MrSMW

But speaking of ‘peak camera’, what would be a future, ‘next gen’ option for me, not because I needed it, but because I wanted it?
A better built, chunkier, fully articulated rear 4 inch LCD, spec of the S1Rii, ‘S9ii’ body.
Essentially take the whole internal spec and articulation of the S1Rii and pop it in and on a ZR/FX style body.
Now that truly would be a Thanos with all the stones camera for me!

It’s never sorted!
Well it both is and it isn’t…
For circa 15 years, without any manual or handbook, I have been exploring hybrid capture as a one man band and there have been; limits (earlier on), many (many!) dead ends and of course compromises.
2026 has been the first year I can truly say, yep, I can no longer find fault.
Further tweaks, for sure, one of those being possibly…and even though I have just got it, swapping the gimbal and L10 for the Pocket 4 P.
But for the main stuff, as things stand, there are no ‘better’ options, only sideways moves.
The S1Rii is quite simply, in my opinion, the best hybrid camera, or put another way, the least compromised, but I’d stick with the former and say best.
The combo of; size, weight, picture quality for both stills and video, at a flick of a switch, is superb and more than enough for my needs.
The fact that it’s in essentially a modified S5ii body has proved for me to have been a good choice. Yes, I still prefer the S1H body, but the reality is the difference in size & weight is an entire prime lens so…
The S5ii just gets in with job, - a workhorse static unit, but in other uses, really is not real world far off the S1ii.
The S9 could be better built IMO, but the quality of the output offsets some of that for me and as mine is in an XLCR full cage jobbie, it’s actually bigger and heavier than the S1Rii, even with a Smallrig half cage…which is why it lives on a lightweight tripod.
Nope, the tweaking & twiddling will never be over, but 100% there is nothing further I ‘need’ to do and scrapped previous plans to try 3 slightly different set ups for the rest of the season as they were primarily based on using the Sigma 28-105 for stills, but I’m done with lenses much over 500g for all day handheld work and a lens like that, for all day use, really does need a battery grip, especially if continually rotating into a portrait orientation and back and it’s that combo really that makes it undesirable to me, ie, it’s 2kg+ combo compared with something a little over 1/2 of that.
 

Well that was an easy decision…
Put the battery grip on one of the S1Rii’s and then the 28-105 and…
…immediately took both back off and put the prime back on.
The battery grip is being returned and the 28-105 getting welded on to the S5ii with battery grip that lives on a chunky medium-weight tripod.
NOT ever going back to any big zooms or anything that requires a battery grip.
The best system (for me) at this current time is the one I’ve been running.

They cannot have NOT looked at it as the older 18-35 had a 50-100 sibling, but maybe it’s a case of the longer lens didn’t sell well or they think it’s covered somehow with the 28-105 and Samyang’s 35-150?
Or it’s on the pipeline…
Up until just a few weeks ago, the pairing of their 28-45 1.8 and an ‘imagined’ 45-90 f1.8, was end game for me, but since I went back to the pairing of 2 primes, mostly the 35 & 85 f1.8’s, I’m moving more towards the opinion that I already have my ‘end game’ set up because I ask myself, what would I really gain with a chunky twin zoom set up over what I have now?
A bit of range; 28-45 vs 35 and 50-100 vs 85 and yes, that would be welcome, but do I really want that weight & bulk?
Probably not.
I’m still interested, but I think it would only be on the basis of instead of working primarily with 2x hybrid units, going back to having 1x stills dedicated and 1x video dedicated, in which case the use of zooms would be a necessity or I really would lack any kind of range.
On a single body, the 28-45 would be perfect for indoor and low-light work and something like a 45-90, perfect for outdoor. I’m talking stills or video because that pairing would work dedicated to either on a single body paired with my second S1Rii paired with either the 17-40 dedicated to video or the 28-105 dedicated to stills.
We’ll see. Consistency is a massive factor and on my journey of shooting gigs solo hybrid with equal parity between stills and video, I haven’t had much stability until this year, the first I have had the same system from start to finish.
OK a couple of necessary workarounds as in mid season, I broke my S9 and had to use the L10 in it’s place and juggle a few other bits of kit around and then broke my 70-200, plus playing with the set up within the set up, but consistency of familiarity with the overall tool set.
Ideally, I don’t want to be doing any fiddling in 2027 and run a full season with the exact set up I start it with.
If Sigma pop out something akin to this 45-90 f1.8 with internal non-extending zoom over the Winter or Spring, then that game is almost certainly on.
If they don’t, I think it will be the primes locked in for the season and the 28-105 f2.8 goes into the static role which is really what I intended for, replacing the slower, unnecessarily long (and broken) 70-200 f4.

