advantages in DR and usability etc.
For example, the ILS body is roughly 90mm x 60mm x 45mm, very similar to the Lumix GM1 which is 100mm x 55mm x 30mm.  Small for sure, but by the time you add all the lenses and all the rigging, it's not like your camera bag is that much lighter.
Does anyone know what the stabilisation is like with third-party lenses?  Like, is it the same as the normal GoPros with their own wide lenses? or is it poor / hit-n-miss?

GoPro ILS vs BMPCC OG...  not a completely scientific test, but lots of shots in different scenes, so a good real-world comparison.
 

Thinking of it as a Super-16 FILM camera represents an incredible opportunity when combined with the high-resolution sensor - zooming in post.
My experiments with emulating S16 film showed that even a moderate amount of blur applied in post hides a huge amount of detail in the image.  This means you can crop into the source image significantly and the blur will hide it.
For example:
If you were to put a 12mm lens on it, then you'd get a ~35mm FOV at 6K, which you then blur.
If you were to put a 12mm lens on it, then crop 2x you'd get a ~70mm FOV at 3K, which you then blur and the blur hides the zoom in post.
If you were to put a 12mm lens on it, then crop 3x you'd get a ~100mm FOV at 2K, which you then blur and the blur hides the zoom in post.
Depending on how much blur you applied (if you were going for a vintage 16mm look or a more modern 16mm stock emulation) I suspect you could zoom up to 4-6x in post before the digital nasties started being visible through the emulation.  I don't know what kind of digital zoom the camera offers, but if it allows it then you could frame in-camera and not be throwing away bitrate when you crop in post.
This gives two advantages:
1) It turns any prime into a zoom, perhaps even a 4-5x zoom - much more than the 2-3x fast zooms like 18-35 etc
2) if you crop in post then you can apply additional stabilisation, making it feel a lot larger than the tiny camera it is
I suspect that mostly this advice will fall on deaf ears, as people are drastically afraid of softening their images, like they'll be punished in the afterlife for it.  When I saw Goodfellas in the cinema on 35mm film projection, it looked like somewhere between 720p and SD - and that was a 35mm feature film!!  The amount of blur to accurately reproduce even a semi-ballpark 16mm film emulation is beyond most modern thinking, but if you can wrap your head around the concept then the ILS can become a drastically useful camera.

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around.  Really, for anything from 4K through 8K, it's fine for me.  4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though).
But yeah, the frame rates are fantastic.  They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much.

Thanks! I didn’t see the other discussions. I haven’t been here in a while, as I’ve been busy installing solar panels on my roof and taking care of some other upkeep.
This camera seems very quirky, which is a bonus for me. I’m looking forward to learning how to use it and figuring out what it’s good at. I’ve never had the ability to shoot at some of those frame rates, and 8K isn’t really my thing, but I’ll give it a try. It reminds me of the BMPCC OG days.
Just so you know, I sold my GX800 (amazingly, a bigger and heavier camera) along with some kit lenses. I’ll probably let go of my Leica 15mm f/1.7 as well, since it won’t be of much use to me with this camera.
I have a few plans for this thing, especially using some of my vintage glass, which could be a lot of fun. I’ll definitely report back once I’ve had a chance to play around with it.

I think we had some discussion about it!
I'm very pro-Mission 1 ILS.  I've bought a couple of Backbone-modded cams over the years (well, the first one I bought as a conversion kit for an existing previous-gen GoPro, which I promptly screwed up and then sent to them to help me fix nice guys!).  The thing that's kept me from using either one is that monitoring is bad on them.
The HDMI output on the older GoPro lags.  We're not talking 3 frames...  more like 1/4-1/2 second.  And the monitor output on the Insta360 One RS... isn't.  There's no wired display option for it and the wireless display to the phone is also laggy, even in an area with no wifi interference.  Neither was made for pulling focus.  And holding a wee little action camera right up to the eye to focus on its little screen (very little on the One RS) stinks - and tools to punch in, while available, are clearly an afterthought and are clunky.   So they're most usable for something where you focus once and then just roll - which doesn't fit a lot of my use cases for a smaller sensor.  Though they were great for the eclipse that came through the US a few years ago.
Anyway.  The M1P ILS seems to fix that problem.  The screen is as big as you'll find on an action camera.  Wired monitoring is possible and (from what I've seen) low-latency.  Dynamoc range is, by action camera standards, good.
The only reason I didn't buy one when I got the "in stock" notice from B&H was that... well, I just got a Pyxis 12K because the current sale is crazy.  That and it's GoPro - they'll be on sale for at least $100 off within a year.  That's how I got my M1P non-ILs.

