SRV1981

you asked like the sensor in A7S3 and FX3 would be different. They're not.

They pretty clearly didn't- "fx3/a7s3 sensor vs. A7iv sensor" obviously acknowledges the FX3 and A7sIII are the same.

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Or, maybe (TI guy thinking problem) there is some serious issues with the firmware on the cameras and there are some processes causing memory leaks or going wild.

Gerald just dropped a video talking about how he has discovered that camera overheating tests are almost completely unreliable.
TLDR; he tested the same camera in the same environment with the same settings, and got results ranging between 55 minutes and 8.5 hours.
Here's the video, which talks about it in much much greater detail:
I think this pretty much means that camera overheating is an un-testable risk for any camera without a fan.  
This is because:
The tester probably didn't tell you what ambient temp they tested at The tester definitely didn't tell you what airflow and ventilation was present The tester probably didn't test all the modes you will use The manufacturer might update firmware after the testing and completely invalidate the data The test won't have been in the situation you're recording in
and, lastly, in case you're still with me... The test is probably a random number generator anyway I think that overheating is now officially the camera boogyman.
Sceptical of overheating in general? I've personally missed moments when my iPhone overheated........and that's a camera that no-one has identified as having a thermal management problem.

The biggest problem of the camera was not tackled yet - specially for video. 

Since all the previews are on the "is pre-production, wait for the final review" mantra, battery life was not really mentioned much. 

They made a newer IBIS, kinda smaller than the previous, hence the power consumption might be lower. But...I had tha X-S10, with the same smaller battery, and it had the worst battery life that I've known. On one instance, I've shot around 45 stills, then recorded around 18 minutes of 4k...one battery gone. For semi-pro use, 4 batteries in a day was almost certain.

There is another factor to consider (and it connects to the overheating video from Undone): there are two 4k modes on this camera, as in the X-T5. The "regular" 4k mode is not oversampled - it have some kind of line skipping / pixel binning. The image quality is worse (not VERY worse, but noticeable for trained eyes), but it requires less processing (and probably generetes less heat). The 4k HQ mode is oversampled, and uses a mild crop.

All the battery tests for video that I saw used non-HQ 4k video, in this case the battery life does not look so bad. But I could bet that with 4k HQ mode, camera in Boost mode and with IBIS, the battery would be chewed.

For the main targeted users, probably will not be a huge issue. But if the intended use for vídeo is a bit more than short takes, probably will be.

That was a Z Cam E2-M4. I saw similar results with the XT3 back when I used that primarily. Fwiw, I also saw similar color issues comparing Canon 5D3 8 bit vs magic lantern Raw. The color blocks are most obvious in relatively uniform gradients, such as skies. This tree shot isn't the best viewing since it's so busy with high frequency changes, but you can still see it pretty easily when you zoom to 100% or view on a 4K monitor, especially in motion. Most obvious is the greenish splotch in the bottom area that I highlighted, and the upper highlighted area has red and green splotches.
If it's not a big enough deal for what you do, then great! To me, it's a big enough deal, since I have the option of 10 bit. There's no downside: file size is the same, and I've never encountered overheating on any camera ever (shooting narrative I take relatively short clips with time in between).
That's not to say the difference is uber important... I mean I am splitting hairs about something that has very little bearing on the final product. I'm posting here to show what the difference is not to tell you that it matters for you. All else being equal, I'll always use 10 bit on the cameras I've tested.

10-bit is always better than 8-bit, and 4:2:2 is always better than 4:2:0, but the question is if that difference is actually visible / meaningful.  If you're doing very little grading in post then 8-bit vs 10-bit and 4:2:0 vs 4:2:2 probably doesn't have any visible or meaningful difference.
But I suggest doing a test.  Just find a bunch of scenes around the house (or not out of the way) and shoot the same composition in each mode and then just load them up side-by-side and look at them.  If the 8-bit 4:2:0 shot doesn't make your stomach turn then just go with it.
In the end, if you can lessen the impact or eliminate overheating, that you can lessen or eliminate the impact of running out of SD card space, then that means you can relax more while recording, you could shoot more, you can have extra time and energy and headspace that was previously devoted to worrying about or managing these things.  If you can have more headspace and be more relaxed while shooting then the way you use the camera, and the way that you behave while recording will be better.  If you behave better then what is in front of the camera might also be better.
So, realistically, the option is potentially of having a very slightly worse recording of potentially much better material.