50p on the S1Rii’s, S9 and L10 but don’t really do much slow mo these days.
I shoot 25p on the S5ii as what I shoot with that I would never need to slow down.
Supposedly better AF shooting 50p over 25p but not sure if it makes much difference?
I suspect I will prefer the 28-105 more for stills than video and my favourite video lens is the 17-40mm f1.8 APSC crop lens.
25-60mm FF equivalent with a DOF wide open more line f2.7 but retaining the light gathering capability of the f1.8 it is, pretty compact and non-extending zoom.
I did like the 28-45 f1.8 full frame lens but a bit of a limited range, especially for it’s size and weight and so replaced it with that 17-40 which I MUCH prefer, but you have to be happy to shoot cropped/S35…which I am and on the S1Rii allows you to shoot 4.7k 50p in a 4:3 ratio crop, so even ‘better’ than open gate.
I would flip back to the full-frame 28-45 f1.8 and use it as an indoor/low-light lens, but ONLY if Sigma bring out a longer focal range sibling such as a 45-90mm f1.8 with internal non-extending zoom…but no signs of that so I’ll stick with what I have.
One of my 4 set ups I am playing with is next weekend, S1Rii plus battery grip plus 28-105 dedicated purely to stills and the other S1Rii with the 17-40 which with e stab switched on gives a focal range equivalent to 36-84mm which is a preferred outdoor range for me.
It’s the set up I am most interested in along with my twin S1Rii plus any choice of 4 primes including; 18/35/50/85.
The former is bigger and heavier, but offers a bit more range at any time with the stills and the latter is pretty compact and low weight…and just works so the 28-105 will probably end up on my S5ii, but we’ll see…

That would not surprise me a bit and although I have not watched a single review other than the CVP one…and even that, not all the way through, I have noticed a while recent bunch of LUMIX converts posted they have one.
I imagine a bunch of them at least will shortly be posting a piece regarding why they flopped back to Sony, soon enough…
I’d have no problem flipping back to Sony myself, but it would be the FX3A and FX30’s plus A7RV, all used, because all of that kit is more than good enough for me.
The A7RV is still the best stills camera I have owned, though my S1Rii’s are better hybrid and as that is my bread & butter…
It’s an unlikely scenario though as my LUMIX gear just works and shiny new stuff for the sake of shiny new stuff, is not enough of a draw for me personally.
Still, no harm in looking and pondering from time to time!

A short from Filippo Chiesa

Thanks to Sony Italy, I had the opportunity to put the new FX5 through its paces on a real project I’m currently working on. I shot everything in X-OCN LT 5K open gate, using spherical lenses. The FX5’s sensor is truly wonderful, and I believe its performance sets a new benchmark for cameras of this type—and beyond.
 

I dream of having a tool of this magnitude.
Being serious, as someone who really does not want to rig out his cameras as after all, I am a hybrid shooter, the larger, clearer and brighter the rear LCD is, the better because I shoot exclusively with the things.
It’s also why I prefer a tilt over a flip out.
Fully articulated works better for me for the stills side, but tilt for video.
Hopefully all cameras in the future will increasingly work on having these physical features which probably benefit more folks than massive pixel counts or bloated codecs.
Less grading is financial boon to the small business as time saved is time that can be put to use elsewhere, or increase profitability.
That is what draws me to the Red codec, but as things stand, that storage costs defeats any savings for me, but the grading time is a draw…

