BTM_Pix

The R5 was a bit of watershed moment because we proved that there was a deliberate obfuscation by Canon but it also shod light on the shilling and/or powderpuff testing aspects of a swathe of the YouTube bros.
The reaction from many of them to the original report by @Andrew Reid was particularly vicious and then, sans apology, they then made shameless hay by doing the shock faced testing videos.
Never once acknowledging that not only was the camera on fire but also their pants.
I think it then died off because it was belatedly addressed through firmware and people shrugged and said "well no one is going to risk releasing an overheating camera again".
Neither aspect was re-dressed fully though so it has been waiting to come back again, not least because a lot of the bros have invested serious crypto into those stock footage flames to do the follow up "honest re-test" videos after they've surfed the wave of the initial "reviews".
I might be being a bit cynical there though 🙂

That is where I'm going with this to be honest and, despite all the hand wringing on here about it, I don't think the motivation for change will come until the 10% become the 90%.
Maybe the EU will come galloping (or more likely sashaying considering the pace they work at) to the rescue with a standard rating system for cameras denoting the number of overheating shutdowns per hour.
Call it the Sum of Heat Induced Terminations and measure it on a 1-10 scale with the higher number obviously being the worst.
It would offer more clarity and might actually shame them into doing something about it.
"So, Mr Sony, regarding overheating, what is the SHIT rating for this new camera ?"
"Oh, its very SHIT indeed."
 

I’ll preface this by saying that that is some spec and it will likely be a very decent camera.
However….
A smaller sensor inside a smaller body with smaller lenses at a smaller price was the whole raison d’etre of the Micro Four Thirds system.
The clue was right there in the name.
Panasonic seems to have looked what BMW has done since it acquired the Mini and thought “yeah, that’s the path for us too”.
In a world where their own full frame S5ii exists, let alone the compact APS-C feature laden cameras from all the other manufacturers, I don’t get where they are coming from with their latter day MFT releases and, in my opinion, they have completely lost their way with the system, particularly in terms of attracting new adopters.
Even for the old guard, you’d have to be pretty attached to that native lens collection to go in again.
Panasonic seem to have a borderline kinky reluctance to refresh the two cameras that would actually cause a resurgence in the ideology of the system as well as sales.
Namely, the GX80 and the LX100.
Putting a mic jack on them and giving them 10 bit 4:2:2 internal and VLOG would be a piece of piss for Panasonic and they could sell them all day long at their equivalent launch prices.
They might have to push the boat out and put IBIS in the LX but I don’t even think that is a deal breaker.
I’m at loss to where they are getting their market research from that’s telling them there is. Bigger demand for small sensor cameras in large sensor bodies at large sensor prices.
 

That is where I'm going with this to be honest and, despite all the hand wringing on here about it, I don't think the motivation for change will come until the 10% become the 90%.
Maybe the EU will come galloping (or more likely sashaying considering the pace they work at) to the rescue with a standard rating system for cameras denoting the number of overheating shutdowns per hour.
Call it the Sum of Heat Induced Terminations and measure it on a 1-10 scale with the higher number obviously being the worst.
It would offer more clarity and might actually shame them into doing something about it.
"So, Mr Sony, regarding overheating, what is the SHIT rating for this new camera ?"
"Oh, its very SHIT indeed."
 

I’ll preface this by saying that that is some spec and it will likely be a very decent camera.
However….
A smaller sensor inside a smaller body with smaller lenses at a smaller price was the whole raison d’etre of the Micro Four Thirds system.
The clue was right there in the name.
Panasonic seems to have looked what BMW has done since it acquired the Mini and thought “yeah, that’s the path for us too”.
In a world where their own full frame S5ii exists, let alone the compact APS-C feature laden cameras from all the other manufacturers, I don’t get where they are coming from with their latter day MFT releases and, in my opinion, they have completely lost their way with the system, particularly in terms of attracting new adopters.
Even for the old guard, you’d have to be pretty attached to that native lens collection to go in again.
Panasonic seem to have a borderline kinky reluctance to refresh the two cameras that would actually cause a resurgence in the ideology of the system as well as sales.
Namely, the GX80 and the LX100.
Putting a mic jack on them and giving them 10 bit 4:2:2 internal and VLOG would be a piece of piss for Panasonic and they could sell them all day long at their equivalent launch prices.
They might have to push the boat out and put IBIS in the LX but I don’t even think that is a deal breaker.
I’m at loss to where they are getting their market research from that’s telling them there is. Bigger demand for small sensor cameras in large sensor bodies at large sensor prices.
 

