Alt Shoo

@steadygannet63 yea, when I close my eyes I actually see the timeline and the blocks moving. I’m being serious. I would have lots of YouTube videos published if I wasn’t so numb from editing.

Thank you very much! That video was actually meant to be longer. It’s literally cut in half. I just got tired of the editing. My day job I’m filming and editing for a popular news outlet in the states and I just couldn’t do anymore to my video. The other half I show examples of bigger and unwieldy manual MFT lenses in my collection. The VO is there and the clips I want to use, so I may just finish it over the weekend.

@maxJ4380 it should take about 5 min. If you’re able the best way to update is through the Quik App.

@kye I’m really shooting it regular, I guess? I’m not doing anything fancy other than trying to remember which way on my focus pull is far or near. Which gets annoying because of the lens changes. Lately I’ve been shooting it court side at NBA games, just using my iPhone 17 Pro Max as a monitor and the Media Mod without any other attachments for the audio. The lenses are carried in a small camera bag separated with thick paper towels to limit the clanking and potential scratching and I have a manual blower to remove any debris. I shoot in GPLog most of the time and I prefer to shoot in a 4:3 aspect ratio. Even though the Mission Monitor app allows the user to apply LUTs for monitoring, I usually like to view it flat (for me it makes it easier to see the focus peaking) or with the standard profile color LUT. My intent is to film and publish a super high quality film, run & gun style with this camera. Only using the bare minimum of equipment from lighting to sound. I know it can be done, especially with the examples you shared and what those directors used. I have a story. I just need the actors who are willing to participate in this project for food and travel expenses. I will split royalties once it’s up and available.

@John Matthews thanks for watching the video! Regarding the lenses, those are pretty much some of the most affordable lenses you can get for the ILS without sacrificing too much image quality. The 10mm fisheye is surprisingly good, especially considering it’s fixed at f/5.6. My biggest issue with it is the lack of a traditional filter thread for ND filters. I usually work around that by avoiding scenes with too many bright highlights, but I’m trying to figure out an affordable way to rig a variable ND using some sort of clamp system. I really want to use that lens more because I love the image it produces. The 50mm image is very good, but my least favorite out of all the lenses because it’s heavy (even though it fits the weight compatibility) and it isn’t sharp at all wide opened. Which is usually the case, but this is blurry soft. At f4 it’s lovely, but I really wanted to use it for those creamy portrait shots where I can see the emotional state of a person. As for labs, i’m familiar and have it installed, but I’m not a big fan of the whole QR code approach. I feel like a lot of those functions should already be accessible once the Labs is installed, instead of having to chase down QR codes. That said, it’sa great addition to the community! Now the new firmware features for photography look really impressive. I’ve watched a few videos on them, and I think photographers will get a lot out of it. I’m definitely not a photographer, so I’m personally waiting for more cinema related features. Also not sure if you didn’t realize when watching the video, I tend to put more details in the descriptions. I’d rather keep my videos relatively short and use a lot of footage. I’m much more comfortable writing about this stuff than talking about it on camera.

@kye As promised, here’s the video I mentioned over in the Narrative Films Shot in Uncontrolled Cities thread. I put together what I call my Mission Kit for the ILS, consisting of the Brightin Star 10mm fisheye, 7Artisans 10mm, TTArtisan 17mm, and the 7Artisans 25mm, 35mm and 50mm. The idea was to keep everything small, lightweight and affordable while still getting a very good image. The video is just a collection of footage shot with the different lenses, with each lens identified on screen. It’s not technical at all and it’s very casual. I’m just showing what these little lenses can do with the ILS.

@kye I actually put together a little lens kit for the ILS. My Mission Kit consists of the Brightin Star 10mm fisheye, 7Artisans 10mm, TTArtisan 17mm, and the 7Artisans 25mm, 35mm and 50mm. Trying to keep everything small, lightweight and affordable without sacrificing too much in image quality. I don’t wanna hijack this thread, so I’ll post a video I made briefly going over the lenses in the dedicated ILS thread.