But but but but the Z6iii doesn't have a 4 inch rear LCD 😜

But but but but the Z6iii doesn't have a 4 inch rear LCD 😜

I think you'll find that you are expected to pay disproportionally (/a lot) more money for a slightly better feature set.  😉 How else are manufacturers supposed to bridge the gap in pricing between an individual vlogger's camera (2000€) and cameras made for cinema and TV network productions (30k€-300k€) where 50-100+ people are listed in the credits and their salaries total much more than the equipment used in the production? This apparent gap in prices is likely due to the fact that there are so many vloggers (a low price can be offered due to the large volume and stills photographers using the same cameras) and a small number of studios and networks with very specific needs and completely different production workflows (so a small number of units with very specific needs are made, at high prices).  How this gap between product categories is covered is likely a significant challenge, and will always cause some customer unhappiness.
 
For gimbal use, and extended arm use (vlogging with person shooting and talking to the camera) the small size and low weight, combined with a large display of the ZR are probably ideal. What such a user needs a R3D RAW workflow for, is a bit of a mystery for me. 🙂 I imagine productions using RED cameras as main cameras might be happy to use the ZR for situations where the RED camera is too large to fit, or too expensive, such as mounting on cars, etc. they can then more easily color match the footage from the different cameras. The larger the camera and the heavier it is, the larger the gimbal needs to be, and hand-holding a gimbal gets tiring quickly if the setup is heavy. For this purpose I would imagine the ZR is good, provided that one can handle the data. I find the Z8 with 24-70/2.8 internal zoom and RS 5 would be too heavy for me. 
 
Nikon does offer better h.265 and other codecs in Z8 and Z9 (with no excessive noise reduction in log footage), for example, but no R3D NE. Here the color matching is good between traditional Nikon stills camera color science and the video, rather than that of traditional video and cinema camera manufacturers. 

Had it for a year. Sold it.
It wasn’t for me. OK outdoors but too slow indoors/low light and I’m not a fan of lenses that extend when zoomed out unless it’s a very small movement such as with the Sigma 28-70 but would much prefer internal zoom and that is a very high priority for me.
I have the 70-200 f4 (the lens I traded the above for and it’s a ‘better’ lens but obviously a completely different focal range) but it’s currently not working. 
Dropped my camera bag and it hasn’t worked since and suspect it’s the OIS… 
Back to the ‘affinity’ though, us working pros have a different criteria to the enthusiast in that we don’t shoot on a whim, but because we earn a living from doing so.
We literally can’t afford to have less interest on any given day and a lack of enthusiasm for any tool probably means we should at least be considering another option!
Then there is familiarity and boredom.
Familiarity is of course a good thing and there is always a learning curve with any new tool that can be a bit of a PITA.
I’m always tinkering with a tweak here and a tweak there such as yesterday, disabling the red video button when shooting stills because I’m sick of catching it when flipping to portrait orientation and thereby not only wasting time and a possible split second opportunity, but it’s even more annoying when it’s a bit of crappy upright video!
I have also finally found a baked in LUT look that I trialled this weekend which gets me SOOC something very close to the final image with virtually zero grading required, - combo of many factors including; the stellar image the S1Rii puts out over any other LUMIX camera since the S1H, lens choices, blending 2 different LUTS in camera; one specific conversion and one other at a certain percentage, with exposure and WB choices all pre-saved on the custom mode dial. That’s massive for me for workflow and can only come from familiarity with the tools in real world working scenarios, ie, whenever I test this stuff at home, it pretty much never works due to all kinds of reasons but mainly it’s tricky to replicate my working scenarios as anything other than work scenarios!
Familiarity means the tools get out of the way allowing you to focus on more important stuff that is purely down to YOU, ie, subject, composition, DOF yada yada yada. 
And then there is boredom which is a lot more subjective and can often be combined with GAS.
GAS is probably the wrong term as my interpretation of it is more stuff generally so ‘desire’ might be more appropriate as in which do I desire the most, an S1Rii or an SL3-P?
No contest but when we take desire out of the equation, it’s a bit like that, f*ck/marry/avoid scenario, the SL3-P is the first, the S1Rii is the second and the ZR is the third, for there simple reasoning for me, that the latter has too many flaws for my requirements and I know I’d resent her compromises quite quickly.
Any Nikon; ZR, Z6/8/9, the Megadap E Mount lenses are for me biggest draw, but  only ‘equal’ to me the L Mount equation I am already in ie, would only ever be a sideways move at this time and sideways is really only viable of you have cash to burn. 
For me, it’s never been about a search for some kind of holy grail setup because it doesn’t exist.
It is however getting very close and I just need the love child of a ZR with Lumix internals and Sony glass…

