BTM_Pix

I like this camera.
The problem is I like about twelve other ones as well.
The indecision is saving me a fortune.
 

OK, I’ve managed to do spot it in a flash of a menu jn a non-related part of a ZR review.
They’ve gone for the weird to have it but then not mention it route.

If it is the z6iii underneath then that has wireless timecode over BLE from the UltraSync/AirGlu eco system.
The specs of the ZR list that it has BLE but makes NO mention of it using it for UltraSync/AirGlu.
Weird if it didn’t have it but also if it does have it but they have left it off the specs.
I’m sure one of the many extensive in depth launch day reviews on YouTube will clarify it.

Official announcement: https://www.nikon.com/company/news/2025/0910_imaging_01.html
Redcode NE?

While all the rumour sites sites try and flex about who was first with the leak about the C50, this guy is sat there quietly with a TWELVE YEAR lead 😂

While all the rumour sites sites try and flex about who was first with the leak about the C50, this guy is sat there quietly with a TWELVE YEAR lead 😂

It won’t be a subscription and what upgrade fees do appear in the future will be modest.
 

Oh…

On the surface this could appear to be the first step on the slippery slope but at least in this form it’s actually potentially a possible positive move.
Its difficult to get the detail as their link provides no further information but my reading of that tweet is that if you are working on something and need an additional seat for a collaborator then you can rent it for the time needed without having to buy them another full license.
Of course all of that still ties you in to having the paid version of their cloud account if you want to do collaborative working so there is an underlying subscription element involved albeit one with a useful every day function of storage.
Based upon the comments under that tweet, Blackmagic will be in no doubt from their users about any progression to a full subscription model for Resolve.
It might well be that this method of rented functionality tied to the Cloud account may be the way they go for access to what they consider premium new features in the future.
Time will tell.

Yes.
 
 

On the subject of the thread title of YouTubers fighting, it appears that two prominent ones have been fighting so much that they are getting divorced.
But sharing custody of the YouTube channel.

Casey Neistat and Candice?
Matt Granger and his 200/2 Nikkor?
DSLR video shooter and his entire camera studio attached to a rolling lightstand?
Gerald Undone and his own ego (or Sony?)?
Bloomie and his cats?
The Camera Conspiracies guy and his most 3d popping lens?
Snapchick and Raymond?
Cam Mackey and yellow-toned footage of cars driving around in the sand?
Pooter McCubbins and ugly poorly-made leather goods?
Potato Jet and his FPV drone?
Matti H and Pooter McCubbins' leftover views?
Mathieu Stern and other peoples' lens adapter ideas?
FroKnowsPhoto and his Canon rep?
 

On the subject of the thread title of YouTubers fighting, it appears that two prominent ones have been fighting so much that they are getting divorced.
But sharing custody of the YouTube channel.

Today might be an interesting day as apparently in a few hours time Viltrox will be announcing that they have now officially joined the L Mount Alliance.

Good news for L mount owners  in general but particularly so for those with an S9 as some more size appropriate (and low price) primes should become available.

Today might be an interesting day as apparently in a few hours time Viltrox will be announcing that they have now officially joined the L Mount Alliance.

Good news for L mount owners  in general but particularly so for those with an S9 as some more size appropriate (and low price) primes should become available.

Had a fun time trying out my X-M5 micro cinema rig on a low budget, 3 day music video shoot last week. No overheating or issues of any kind shooting 6.2k prores raw in open gate mode to an Ninja V+. Insane what this little guy can do for an $800 purchase (body). 
 
 

Although it's not exactly what you're looking for, I'd have to second the Nikon Series E lenses. They truly are remarkable little lenses. I haven't been able to find a good copy of the 35mm 2.5 but the 36-72, 50mm and 100mm are nice little lenses, especially the size of the 100mm. Also the older non-ai lenses are pretty spectacular as well. One lens I hate to mention because it does get such bad reviews is the 35-70 3.3-4.5 ai-s lens. It's tiny and a lot better than the bad reviews give it. I mean, it isn't great, but there's something very Nikon in its not greatness.
Another zoom lens I love, which I assume you're familiar with is the Canon FD 35-105mm 3.5. This lens is ALMOST parfocal. Obviously constant aperture. Internal zoom. Fairly compact. I've had a few copies over the years, then end up selling it because I didn't use it too often, regret it and seek another one. My most recent copy I put on the Sigma FP and here's a sample of it at 105mm wide open...