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

Agree and if they ever come out with a longer option such as a 70mm or even am 85mm and manage to keep it f2/2.5, they would make for a great little set.
20/40/70 would be really superb!
They make less sense if you are already invested in the f1.8’s which are hardly large and pretty light.

I was pretty excited about this idea, but with the limited lens selection, even with the new 40mm f/2, it’s still bigger than my Sony A7R II with the Rokinon 35mm f/2.8. An A7C would be even smaller. It still doesn’t really feel like there’s a proper upgraded/full-frame version of the GX85 + 20mm f/1.7 combo, which I absolutely loved
 

I was on the verge of selling my 18mm f1.8 in order to pick up the Sigma 20mm f1.4, just to keep things in alignment with the rest of my new all Sigma lineup, but…
Despite this new boy looking quite interesting and Viltrox also supposedly dropping their own 20mm f2.5 next week, I’ve decided to just keep the 18mm f1.8 for financial reasons whilst keeping my OCD in order.
Not really a fan of anything wider than 28mm but do have a use case for something 18/20, but not worth splashing any real cash on as in the Sigma 20 f1.4 and the trade in on the LUMIX 18 is less than retail on this new f2 20. 
So nah.
But very interested for an S9ii as at the conclusion of this season for me, I have decided to drop the L10 and pick up another S9 next Spring, but if an S9ii comes along in the mean time, I might go for that depending on the cost as S9’s are now stoopidly cheap.

Another new size appropriate lens for the S9 in the form of a 20mm f2.5 launched today.

https://www.wexphotovideo.com/panasonic-lumix-s-20mm-f2-5-lens-3358704

Had the OG…or was it the II back in the day and quite liked it as I’m quite partial to a fixed zoom camera.
Changed it for a camcorder with the same sensor in the end but that was about 117 cameras ago or something…

Originally posted in another thread, but given what it is, I think it deserves a place of its own.
There’s something very real happening here right now. This is not just a minor upgrade.
: )
Insta360 sample for focal length range.

source 
(from Leica HQ BTW)
 
And that detachable screen is basically an on-set field monitor. WOW What a killer combo : X

Dammit, v7 had a mistake in it, so re-exported and uploaded it.
 

I was chatting with ChatGPT about the look of cinema and it gave me some things to think about, one of which was experimenting more with diffusion, which I don't think I've really found a good way to emulate in post.
This is v6 of the test shots.
Changes made are:
Slightly less softening Less gate weave, just because I don't really like it Lowered Midtone Detail as a sort-of diffusion method Definitely a work in progress, but if anyone has any strong opinions on this then happy to hear them.

Stepping away from film emulation for a moment, the thought occurred to me to that we have softened the image enough for the 2x and 4x in-camera digital zooms to be tested.
The GX85 sensor is 4592px wide, which with its 1.1x 4K crop factor, means that the horizontal resolution for its 1x is about 4174px, with the 2x crop it's about 2087px, and the 4x is about 1043px.  Normally the 2x is usable on a 1080p timeline and the 4x is not, but with the film emulation on it, the only way to find out is to test it in the real world.
Here is the GX85 with 14-140mm lens on it at F5.6.  
Optically zoomed to about 25mm:

At 14mm and zoomed 2x in-camera:

To me this looks completely fine.  So far so good..
Optically zoomed to about 50mm:

At 14mm and zoomed 4x in-camera:

This is the big one.  I see some differences here, but not enough that if I saw this in an edit it would pull me out of it, which is really what I'd want - to know if it's usable.
For some context, I shot this test with three lenses, the 14mm F2.5 pancake lens (which is the lens I'll be using), the 12-35mm F2.8 and the 14-140mm shown above.
While the light was changing during the test, what is interesting is that the 14mm F2.5 has much less contrast.