...Or even put IBIS and PDAF in a version of the G100... (but the GX80/GX9/LX100 are much better looking cameras from a style point-of-view).
If Sony can sell small, expensive and thermally-compromised cameras I'm sure Panasonic could if they had the right product...

I’ll preface this by saying that that is some spec and it will likely be a very decent camera.
However….
A smaller sensor inside a smaller body with smaller lenses at a smaller price was the whole raison d’etre of the Micro Four Thirds system.
The clue was right there in the name.
Panasonic seems to have looked what BMW has done since it acquired the Mini and thought “yeah, that’s the path for us too”.
In a world where their own full frame S5ii exists, let alone the compact APS-C feature laden cameras from all the other manufacturers, I don’t get where they are coming from with their latter day MFT releases and, in my opinion, they have completely lost their way with the system, particularly in terms of attracting new adopters.
Even for the old guard, you’d have to be pretty attached to that native lens collection to go in again.
Panasonic seem to have a borderline kinky reluctance to refresh the two cameras that would actually cause a resurgence in the ideology of the system as well as sales.
Namely, the GX80 and the LX100.
Putting a mic jack on them and giving them 10 bit 4:2:2 internal and VLOG would be a piece of piss for Panasonic and they could sell them all day long at their equivalent launch prices.
They might have to push the boat out and put IBIS in the LX but I don’t even think that is a deal breaker.
I’m at loss to where they are getting their market research from that’s telling them there is. Bigger demand for small sensor cameras in large sensor bodies at large sensor prices.
 

I’ll preface this by saying that that is some spec and it will likely be a very decent camera.
However….
A smaller sensor inside a smaller body with smaller lenses at a smaller price was the whole raison d’etre of the Micro Four Thirds system.
The clue was right there in the name.
Panasonic seems to have looked what BMW has done since it acquired the Mini and thought “yeah, that’s the path for us too”.
In a world where their own full frame S5ii exists, let alone the compact APS-C feature laden cameras from all the other manufacturers, I don’t get where they are coming from with their latter day MFT releases and, in my opinion, they have completely lost their way with the system, particularly in terms of attracting new adopters.
Even for the old guard, you’d have to be pretty attached to that native lens collection to go in again.
Panasonic seem to have a borderline kinky reluctance to refresh the two cameras that would actually cause a resurgence in the ideology of the system as well as sales.
Namely, the GX80 and the LX100.
Putting a mic jack on them and giving them 10 bit 4:2:2 internal and VLOG would be a piece of piss for Panasonic and they could sell them all day long at their equivalent launch prices.
They might have to push the boat out and put IBIS in the LX but I don’t even think that is a deal breaker.
I’m at loss to where they are getting their market research from that’s telling them there is. Bigger demand for small sensor cameras in large sensor bodies at large sensor prices.
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Just got the TTArtisan 25mm T2 Anamorphot 1.33x. This is just a quick little test with the Sony FS5 and a Tiffen +2 diopter, shooting wide open. So far I love this tiny little anamorphic cine lens. No more janky DIY scope rigs, no more clamps, no more (occasionally) slightly misaligned footage. More than worth the $350 I paid for it. I hope they release a 50mm to pair with it.
Look how compact and tiny it is:

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Prompted by a tweet from @Andrew Reid about BBC drama production in the 70s/80s, I remembered this gem of a YouTube channel where the production staff of the era discuss and reproduce their work.
The videos are a combination of bitesize and longer form and covers every stage of the production process such as these.
 