OK, too late for me for 2024.
I was going to hold on until the end of March (and suspect it will be announced some time next month) but in the end…
A. I have some engagement type portrait shoots coming up in March and my Zf is not a long lens camera. OK I could manage a couple of shoots with my 70-180 on it but these shoots are a warmup exercise for the coming season so would kind of defeat the object of the exercise.
B. Do I actually need any of that spec?
In answer to B. maybe 🤔 probably yes…if I go over to Nikon 100% for both my video and stills needs, but as that cannot now happen in 2024 due to time constraints, it does not matter.
So I bought a mint used Z6ii with battery grip for 1600 euros.
Does exactly what I need it to do which is primarily be a lens platform for principally the 70-180 and the 20-40 option lenses, stills only, but ability to pull video duty in an emergency.
Compared with the S5ii, arguably it’s most direct rival, without grip, it feels a fraction smaller but with better grip, has my preferred tilt screen, has much better shutter feel and sound, identical stills capabilities but the S5ii edges it in the video department.
I’m still interested in the Z6iii as a possible contender next year to replace my entire existing L Mount and go back to a 3 body hybrid set up rather than my 2024 2x video + 2x stills set up, but not actively seeking to do so.
And interested to see how it fits into the marketplace as a whole.
Still not 100% on the e:shutter only Z8 and Z9’s…

Interesting takes 

The final line up for the 2024 season. 
From left to right…
S1H with battery grip, 70-200 f4 (not shown, Rode WG2) permanently on tripod shooting static full length ceremony & speeches, manual focus, 4k 25p.
Z6ii + adapted Tamron 70-180 f2.8 (not shown battery grip arriving tomorrow) with option Tamron 20-40 f2.8, stills only but can do video in an emergency. Sling on shoulder.
S5ii + cage + Sigma 28-70 f2.8 + Rode Micro as my all day run & gun, gimbal ready, 4k 50p unit (so 42-105mm equivalent). Right hip.
Zf + 40mm f2 candid stills but can also do video in an emergency. Left hip.
Single backpack with all lighting, all other audio, all spare batts, cards, power bank, chargers, gimbal etc, but actually lives in my cart along with the 2 big light stands, 40m extension reel and 500W portable power bank.

Oh, I owned an X100F for about eight months more than four years ago, so I cannot say directly (as much as everyone in this thread is typing based upon the specs of this latest release). I had an X100 for more than a year prior to that. That's all I can speak of based upon direct experience. I think it is a lovely camera that I just didn't connect with. 
I think it's primary use is as a stills camera and I think it fulfills a genuinely unique market niche really well - hybrid viewfinder and a fixed-lens. What else is there? For that, I think the bump to Fuji's 40mp sensor makes sense (not that I would have been asking for it) and the incorporation of IBIS is what really stands out to me. Since my first IBIS body, I simply won't go back. So many more creative options open up (for me). 
So to answer your question pointedly, IBIS. The rest of it might as well come along since it's already there.
I think the video specs are grand to have (why would you exclude what the XT-5, etc can do with the same sensor/processor?) and I would do b-roll grabs or creative work with it. But that would be a perk for me with the x-series rather than a goal for purchasing the camera.

There’s nothing wrong with wanting longer record times - it’s too bad Fuji didn’t include a socket for the fan that works with the xh2s and the gfx100 II (both of which, ironically, don’t really seem to be prone to overheating).  It’s totally valid to say that you record long clips and that a camera which overheats after 10 minutes isn’t for you and it’s equally valid to feel disappointment that a newer camera doesn’t include all of the features and upgrades that you hoped for.  
 
Luckily we live in a time when there are lots of fantastic cameras on the market and you can choose one that fits your preferences/needs (like your Ricoh)!  😄
 

I have the 12sUltra.  256gb.  Typing this on it now. Havent tried to shoot raw with it. 
FWIW, The 24pro app on this phone pushes the hardware to the limit and drops frames. boo.
Not perfect, but one can dial in the image much better than the native app.
I'll play with the motioncam app and see how it goes.

I think it's mainly tradition and what people are used to. Kind of like asking why more people like red than blue or why some people prefer LP sound.

Cool film, only let down by the poor codec and lack of ND.  I understand why you'd want to have a sponsor and why you'd want to tell a story with a phone in comparison to not telling it at all, but if you had freedom to choose and you were already getting a bunch of people on set and putting all that time and effort into something and then a phone sure isn't my first choice.
Same comments as above, but you can definitely see the stronger codec in this piece compared to the Xaiomi.

Wait! Not listed as one of the Netflix authorized (Approved... no less, insane!) cameras?? Really? No way! Who wants such crap of device? *cough cough* Who will buy to exhibit it anyway? LMAO hehe
Sorry guys, couldn't resist! Marty is one of those who will fully understand me! Fortunately, not the only one! ;- )

Thanks for making the connection. Pretty cool! She’s great. I got emotional at Little Garlic shot on iPhone - so well done! If I’m being for weddings etc I probably wouldn’t default to the iPhone. But as a non paid enthusiast it’s quite the tool. It’s probably going to be my next platform. I’d love the a6700 form factor but even when I had the xt4 the size of the footprint between lense and body wasn’t convenient for casual use with friends family or travel. It would take too much to be in the moment. I still have the Ricoh Giiix and will compare it to the iPhone 15 when I grab one. 
 
Just waiting on an ND solution so I can use a quality VND. 