@mercerits trendy to be a lemming 🙄. And that’s what a lot of personalities on YouTube are doing and once someone enters with non NPC thoughts and actions, you’re berated. That’s what stopped me from posting things on YouTube and social media in general, but I’m getting older and I have worthwhile years in the industry. I sure as heck can voice my thoughts and opinions and shouldn’t give a rats a$$ about what people say.

This is exactly why smartphones and smaller cameras like the GoPro Mission 1 Pro ILS are so appealing to me. You can move quickly, stay discreet, and still capture great images. I put together a great nimble kit for this project and I’m actually planning something similar with the ILS in NYC, grabbing shots in some premium locations to give the production a much bigger feel without a big crew or footprint. And I’m definitely grabbing some long and discreet shots.

Being in the states, I’ve become reluctant owning any DJI products.

I agree to a degree. I definitely think it can get over bearing and could possibly slow down your workflow. That’s why I shoot mostly burning a custom look in camera, but there are times when you really want to push the boundaries of an image. Whatever it is, I just make sure I’m capturing great images.

It’s a real fun camera to use. It actually brought my muscle memory back to the days of manual focusing. I remember when people used to talk condescendingly to people who relied on autofocus. Now it’s flipped. So funny. The negative comments I read about using this camera is mind boggling. If the camera isn’t for you, just go about your business. Why try to bash the person wanting to experience something different?

While it’s a great aspect of the ILS, I don’t really care much about the ability to mimic film or what have you. I just think the camera has great potential and is really in a class of its own, especially when you can get footage that looks like this out of it. Add in the various frame rates and what you can do with different lenses, and I think it’s a great camera for beginners and pros alike.

Reading up on these technologies, LOFIC is evolutionary, but OPF is revolutionary.

From everything I’ve found, Panasonic definitely sold a large portion of its semiconductor business to Nuvoton in 2019 (completed in 2020). But I haven’t found any evidence that the Organic CMOS/OPF technology itself was sold or abandoned.In fact, Panasonic has continued publishing updates on the technology. Here’s a 2023 announcement improving the OPF sensor’s color reproduction. So while none of us know if it’ll ever end up in a Lumix camera, I don’t think it’s accurate to say it’s in “cold storage” @sanveer or that Panasonic sold it off. If anyone has a source that says otherwise, I’d genuinely like to read it.

About a week now the camera section of the internet has been harping around the latest FX5 rumors. A lot of people seem disappointed that it may not have a global shutter or even built in NDs. Whether those rumors end up being true or not isn’t really my point. My point is that everyone seems to forget Lumix. Does anyone remember in 2019, Panasonic announced its 8k organic sensor tech? 8K LUMIX Instead of having the sensor basically doing everything in one layer, the light capturing and the electronics are separated. What are the benefits? Well, higher dynamic range, global shutter without the usual hit in DR, and to me the most exciting part, electronic ND built into the freaking sensor. And in this 6 years old video a Panasonic rep specifically says this tech will trickle into LUMIX cameras. It’s now been close to 7 years since the original S1H. If Panasonic has been quietly refining this technology all this time, I wouldn’t be surprised if the next S1H or a new compact cinema camera is the one that finally delivers the combination of high dynamic range, global shutter, and built in ND filters that so many people have been asking for.

I’m surprised no one reputable in the YouTube space has really talked about this outside of News Shooter. When you look at what Bosma is offering with the Vega H2, especially the specs and features, it’s pretty significant. It even has an OLPF. What’s interesting is that even though it’s clearly designed for solo shooters, it feels like it’s being overlooked in favor of something like the Vista, which to me is a pretty uninteresting camera. It doesn’t even have autofocus. To me, the Vista falls short mainly because it’s missing key features like autofocus and doesn’t feel as dialed in for real world flexible, solo workflows. The Vega H2, on the other hand, comes across more like a complete, modern system that actually supports real production needs. Seriously, go to News Shooter’s site and read the specs. It’s a highly production ready camera. Anyway to me, the GoPro Mission ILS and the Bosma Vega H2 are the real standouts at NAB.