I’ve come close to pushing the ZR button a few times now and there are really only 3 things that have prevented me doing so…
1. The file sizes of that Red Raw codec. Apparently N raw is the next best option and there are of course some ‘workarounds’, but until there is a compressed version that maxes out at no more than 1000 mbps, it’s just too much and one of the principal draws of this camera is the Red codec.
2. I’m not unhappy with L Mount. In fact the opposite except for one factor and that is the absence IMO of equivalent lenses to Sony’s: 28-70 f2, 50-150 f2 and Tamron’s 35-100 f2.8. It’s ‘almost’ worth switching just for these lenses alone, but that last word, ‘alone’, but alone is not enough and lenses aside, everything else that L Mount, specifically Lumix offers, beats that of Nikon & Sony.
3. I still have hope that from within the L Mount Alliance, over the coming Winter and next Spring, either (or even both) a rangefinderesque camera will appear from either Lumix or Sigma and at least one rival for one of the lenses above, will appear. Unlikely to be a Leica, but next gen FP a possibility and even more likely, an S9ii?
4. Bonus reason, - switching not only costs money, but there is always a settling in period with any new system that frustrates.
So my set up now just works, I have it and I like it and as above, my only real crit is with regard to certain lenses, but the ZR body style just appeals to me and I would like that rear LCD, but ideally as a fully articulated unit which is a bit of a missed opportunity IMO.

In purely lens terms, ie, not considering any camera body or brand, 28-50 is perfect for me indoors so either Sigma’s 28-45 f1.8 or Sony/Canon’s 28-70 f2’s are ‘perfect’ other than size, weight & cost.
There is the compromise but for the way I work, it is a case of:
A. 2 bodies + 2 primes vs 
B. 1 body + 1 fast zoom
Now of we redo the size, weight and financials, we are in the parity ballpark, so it becomes a case of which option do we prefer, - the single larger heavier unit, or bouncing between two smaller & lighter set ups?
I am currently in scenario A but in other seasons have worked with scenario B.
Pros & cons to each!
Outdoors, my ‘perfect’ focal range is 50-100 with a smaller (but essential need) to go as wide as 28 and as long as 150.
A 70-200 doesn’t work for me, even if an f1.0 landed, it would still be a hard nope.
Too long, not wide enough.
The 28-105 is the closest in L Mount right now if I remove the Samyang 35-150 from the equation.
First of all, it’s bit really an f2 other than at the widest end where really it is just an f2 35mm, but a massive and heavy one.
I’d rather have the Sigma 28-105 for outdoor work and crop a bit and for indoor, as things stand, the Sigma 28-45 f1.8.
This is my most likely scenario continuing with L Mount next year which is also my most likely scenario as things stand for reasons already mentioned, namely, I am already invested in the system and happy with it other than some lens niggles.
I am pretty sure if Nikon had got the ZR right for me in just 2 further areas; a fully articulated rear LCD (or even just a tilt) and had a 1/4 size Red codec, it would have been a done deal.
I began my career with Nikon and was was with them for 9-10 years and still have a certain, perhaps nostalgic affinity with the brand.
Fuji was almost another decade and I could easily jump that way for stills, but not video and I have niggles with their lenses for my stills needs as it would be GFX in that regard and there are no rangy fast zooms so it’s a no go for me.
I have zero affinity with Canon though always loved the idea of an R3…but nah, that really would be an entirely new system for me.
I’ve been in and out of Sony various times and could go that direction but there is something slightly lacking I cannot quite put my finger on and the best I can come up with is that word ‘affinity’ again. They have ALL of the lenses and I really like the FX style bodies but still…
And so L Mount…
Leica, for all its criticism and arguably elitism, probably does have a difficult to quantify ultimate quality edge in stills over Lumix, but worth the money? Probably not real world, but does have other merits…
SL3-P over S1Rii purely for stills? Hell yes.
Entire S1/S5/S9 range over anything else in the same price bracket for video? Hell yes.
Leica, Lumix & Sigma for lenses generally, yup they have it.
This is just an early morning coffee ramble really.
Another 8 months will determine following 5 years for me…

