MurtlandPhoto

Leaving Bluetooth control out of it is a ridiculous decision.
There are of course different ways to control it and yes it is primarily for broadcast but they must know full well that this camera is going to find its way into a lot of filmmaker's hands (hence why they've included the recording features) and in particular onto a lot of gimbals.
Leaving out the option to control it without those other pieces of interfacing gear is real cripple hammer territory.
If its in there but just disabled then they really should enable it toot suite.
At least the original micro had the expansion port connector to enable controllers to be made for it.

FWIW, I found the 50Mbps HD from the GH3 to be far better than the GH4 with the same settings. In general, I found the GH4's HD modes to be very poor compared to its own 4K or the GH3's HD. 

I think the Hollywood machine will largely remain the same. However, this will inspire many, many indie or lower budget productions. I really hope Edwards/Fraser detail how using such small camera package impacted the overall production. I imagine the time savings were immense. And, I imagine the FX3's low light abilities affected how they lit the picture.

I think the Hollywood machine will largely remain the same. However, this will inspire many, many indie or lower budget productions. I really hope Edwards/Fraser detail how using such small camera package impacted the overall production. I imagine the time savings were immense. And, I imagine the FX3's low light abilities affected how they lit the picture.

Right but that barrel connection makes using another third party solution like NPF or even V Mount wayyyy easier than before

I'm wondering if they may trickle some of that 12K sensor tech into a cheaper body. Pocket 12K? Or maybe a full frame sensor? Just 4 hours until we find out.

Agreed. Aside from just being ugly, it's just not a very practical design for a video centric camera. My guess though is that's how they save money on development and manufacturing costs.

The internals are all fantastic, but I don't understand why they've muddied the waters so much by using the Pocket 6K Pro body. The whole philosophy Grant talked about just screams for it to be a traditional video camera form factor.
 
...the app seems really cool though!
 

I'm wondering if they may trickle some of that 12K sensor tech into a cheaper body. Pocket 12K? Or maybe a full frame sensor? Just 4 hours until we find out.

I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.

I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.

I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.

I am very exciting about this one. First camera with IBIS, ND and AF. Perfect choice for solo operator or small teams. 8K, auto ND as in the FX line, etc.

It's a necessary evil, as it's required to make the camera competitive in the specs race that people seem to care more about, but we really are continuing to get further and further away from the promise of M43.
The lenses, or at least most of them, are still smaller but it's a real bummer that we can't get smaller cameras even if it's at the expense of higher resolutions than 4K. Perhaps it'd be too niche, but a GH5 with updated colors and PDAF in the body of a GX85 at a competitive price would make me consider getting a M43 body again. The GX85 with the 35-100 f2.8 is still one of my favorite combinations due to how low profile it is. I genuinely miss that set up and more than once have found myself regretting selling it. 

Oh great! I missed that. Definitely a deal there. I’ve seen several projections of $1995 so this is a welcome surprise 

1,398 USD

Looks like an absolute beast. He doesn't list a price here, but he says it's "significantly less money" than the FX30. I may need to pick one up as a C cam.

"Tascam has announced the DR-10L Pro, this is the newest addition to the DR-10L family. While the Pro version maintains a similar form factor and functionality, it adds the ability to record in 32-Bit Float and offers Atomos Wireless Time-Code-Sync Support."
https://www.newsshooter.com/2023/07/06/tascam-dr-10l-pro-with-32-bit-float-recording-timecode-support/
Battery life has gone up from 10.5hrs to 24.5hrs (based on two AAA lithium batteries)
Has a high-visibility OLED display, with lots of physical menu buttons for navigation. 
Has a headphone output so you can monitor the audio before/during/after recordings. 
Has an app for Android and iOS phones, you can add metadata (including project name, scene name, and take number) to the audio file. The app also gives you visual confirmation of the input audio with a waveform display over time. You can name each DR10L Pro via the app, for easy identification. 
The DR10L can now take MicroSD cards sizes up to a massive 512GB. (previous limit was 32GB) 
Comes with a free copy of iZotope RX Elements. 
Available now to preorder:
https://www.bhphotovideo.com/c/product/1773575-REG/tascam_dr_10l_pro_personal_recorder.html

Continuing this OT on 4K mainly being a Netflix and consumer TV-driven phenomenon vs 2K for theatrical with a lot of VFX, this article gives a pretty accurate breakdown considering it's a non-industry publication:
https://www.vulture.com/2022/07/4k-tv-cgi-review.html
Also it reiterates the point I made that indie films are easier to finish at 4K than bug budget ones.

Back on topic: still waiting for the Ninja V to get a firmware update to support 24P DCI out of the FX3 now it has the firmware update. It's unclear Atomos will support it at all, but here's hoping. It would have to be a 4.2k raw 24p, I guess with a few lines of pixels cropped off the top and bottom to conform to the DCI aspect ratio. 

Also from that thread, a nice mod of the Blackmagic Pocket:
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=173840&sid=d607770c079289f57c9615ae7e34fa1c&start=500#p957558 

SAVED! Dpreview now acquired by GearPatrol. Will continue business as usual!
 
https://www.dpreview.com/site-news/8298318614/dpreview-com-looks-forward-to-a-new-chapter-with-gear-patrol 

You just can't pass up a deal like that at this stage in the game. I also look so fondly on my m43 days. I was with the Panny GH cameras since the very beginning until switching to full frame about 18 months ago. There will never be a better setup than a GH5(5s,6) and 35-100mm f/2.8. No other brand or system can match that compact setup.

Interesting comparison.
For anyone not aware, it's worth noting that since the iPhone 12, they quietly upgraded to doing auto-HDR and the h265 files are also 10-bit, as well with the prores files being 10-bit of course.  It is interesting how little they promoted this - I have an iPhone 12 mini and didn't even know about it for the first year of owning it!
This is what really unlocked the iPhone for me - I have used iPhones since the 8 for video but prior to the HDR / 10-bit update it really wasn't a competitor to anything other than cheap camcorders, as it lacked the DR to record without over-contrast or clipped highlights and bit-depth to really be able to manipulate it sufficiently in post to remove the Apple colour science and curve.

....and in todays episode of "the camera YT echo-chamber doesn't know shit about the real world", here's a real-world and very high-end studio shooting VFX background plates with a gazillion BGH1 units, or arrays of GH5S paired with 12-35mm f2.8 zooms.
Their website indicates they've worked on Joker, Stranger Things, Mission Impossible, and dozens of other high-end productions.
The thumbnail appears to show 17 BGH1 units:
One shot from the Stranger Things rig detailed on their website shows "our standard nine camera array" is 9 x GH5S units - 5 at the back (with two facing sideways) and 3 on the front:

To all those who suggest that the size/weight advantage from MFT is gone, their page says "The rig was still able to fly as luggage and efficiently attach to a rental car, all while being street legal."  How much does a 24-70mm F2.8 weigh again? If you can't remember then the short answer is more than double the MFT equivalent.  In the video he talks about how each BGH1 + lens is about 1lb, and keeping the weight down allows them to rig the car up in such a way that keeps them from needing increased permitting and things like escort cars (which for 360 cameras appear in the shot).
So, the GH5S (2018) and BGH1 (2020 - 3 years old), which aren't FF, don't shoot RAW, don't have IBIS, and have been completely forgotten by the entire camera YT echo-chamber, are being actively used on some of the biggest and most VFX heavy films being made in Hollywood.
They also just casually mention in the video (11:35 if you don't believe me) they've been involved in over 2000 productions, and that "these cameras are able to match perfectly with all your A-cameras".