I’d like to suggest a more refined and user friendly audio editing experience. Specifically, sample accurate editing with clearly visible waveforms, along with solid basic audio processing tools. Something similar to how Vegas Pro handles audio would make a big difference.

Yes. It’s been tough for people in the industry. I’ve been dealing with some issues myself since August of last year. I’ve re structured and started doing more personal projects with the hopes of building out a niche that will be worthwhile. Godspeed to all those experiencing this hardship.

I appreciate all the perspectives here. What I was really trying to get at wasn’t blame or entitlement, but just the feeling of saturation. The constant release cycle and hype can start to feel disconnected from where a lot of people are right now, even if the economics behind it make sense. A few of you said it well, this loop exists because we all participate in it, and stepping back is probably the healthiest move. Either way, it’s been interesting to see how differently people experience the same industry.

@kye I don’t disagree with the basic market argument, and I’m not suggesting cameras are a necessity or a right. What I was pointing to is less about entitlement and more about cultural tone. Markets can function correctly and still feel disconnected from the lived reality of a lot of people right now. Also i’m not arguing companies shouldn’t sell high end gear, only questioning whether the pace and intensity of constant releases and marketing still feels aligned with the broader moment we’re in. This is an observation about fatigue and context, not about price controls or obligations.

I think I may not have explained myself clearly, so I want to reset what I was actually getting at. This isn’t about whether people need new cameras, or whether older cameras are still capable. I agree they are. It’s also not about blaming any one company or getting political. What I’m really reacting to is the disconnect in tone. Right now, a lot of people are dealing with very real financial pressure in day to day life. Food, housing, healthcare, basic stability. Against that backdrop, the pace and intensity of constant product releases and marketing across the camera industry (and other industries) feels a bit detached from how many people are actually living. I’m not saying companies should stop innovating, and I’m not saying people are wrong for buying new gear if they can afford it. I’m just questioning whether the relentless “next thing, next thing, next thing” approach still matches the moment we’re in. Even for those of us who aren’t buying, it can create a kind of fatigue just being surrounded by it, especially when most modern cameras are already more than capable for professional work. So the question I was trying to raise is less “should anyone upgrade?” and more “does this constant push still make sense culturally and economically right now?” That’s all I was aiming to explore.

Lately I’ve been thinking about how fast new cameras and lenses come out, and it made me wonder, do these companies actually realize a large portion of the world (especially here in the U.S.) is feeling some real financial strain right now? Between rising living costs, inflation still lingering in daily budgets, and shoppers saying they plan to cut spending because things are less affordable, people in many income brackets are tightening their belts rather than splurging. At the same time, camera gear prices keep going up, with manufacturers leaning heavily into higher end products and even having to increase prices due to tariffs and costs and used gear demand is surging, which suggests many photographers are turning away from new purchases and toward more affordable options. Meanwhile the constant cycle of marketing, hype, and new products can get overwhelming. It starts to feel less like “new tech we need” and more like noise pushing us to buy things even if budgets are tight. I’m curious, do you think camera companies are aware of this, or does it not matter to them because their target audience is high end buyers? And has the constant churn of new gear given you a kind of “second hand fatigue” not necessarily because you want nothing new, but because it feels relentless and disconnected from what most people can realistically afford?

Now they are trying to take away our free press rights. Don Lemon was arrested for doing what journalists are supposed to do. Show up, document, and report. Not for inciting violence. Not for committing a crime. For pointing a camera and telling the public what was happening. That is a line you do not cross in a free society. When the state starts treating the cameras we use and reporters as threats, that is not about public safety, it is about control. This is how authoritarian systems work. You intimidate the press, you criminalize documentation, and you teach people that witnessing power is dangerous. The camera has always been an anti fascism tool. That is exactly why they are trying to silence it now. https://www.theguardian.com/us-news/2026/jan/30/don-lemon-minnesota-protest-charges