N-RAW Normal at 25 fps should be below 1000 Mbps. If I calculated correctly, N-RAW High Quality (which is similar to R3D NE) has a compression ratio of approximately 1:4 compared to uncompressed raw video (which is not available on the ZR, for obvious reasons). N-RAW Normal is about 1:8. RED's own codecs (not TicoRAW) in the (not Nikon) RED cameras range from 1:2 to 1:22 depending on settings. I suspect Nikon didn't implement the lower quality TicoRAW in the R3D NE codec (although both Normal and High Quality are available in N-RAW) because of the additional quality loss, and as a matter of protecting the quality expectations associated with the RED brand. They could be simply trying to impress.
The ZR body is quite lightweight and slim, and adding more heat sink materials, a fan etc. to enable better quality compressed codecs would have made it larger and heavier, as would adding more hinges and mechanics to make the back LCD screen more flexible in the angles that are offered. I can imagine a bunch of things that could be wanted, such as full size HDMI, SDI, XLR, etc. connectors. THe ZR is probably as small and light as Nikon could make while enabling long recording times and R3D NE recording. 
Rather than focus on the data rates, I am puzzled at the lack of fully featured software support for the raw video formats. Some formats (R3D NE) reportedly offer a good visual match between what you see on the camera LCD with LUT applied but if you want to apply distortion corrections, a separate transcoding utility need to be applied to convert the footage to Prores. With N-RAW you can get lens profiles applied in Davinci Resolve, but the color doesn't apparently look like how it was on the camera display (?). If you use Premiere, N-RAW is shown with RED's Log profile, which then is different from what you see on camera in the view assist mode. People complain that you cannot cut the R3D NE and remove parts and rewrite the edited footage in the R3D NE format, instead it has to be transcoded into something else before the trimmed footage can be stored (if it is stored in R3D NE format the file does not get smaller). With N-RAW you can cut parts out and store it in N-RAW, so why is this different for R3D NE? Or did I get I could have gotten some parts wrong but to me it seems the software support is as much missing as the camera firmware, and the raw video is sort of an experimental feature at this point.
Some comment and seem to think that to get the maximum quality is essential but then complain that the resulting files are too large, even though they are compressed at 25% of original data size, and further compression visibly reduces the image fidelity. I think for video there has to be a realization that you cannot get still-camera like detail and expect small file sizes. A compromise needs to be made. I like using Prores 422 HQ 4K on the Z8 as it allows the distortion profiles to be applied based on lens type and still looks fantastic to my eye, while avoiding the 8K. I can immediately tell the h.265 (which in Nikon's case is always 4:2:0) does not have as rich color on textured, colorful clothes as the 422 codec. Absurd in-camera file sizes, almost as big as 6K RAW? Yes, but it just looks gorgeous and is easy to edit. I delete the original files once I'm done with editing. I can't imagine shooting 8K RAW but with a 6K camera the RAW option is a possibility, once storage costs go down. At the moment the cost of a fast external SSD I got 3 years ago is three times as high as it was in 2023! Hard drives seem less affected and are a possibility for long-term storage, but for editing the SSDs are better.
About your lens preferences, the 50-150/2.0 is 4599€ here, quite pricey! Although a set of f/2.0 primes would also be expensive, and together would be heavier, I still would choose the primes for their smaller size in hand, or use the 70-200/2.8 as a classic choice which is available on all major mounts. But I can see that a portrait and event-oriented photographer might prefer the f/2.0 zooms over primes or the f/2.8. I don't think the f/2.0 zooms will become mainstream though, as the f/2.8 are very high quality, lower priced, and have greater range. 