 
No mind-blowing image by any means, but fairly sharp wide open and I like the way it handles the highlights. Of course it's a mess in direct light... as I found out last week during a shoot. However, there are rumors that Canon considered putting the L badge onto it because they were so happy with the lens.
As far as primes, other than the Nikons, the Takumar lenses are a personal favorite of mine. I've heard people argue that the 28mm 3.5 is one of the best 28mm lenses they've used. I haven't used that one but the 35mm 3.5 is excellent.
I've used a couple of the wide angle Tokina lenses from the late 70s, early 80s and they were decent, but I think they were f/2.8 lenses. Obviously you could get a cheap Neewer fixed ND to pop on the lens and leave there to give you that slower stop and to protect the front of the lens. Also check out the old Vivitar lenses, I have a set of mostly Tokina made ones in the m42 mount and I have always been very fond of them. The image instantly feels like an old 70s made for TV movie. I'm probably going to sell them though, not because I don't like them, I just have too much stuff and really need to scale back.
I guess you could also look at some of the older Zeiss Jena lenses... even the MF ones would give you the slower apertures you were looking for wide open.
Great thread! Wish there were more threads like this on here like it.

If you want a vintage set from the same range that are pretty uniform and readily available then the Nikon Series E are worth a look.
They are available in the following focal lengths.
Prime Lenses: 
E 28mm f/2.8, E 35mm f/2.5, E 50mm f/1.8, E 100mm f/2.8, and E 135mm f/2.8. 
Zoom Lenses: 
E 36-72mm f/3.5, E 75-150mm f/3.5, and E 70-210mm f/4.0. 
Obviously, no wider than 28mm may or may not be a deal breaker for you personally.
The zooms are one touch such was the fashion at the time but are good performers.
As I say they are all from the same range so are more matched than having to pick from this and that branch of, say, CZJ etc.
You can get them for an average across the set of around £75-90 per lens plus budget £10 for each F to EF adapter.
Plenty of examples to peruse here
https://www.flickr.com/groups/1032976@N23/pool/
If you can stretch the budget, the Contax Zeiss range is compelling but for 1/3rd of the price the Series E range is a decent option.

The cupboard in question

The cupboard in question

Turns out I had the Makinon in a cupboard all along and will also give it a go.
Some of these old zooms have terrible 1.5m+ minimum focus distances or rely on an awkward to engage separate macro mode, but some have the macro mode on the main focus ring and some are even par-focal. The Exakta 28-70mm F4 MC Macro (made in Japan with 62mm filter thread, and mine is an M42 mount version) in particular stands out for me, nice vintage look, nice size and weight, ergonomic to use, decent optics and distortion, covers GFX 100 well, especially in square 1:1 aspect for stills or 16:9 for video, and focuses down to 1:3.2 macro with one turn of the main focus ring (no funny separate mechanism to contend with).
The best for flare is the absolutely pre-historic Voigtlander Zoomar 36-82mm F2.8, think it was the first ever zoom lens for SLRs, the distortion is absolutely insane at 82mm but if you stay between 36-70mm it has a lot of cinematic goodness. 

This offer is only for the UK.
The SFU-2 software key provides RAW over HDMI for the S5ii as well as V-Log and waveform monitoring for the original S1.
This offer from Panasonic is quite a bit of a drop from the £160 that it usually is and it’s available here for an undetermined amount of time.
https://store.panasonic.co.uk/upgrade-software-key-for-lumix-s1-dmw-sfu2gu?___store=default

And now due to the overreach of the online safety bill in the UK, the government are determined that they will be in the room with us.
With regard to the look, have you got anywhere local to you that has featured in a programme/film that you like ?
Might be an idea to take a screen grab, put it on your phone as reference for framing and basic time of day and see if you can take some footage to get anywhere close to emulating it.

Yesterday I played around with FLC and grading some clips from Korea and the GH7 and 14-140mm.  I plan to do a range of tests around settings for softening / sharpening / adding grain / other texture treatments in post, but YT compression is pretty diabolical so I'll need to do quite a number of upload tests to see what settings in Resolve get you what result on YT.  I also went much bolder with the colours too, thinking of Gawx.
This was a first attempt just to work out the ballpark of where to start.
Probably the immediate takeaway is how the grain is quite different per shot, despite it being applied evenly to all shots.
Here is a comparison between the timeline in Resolve, the 42Mbps h264 4K export, and the 12.6Mbps h265 4K YT download.
Shot 1 - Resolve:

Shot 1 - Export:

Shot 1 - YT stream:

Shot 2 - Resolve:

Shot 2 - Export:

Shot 2 - YT stream:

Shot 3 - Resolve:

Shot 3 - Export:

Shot 3 - YT stream:

Impressions:
I'm told that film grain is most noticeable in the mids and shadows, so the distribution is consistent with film, which partly explains why the first image has less noticeable grain as most of the image is quite bright or quite dark.
The sky shot seems to have lots of grain as it's a flat surface in the right luma range, but it seems that more grain is retained on the YT stream because there is less movement in the frame for the compression to cover.  Whereas on the street scene the grain is considerably reduced despite having similar darker flat surfaces.
I didn't apply any softening to this video, so the sharpness is direct from the 14-140mm -> GH7 5.7K to C4K downsample -> C4K 500Mbps Prores 422 -> 1080p timeline image path.  The 14-140mm isn't tack sharp but it's not too bad.  I've noticed in the past that grain can make images look sharper than they really are, but in this example the grain combined with the compression probably softens detail as a net result.  I will definitely be exploring this relationship more.  Film is known to have a sharpness of >1 at its maxima, so having some sharpening applied seems appropriate.
Overall it seems to do a pretty good job capturing the grain, here's the next frame from the YT download so you can compare what is grain and what is detail and texture in the scene.