Short film directed and written by Jessica Yu-Li Henwick who has starred in various big budget productions for cinema and tv, such as "Game of Thrones" or "Glass Onion: A Knives Out Mystery". She is also acting in the leading role. The film was shot pretty barebones on a Xiaomi 11 with a gimbal being put to use.
Here is a very cool interview, talking about finding the right DP, why she shot on a phone and requirements to film without extra lenses or big accessories. Also about scheduling and preparing the shoot while being on set starring in "Glass Onion: A Knives Out Mystery" and where she drew inspiration from for her film.
Great interview and insight about the filmmaker, her film and her process. I really enjoyed film, cinematography and image quality as well. The other film above my post looks equally appealing to me btw. So here are the article and interview with Jessica Yu-Li Henwick:
https://directorsnotes.com/2023/02/11/jessica-yu-li-henwick-bus-girl/

Maybe posting some example images might help?

Resolve has an AI depth map plugin, but the edges aren't good enough to use yet, and neither is the above.  
It will get better, but it's got a way to go.  Flyaways in the hair is the giveaway, and unfortunately it's both very difficult to do effectively, and it's also visually quite obvious.  If you want to use this technique then you'd have to sacrifice the more cinematic lighting and compositions to hide the artefacts.

Well, actually yes, for most people, most of the time.
It’s not quite what I’d do today but was an approach I took once.
The phone is the most convenient but for me there is zero joy in that.
I personally cannot be bothered to lug around a full sized mirrorless with a decent sized zoom, never mind a bag full of options.
If I was going on safari, fair enough, but more general travel & trips, nah.
The compact for me could work…but it’s a bit too close to the phone so I always ended up using the phone. This is based on a Sony RX100V and later the ZV1.
The sweet spot for me therefore would be in no particular order, but selecting one set up from each sensor size:
Olympus OM1 + 12-40mm f2.8
Fuji XS20 + Sigma 18-50mm f2.8
Sony A7CR + 20-70mm f4
I think the APSC Fuji/Sigma combo is the most compact and lightest and though has a shorter focal length than the M4/3 combo, but has more cropping potential, but there is just something special about the OM1 and that lens that makes it very satisfying.
I had it briefly, loved it, but it did not have the outright pro capability compared with my FF stuff for my work, so sadly sent it back.
I personally would go with the Sony because it’s basically as compact as the others, the lack of a decent rear LCD and only a single card slot would not bother me for non-pro work and neither would f4, because the big draw would be being able to crop the f*ck out of that 60mp full frame sensor and forgo the ‘need’ for a longer focal length.
For me, a travel camera that is not pro work needs to be a ‘one and done’ set up.
The only other contender for me would be the Sigma FP-L but it’s just (sadly) too damned quirky and flawed.

Or the GX850/GX800/GF9 camera, which is discussed heavily in this thread...
The rules in travel shooting are simple:
Rule 1: Get the shot.
To get the shot you must have your camera with you (so it must be small, must not have been taken by security, and must not attract too much attention from others around you).  You must have it handy and ready with the right lenses (so a zoom is often more practical).  You don't know what you will encounter, so you must be able to shoot quickly.  You don't know what will happen and how you will edit so get a lot of varied coverage.
Rule 2: Get a high quality capture of the shot.
This rule is secondary to the first rule.  If anything about the camera decreases your ability to get the shot (rule 1) then it is hurting your efforts, not helping them.
Rule 3: The magic is in the edit.
Once you've returned from shooting, get to work.  Even a casual review of any travel TV series will make it obvious that the individual shots are not what make the show great, but the editing and storytelling and sound design.
If you want a good travel film, shoot a lot then open up your NLE and get to work.
Here is an award winning episode of a travel TV series - I encourage you to look through it and analyse the footage and the edit, as I have done with many examples.  I think you'll find that almost no shots are beyond a modern point-and-shoot.
(NSFW)
I have done frame-by-frame analysis of this episode, and this is one of the finest examples of editing I have ever seen.  It has a complex and nuanced storytelling and cultural narrative, has great music and sound design, uses more editing "tricks" than those nauseating YT travel videos that used every fancy transition they could find, and does it all in a way that is sensitive to the narrative.  
It makes even the best YT editors look like toddlers playing with crayons.

Compact travel definitely rx100vii or vi hands down, 2 of my friends went to compact big zoom DC for travel and leave their mirrorlees behind at home. One guy sold his Tamron 28-200mm too cause even that is big for him.
 
For me I probably get osmo pocket 3 for my compact travel gimbal camera.. can't assed bring an actual gimbal.

Has anyone invested time into thinking about this?
- not me. but you have several times before over the course of last year.
 
The iPhone 15 with log may be the win for ultimate travel ease
- good pair of shoes is. Phone without log is lighter though.
 
but curious about the quality bump and portability of these two bad boys.
- watch markuspix and save big money. who needs bad boys.
 
The smaller the footprint the less barrier to entry and more desirability to create
- not at all. joy of using is.
 
Buy any 3 of these you keep on mentioning. I think you really want to, considering your posts of the last one or two years. Meanwhile with a grain of salt but very entertaining and informative.