I’ve come close to pushing the ZR button a few times now and there are really only 3 things that have prevented me doing so…
1. The file sizes of that Red Raw codec. Apparently N raw is the next best option and there are of course some ‘workarounds’, but until there is a compressed version that maxes out at no more than 1000 mbps, it’s just too much and one of the principal draws of this camera is the Red codec.
2. I’m not unhappy with L Mount. In fact the opposite except for one factor and that is the absence IMO of equivalent lenses to Sony’s: 28-70 f2, 50-150 f2 and Tamron’s 35-100 f2.8. It’s ‘almost’ worth switching just for these lenses alone, but that last word, ‘alone’, but alone is not enough and lenses aside, everything else that L Mount, specifically Lumix offers, beats that of Nikon & Sony.
3. I still have hope that from within the L Mount Alliance, over the coming Winter and next Spring, either (or even both) a rangefinderesque camera will appear from either Lumix or Sigma and at least one rival for one of the lenses above, will appear. Unlikely to be a Leica, but next gen FP a possibility and even more likely, an S9ii?
4. Bonus reason, - switching not only costs money, but there is always a settling in period with any new system that frustrates.
So my set up now just works, I have it and I like it and as above, my only real crit is with regard to certain lenses, but the ZR body style just appeals to me and I would like that rear LCD, but ideally as a fully articulated unit which is a bit of a missed opportunity IMO.

I’m actually seriously considering going over to Sony for stills at least, purely due to the lenses and the FX2 is a contender, but the A7RV more likely.
It’s lenses. L Mount still does not have viable contender for:
28-70 f2
50-150 f2
70-180 f2.8
OK, there is the Sigma 28-45 f1.8 and the 28-105 f2.8 but the pairing of Sony’s 28-70 for mainly indoor work and their 50-150 for outdoor, would be a dream single body set up for me.
Most likely Megadapted on a Z8 body…
But then again, all L Mount need to do to retain me is produce at least a longer focal range sibling to the 28-45 f1.8 and I’ll be a happy boy.

The one thing I have not tried is the e stab, but straight out of the box with zero set up other than a quick balance, on the RS4 mini with the optional tracking module, it worked superbly.
Not even close to anything like overheating, but then so far, I have only really been shooting stills with it.
Start up time must be fine as I have not noticed anything other than it takes a second or so for the zoom to find it’s last setting, either; 28, 50 or 75mm as I have it set.
Battery life excellent. I just came back from a week long trip to Scotland and shot well over 1000 frames and battery still showing 2 bars.

L10 update…
Shot 5x wedding ceremonies plus their day prior & post events exclusively on the L10.
Stills only so far…
The experience and results have been great.
Not S1Rii great or even S9 great (but in isolation more than good enough as a back up camera stepping up to do a job) the latter  of which is supposed to be my back up camera but was in the shop being supposedly fixed…but as it turned out the fix was going to cost more than buying another mint used one, I bought another.
Also one week long family adventure as my sole camera. Also perfect for that.
However, now that I am back with 1.5x S9 camera bodies, I have decided to repurpose the L10 as; personal plus back up plus dedicated gimbal unit.
Bought my 4th gimbal but this time determined to actually use and keep it…my previous issues being a combo of; reliability, weight, too much kit, user ineptitude…but as it’s an RS4 Mini with the tracking unit and L10, it should be a pretty sophisticated and lightweight unit.
Only 3x more jobs that have video this year but at least it will be a good test ahead of 2027 where every job is hybrid.
Should be GH7 level results, albeit with a fixed lens and the lack of IBIS the L10 has removed and improved…
 