The reason I point this out is that when comparing the 14mm F2.5 with in-camera zoom to the other lenses I think the lens rendering itself is the most significant difference.
2x comparison:



and now for the main prize, 4x:


This is an excellent result as far as I am concerned!
Caveats:
This is with the v5 film emulation grade, which as @eatstoomuchjam pointed out might be on the softer side of the range for what 16mm film rendered However, this grade DID NOT include the lens emulation stack, so the lens barrel distortion, vignetting, and corner softening hasn't been applied, so that could go some way to evening out the look I haven't done any sharpening to compensate for any softness.  In the past I've discovered that a digital zoom of about 1.6x can be equalised by some careful sharpening in post, so sharpening isn't to be underestimated, especially in the context of an edit where (hopefully) the viewer is looking at the content and not the image Super-16mm film was often shot on several primes, where some would have been sharper than others, or on zooms, where the zoom would have been sharper in certain parts of its range than others, so natural variation in this stuff is potentially making it a more accurate emulation rather than detracting from it I suspect that the 4x is on the edge of being too soft, which makes sense as it's a 1K sensor readout going through a lot of processing and rescaling, but this is a great result.
So....  the GX85 and 14mm F2.5 lens is a Super-16mm setup with a "turret" of T2.5 lenses that are equivalent to 31mm, 62mm and 124mm, and it's (just) pocketable and fits in the palm of your hand!
Happy to share the power grade if anyone wants to play with it.

Here's a shot where I graded the 4x digital zoom to match the optically zoomed reference.  
I sharpened, added midtone detail and played with curves to counter the diffusion from the 14mm F2.5 lens.
14mm with 4x (look only)

14mm with 4x (graded to match)

Optically zoomed to 56mm (reference image)

So there we go, if I wanted to get a 4x shot to match, even between lenses, then it's completely possible.

If I'm honest, this Fuji announcement has pissed me off a bit with Panasonic. Frankly, the price and value tread deeply into the core of M43. Having Panasonic basically refuse to make anything and allowing Fuji to own the market says volumes about the current state of Panasonic. Let’s be clear: they’ve come out with ONE value proposition in the past year, and it was for pros (S5II/X). We’ve been begging for a newer M43 camera like the GM5 or GX9, and Panasonic continues to ignore us, despite having an ecosystem for those cameras. To add insult to injury, they come out with an overpriced S9, effectively moving the amateur price point to $1500. Oh, and by the way, we have a new BS 'lens' for you—a manual focus 26mm fixed f/8! What the hell? Now we have Fuji putting the amateur price point back to where it should be—$800. It’s time to lower the price of the S9, announce a new GX9-type camera, or say goodbye to that market.

Well, they just launched the Canon R6V, so I hope Panasonic enjoyed their 20 hours of PR!

Just looking at the specs for this on B&H, it seems beyond exciting.  It's almost like someone from Panasonic is reading our messages on this forum and paying attention to what we'd want!
At $1,500, I'm not a buyer, but between $1,000-1,200 on the used market or on sale, I'll definitely become more interested.  Maybe some vendor will give a deal on a trade-in for my Sony ZV-1 that I still have kicking around here somewhere.

https://www.43rumors.com/just-announced-new-panasonic-lumix-l10/
I wasn't that interested until earlier today when I went to set my S9 up for the imminent season only to discover the audio on it has stopped working.
Or is at least intermittent enough I can't use it until it's fixed and as there is zero chance of that happening before my season starts and I am between 2 countries so which to even have it fixed in, is a bit of an issue.
So ordered a used S5ii from @Andrew - EOSHD favourite used camera emporium to tide me over.
But then, less than 2 hours later, my YouTube feed gets flooded by the Lumix Bros who have been on another jolly and...actually, as above, wasn't particularly interested as I had my S9 as my compact C cam and social media unit...except, this would work even better, so probably going to put a preorder in as they should be available in June.
The only thing I find odd is that every man and their dog has a video or press release and the only one's who don't seem to have mentioned it yet, is Panasonic Lumix themselves.
Same funny old Lumix marketing department 🤔

I've seen this before, but usually it's with channels (especially old ones) that have been hit with copyright strikes and such. Mattias's channel take down seems to be voluntary and perhaps political.
I simply don't have the hard disk space to save all the videos I really enjoy, but it makes me really sad to say goodbye. It feels like it's the digital equivalent of burning books and erasing history. Personally, I don't think I could do that. Then again, we don't know the exact circumstances. @Mattias Burling, care to respond?