@Tulpa
If you are buying from scratch and don't have a lot of lenses etc in a particular format that you want/need to use then I'd be looking at this camera too.
It is smaller and lighter than even the very compact GX-80/85.

Compared to the bigger MFT offerings in the G and GH series then it is even more of a stark difference in form factor but it is also dramatically cheaper.
Video specs, it shoots 4:2:2 10-Bit and has the open gate mode which for this sort of expedition might well be beneficial to you as you can more easily reformat the footage in different aspect ratios for social media etc.
It has the colour profiles for ease of use but it also shoots in both flavours of F-Log so you can roll your own look.
Lens wise, it has not only got a huge back catalogue of native lenses (a lot of which have stabilisation) and are plentiful on the used market but it also has a lot of fast compact 3rd party lenses like Viltrox which are available at the sort of prices we all remember MFT lenses being back in the day !
Obviously, it has the larger sensor too....
The "downsides" would be considered to be the lack of IBIS and having what appears to be a vague degree of weather resistance - I couldn't find any definitive answers on that one.
The lack of IBIS may well actually prove to be a blessing in disguise if the camera is going to spend any amount of time on the handlebars while you traverse over what for large chunks of the journey will be less than smooth surfaces. Wear and tear over three years will be bad enough without throwing the fragile mechanisms into the mix.
There is a reason why shows such as Top Gear went with the IBIS-less GH5s (although I'm not sure if the story of show wanting to use the GH5 minus it was actually the trigger for Panasonic to make that version is apocryphal or not).
Whatever way you go, I'd spend some research time on the best shock mounting options as it will be a point of failure for any camera that you go with over that period of time.
As for the weather sealing...
Back in the dark distant past when I was a professional sports photographer using battleships like the D3/D4/D5 etc they could take a hammering but as soon as the rain/sleet/snow became a bit too much none of us were taking that chance that they were immune to it so out would come the covers for both the bodies and the lenses.
Think Tank make good ones but they are all designed for bigger cameras rather than the X-M5 so on a more prosaic level, these are cheap and cheerful at less than £11 for a pack of four and won't take up much space.
On a trip like this when you are likely going to encounter very real weather, I wouldn't take any chances with the weather sealing rating vague or otherwise of smaller cameras.

@Tulpa
If you are buying from scratch and don't have a lot of lenses etc in a particular format that you want/need to use then I'd be looking at this camera too.
It is smaller and lighter than even the very compact GX-80/85.

Compared to the bigger MFT offerings in the G and GH series then it is even more of a stark difference in form factor but it is also dramatically cheaper.
Video specs, it shoots 4:2:2 10-Bit and has the open gate mode which for this sort of expedition might well be beneficial to you as you can more easily reformat the footage in different aspect ratios for social media etc.
It has the colour profiles for ease of use but it also shoots in both flavours of F-Log so you can roll your own look.
Lens wise, it has not only got a huge back catalogue of native lenses (a lot of which have stabilisation) and are plentiful on the used market but it also has a lot of fast compact 3rd party lenses like Viltrox which are available at the sort of prices we all remember MFT lenses being back in the day !
Obviously, it has the larger sensor too....
The "downsides" would be considered to be the lack of IBIS and having what appears to be a vague degree of weather resistance - I couldn't find any definitive answers on that one.
The lack of IBIS may well actually prove to be a blessing in disguise if the camera is going to spend any amount of time on the handlebars while you traverse over what for large chunks of the journey will be less than smooth surfaces. Wear and tear over three years will be bad enough without throwing the fragile mechanisms into the mix.
There is a reason why shows such as Top Gear went with the IBIS-less GH5s (although I'm not sure if the story of show wanting to use the GH5 minus it was actually the trigger for Panasonic to make that version is apocryphal or not).
Whatever way you go, I'd spend some research time on the best shock mounting options as it will be a point of failure for any camera that you go with over that period of time.
As for the weather sealing...
Back in the dark distant past when I was a professional sports photographer using battleships like the D3/D4/D5 etc they could take a hammering but as soon as the rain/sleet/snow became a bit too much none of us were taking that chance that they were immune to it so out would come the covers for both the bodies and the lenses.
Think Tank make good ones but they are all designed for bigger cameras rather than the X-M5 so on a more prosaic level, these are cheap and cheerful at less than £11 for a pack of four and won't take up much space.
On a trip like this when you are likely going to encounter very real weather, I wouldn't take any chances with the weather sealing rating vague or otherwise of smaller cameras.