It is a fascinating collection of pieces and much can be learned and applied to shooting and editing today.
Not least of which how lucky we are to have what we have at our disposal.
Full collection here 
https://www.youtube.com/@AdapttvhistoryOrgUk/videos
 

Another potential contender for all round compact lens for the OG Pocket is this Lumix G X Vario PZ 14-42mm f/3.5-5.6.
It has two levers (one for zoom and one for focus) but in terms of smoothness I think the focus works better than the zoom but its still easy to overshoot. Like a manual version of DFD really.
The OIS is reasonable and is obviously a big advantage with the OG Pocket.
I only got this lens under sufferance to check remote zoom functionality for my controllers as it is a powered zoom and thankfully I got it really cheap because after using it in semi-anger for the first time a few days ago I am not particularly fond of it at all.
In use, I found it tricky to get focus with but the combination of it having lowish contrast so not firing the less than ideal focus peaking of the OG Pocket and monitoring on the the less than ideal OG Pocket screen and the failing eyesight of the less than ideal OG Me might well explain that so I'll have to give it another go under different circumstances.
Anyway, here are some rough, soft, low res grabs from the ProRes 422 video file and I suppose I could maybe recommend this combo if you are after less a Super 16 and more a Super 8 feel 🙂

Some frames from the Panasonic 12-32mm F3.5-5.6 on the OG BMPCC.
This lens is a good size appropriate option for the OG BMPCC as a general all rounder and has the additional benefit of IS.
It is pretty slow though but this has the advantage of you not really needing ND when you are in what passes for broad daylight in Copenhagen.
The big downside is that there is no manual focus so you have to rely on the one shot AF on the camera to pre-focus. 
Again, though, the small aperture is an advantage here as you generally have enough DOF to get away with the AF getting you in the ballpark.

As someone who went to the extent of writing an app to test every single permutation, I couldn't agree more !

As someone who went to the extent of writing an app to test every single permutation, I couldn't agree more !

Funny you should mention Cinelike V....
A couple of years ago, I did a test with the Profile Stepper app that I wrote for Lumix cameras to do a bit of analysis on their colour profiles.
The idea was to create a video for each profile that contained every permutation of contrast between -5 to +2 combined with saturation between -5 to +3 to see if there were any hidden gems that might bely the received wisdom of "Cinelike D with everything set to -5".
The original post (and thread about the app) is here 
The overall conclusion was that there weren't any hidden gems in amongst the standard profiles but, perhaps more surprisingly, I also found the Cinelike V versions to be more appealing than the Cinelike D ones.
Likely nothing that couldn't be equalised in post but for an out of camera look (which is what I was after) I definitely preferred it.
The test scene was nothing elaborate but was set up to contain enough sky, white textured wall, primary colour and black elements in a bright daylight to subjectively evaluate colour and contrast.

Each video is annotated with the profile name and Contrast/Saturation levels which update accordingly as the Stepper App changes them every 2 seconds.
It was shot on an FZ2000/2500 as that is what I was targeting with the test but will be applicable in relative terms to all Lumix cameras.
If you are bored enough to want to plough through them, this link contains a zip with the individual videos for each profile.
https://mega.nz/file/06QmwYJb#6R8aADqvKMKgG0jaWtX1e-vdTYco019KHJxl66EduoQ
 

Funny you should mention Cinelike V....
A couple of years ago, I did a test with the Profile Stepper app that I wrote for Lumix cameras to do a bit of analysis on their colour profiles.
The idea was to create a video for each profile that contained every permutation of contrast between -5 to +2 combined with saturation between -5 to +3 to see if there were any hidden gems that might bely the received wisdom of "Cinelike D with everything set to -5".
The original post (and thread about the app) is here 
The overall conclusion was that there weren't any hidden gems in amongst the standard profiles but, perhaps more surprisingly, I also found the Cinelike V versions to be more appealing than the Cinelike D ones.
Likely nothing that couldn't be equalised in post but for an out of camera look (which is what I was after) I definitely preferred it.
The test scene was nothing elaborate but was set up to contain enough sky, white textured wall, primary colour and black elements in a bright daylight to subjectively evaluate colour and contrast.

Each video is annotated with the profile name and Contrast/Saturation levels which update accordingly as the Stepper App changes them every 2 seconds.
It was shot on an FZ2000/2500 as that is what I was targeting with the test but will be applicable in relative terms to all Lumix cameras.
If you are bored enough to want to plough through them, this link contains a zip with the individual videos for each profile.
https://mega.nz/file/06QmwYJb#6R8aADqvKMKgG0jaWtX1e-vdTYco019KHJxl66EduoQ
 

Currently waiting for a gig to start tonight with my Pocket.
Fashionably early though !
Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

Currently waiting for a gig to start tonight with my Pocket.
Fashionably early though !
Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

Currently waiting for a gig to start tonight with my Pocket.
Fashionably early though !
Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.