L10 update…
Shot 5x wedding ceremonies plus their day prior & post events exclusively on the L10.
Stills only so far…
The experience and results have been great.
Not S1Rii great or even S9 great (but in isolation more than good enough as a back up camera stepping up to do a job) the latter  of which is supposed to be my back up camera but was in the shop being supposedly fixed…but as it turned out the fix was going to cost more than buying another mint used one, I bought another.
Also one week long family adventure as my sole camera. Also perfect for that.
However, now that I am back with 1.5x S9 camera bodies, I have decided to repurpose the L10 as; personal plus back up plus dedicated gimbal unit.
Bought my 4th gimbal but this time determined to actually use and keep it…my previous issues being a combo of; reliability, weight, too much kit, user ineptitude…but as it’s an RS4 Mini with the tracking unit and L10, it should be a pretty sophisticated and lightweight unit.
Only 3x more jobs that have video this year but at least it will be a good test ahead of 2027 where every job is hybrid.
Should be GH7 level results, albeit with a fixed lens and the lack of IBIS the L10 has removed and improved…
 

L10 update…
Shot 5x wedding ceremonies plus their day prior & post events exclusively on the L10.
Stills only so far…
The experience and results have been great.
Not S1Rii great or even S9 great (but in isolation more than good enough as a back up camera stepping up to do a job) the latter  of which is supposed to be my back up camera but was in the shop being supposedly fixed…but as it turned out the fix was going to cost more than buying another mint used one, I bought another.
Also one week long family adventure as my sole camera. Also perfect for that.
However, now that I am back with 1.5x S9 camera bodies, I have decided to repurpose the L10 as; personal plus back up plus dedicated gimbal unit.
Bought my 4th gimbal but this time determined to actually use and keep it…my previous issues being a combo of; reliability, weight, too much kit, user ineptitude…but as it’s an RS4 Mini with the tracking unit and L10, it should be a pretty sophisticated and lightweight unit.
Only 3x more jobs that have video this year but at least it will be a good test ahead of 2027 where every job is hybrid.
Should be GH7 level results, albeit with a fixed lens and the lack of IBIS the L10 has removed and improved…
 

It's funny, I'm pretty aligned with your thoughts, just like you, I'm on the back end of my commercial life (went full time in 1993) and have always been pragmatic with gear.
I want to splash out once before it's not relevant anymore!
I too am shooting on the S1R2 and love the files out of it.
And yes if I ever get an SL3P, the first thing is to black out, sorry stealth out the white Logo 🙂

Never tried it but I suspect the FX30 stab would be good enough for my handheld needs which are basically ‘static’.
I move more and more however towards the combo of absolutely locked off or floating moving with nothing in between.
Lumix are great in this regard because if you have everything dialled up to the max, albeit at the expense of some cropping, these things stay incredibly still. It’s really only if there is any static foreground that you notice any movement so wider establishing shots, I always use a tripod or something.

That would not surprise me a bit and although I have not watched a single review other than the CVP one…and even that, not all the way through, I have noticed a while recent bunch of LUMIX converts posted they have one.
I imagine a bunch of them at least will shortly be posting a piece regarding why they flopped back to Sony, soon enough…
I’d have no problem flipping back to Sony myself, but it would be the FX3A and FX30’s plus A7RV, all used, because all of that kit is more than good enough for me.
The A7RV is still the best stills camera I have owned, though my S1Rii’s are better hybrid and as that is my bread & butter…
It’s an unlikely scenario though as my LUMIX gear just works and shiny new stuff for the sake of shiny new stuff, is not enough of a draw for me personally.
Still, no harm in looking and pondering from time to time!

That would not surprise me a bit and although I have not watched a single review other than the CVP one…and even that, not all the way through, I have noticed a while recent bunch of LUMIX converts posted they have one.
I imagine a bunch of them at least will shortly be posting a piece regarding why they flopped back to Sony, soon enough…
I’d have no problem flipping back to Sony myself, but it would be the FX3A and FX30’s plus A7RV, all used, because all of that kit is more than good enough for me.
The A7RV is still the best stills camera I have owned, though my S1Rii’s are better hybrid and as that is my bread & butter…
It’s an unlikely scenario though as my LUMIX gear just works and shiny new stuff for the sake of shiny new stuff, is not enough of a draw for me personally.
Still, no harm in looking and pondering from time to time!