solovetski

8K 24P in the rain:
Dark day, suggests 8K 24P when walking with the camera will not look very good at night without the special lowlight stabilization setting.

Making houses with wood was also based on limitations in other construction materials at the time, as they were either hard to supply or supplied expensively. Today there is almost no limitations and concrete is cheap, but wood is still prefered because its environment friendly. Just because something is old, it doesn't mean it will be replaced with the new. 24p became a standard because it was the cheapest way to do motion picture. But it also replicates dreaming. I don't know about you by my dreams look like anything other than what I see on ESPN.

The display format and venue also matter. Oppenheimer doesn't look dated in the IMAX theatre in 24p. Looks incredible, to old and new generations alike. So to say 24p is outdated is just a blanket statement really. And equally, to say 60p isn't cinematic is also a blanket statement. It can be.... All depends on a lot else, other than just frame rate.

30p is TV and YouTube
60p and 120hz are for gaming
24p is for cinema and film.
This is not an opinion.
The subjective part of it is what one's definition of 'cinematic' is.
Is the big dome at Vegas cinematic, probably is. Sitting in there, with panoramic vision, amazing,
But it is simulating reality.
Cinema is not restricted to just simulating reality, it can also simulate emotions and dreams. And for that you need 24p.

He does.
I applaud Markus for the work he does and the passion that he brings, trying to beat back the horde of Youtube-Bros who promote camera worship and the followers who segue this into the idea of camera specs above all else.
But there's a progression that occurs:
At first, people see great work and the cool tools and assume that the tools make the great work - TOOLS ARE EVERYTHING Then, people get some good tools and the work doesn't magically get better.  They are disillusioned - TOOLS DON'T MATTER Then they develop their skills, hone their craft, and gradually understand that both matter, and that the picture is a nuanced one.  TOOLS DON'T MATTER (BUT STILL DO) This is the same for specs - they are everything, they are nothing, then they matter a bit but aren't everything.
By the time you get to the third phase, you start to see a few things:
Some things matter a LOT, but only in some situations, and don't matter at all in others Some things matter a bit, in most situations Some things matter a lot to some people, but less to others, depending on their taste Film-making is an enormously subtle art.  Try replicating a particular look from a specific film/show/scene and you'll find that getting the major things right will get you part of the way, but to close the gap you will need to work on dozens of things, hundreds maybe.  
The purpose of any finished work is to communicate something to the audience.  For this, the aesthetic always matters.  Even if the content is purely to communicate information, if you shoot a college-looking-bro delivering the lines sitting on a couch drinking a brew filmed with a phone from someone lying on the floor, well, it's not going to seem like reliable or trustworthy information, unless it's about how many beers were had at the party last night (and even then...).  The same exact words delivered by someone in a suit sitting at a desk with a longer lens on a tripod and nice lighting will usually elicit a very different response (sometimes one of trust, and sometimes a reaction of mis-trust, but different all the same).  A person wearing glasses and a lab coat standing in front of science-ish stuff in a lab is also different.
Humans are emotional animals, and we feel first and think second.  There isn't any form of video content that isn't impacted by the aesthetic choices made in the production of the video.
Some might be so small that they don't seem relevant, but they'll still be there in the mix.

I didn't realise you had access to every camera.  I realise now that this makes every statement you make correct!
I'll learn my place eventually....

If I am allowed to chim in, I would love a powersaving solution like the m1 tech in a windows laptop.
What would be an equivalent to a M1 Max Macbook, with lowish powerdraw and same performance in Resolve for editing, grading and rendering?

Equivalent in Windows-land?  It doesn't really exist.  12th/13th generation Intel has much better performance per watt than 11th generation, but the built-in GPU isn't anywhere near the performance of M1 so you'd need something with a dedicated GPU which won't be low power.  If I'm guessing I'd say that an i7-12700 or i7-13700 with the laptop version of an RTX 4060 should be about similar to the performance of an M1 Max while plugged into the wall, but with the caveat that the Windows laptop will pull more power and be noisier (fans to remove the heat from using so much power).

However, the second you unplug the laptop from the wall, the performance and battery life of the Windows system will be substantially worse than the M1 Max.

You can find Windows laptops with more raw power than even the highest-end M3 Max - and desktops even more so, but the cost is that the power usage will be a lot higher.  I'm too lazy to go look now, but I'd bet that an RTX 4090 all by itself uses more power at full load than an entire M3 Max laptop, including the screen.  😃

I have been spending too much money on equipment in recent years, and WAY too much time researching it. I really don't need anything else in terms of kit. What I do need is to replace my wardrobe and make some repairs to my home and my vehicle. Also, I'd like to spend more time producing passion projects.

So, I'm making a commitment that I will not buy any new gear between November 30th, 2023 and November 29th, 2024 (got to give myself the option to take advantage of Black Friday deals). If I need a specialty piece of gear, I will rent it.

The exceptions are expendables and direct replacements, should anything I'm using break down.

I've never done this before and I'm posting this to help keep myself accountable.

My Priorities for Panasonic:
1) Release a VERY SMALL M43 camera body with PDAF and full-sensor readout in 4k NOW!
2) Release a GH7 with variable ND and PDAF.
3) Release a high-end video camera with variable ND and PDAF for L mount.
4) Release a pancake (28mm or 40mm or both) lens for L mount.

For reference, here are both cameras. Same lens and same camera settings. The C70, shooting Canon Raw Lite, is first and the R1MX is second. They weren't hard to match.
It's so close that I wonder why I am bothering with the cumbersome R1MX. But once I see the moving images, I'm reminded of why I go through the trouble.


 
 

I definitely enjoy the lighter lens after trying out Sony this year, but unfortunately the people I colab with definitely prefer the Canon colour 100% of the time.. the most recent one was shooting for this DJ from Canada where he used Komodo for Spain shoot and Sony for Oz shoots, and we shoot C70 RAW for him here in NZ, he said the Sony was really hard to get nicer colour vs Red or the Canon after he did some quick edit afterwards.
So might stick back to Canon.
And my friend who shoot with Panasonic does have people laugh at him for using old piece of gear (the EVA1), on this one job after seeing the result (it's a livestream job and they have a dedicated people that does lut and facial beauty thing done in real time as well) they said Panasonic looks nicer than the Sony's they used and need much less time on tweaking.

Don’t shoot the messenger. 
I’m just talking about the way BMD see it.  
They are known for how good their color science is, and now workflow, especially on their own cameras.  I mean most of the best looking images shot on other cameras are still going through Resolve for final color.
They made a great codec that works on even the oldest computers. BRAW 12K plays back faster than 4K ProRes even on Mac. 
Don’t kid yourself that 4K or 2K delivery means you only need 4K acquisition.    Because right now you can shoot 12K BRAW for a SIMILAR file size as ProRes 4K.  So why bother with a legacy codec.
If you are BMD why would you bother supporting a legacy codec anymore. It’s not just KINDA supported.  The only KINDA supported is FCP.  In everything else BRAW works, especially the big boys like AVID.  And until recently the ONLY way to shoot ProRes RAW internally is on a Nikon.  I’m not sure that problem has been solved yet either.  You’re currently FORCED to use an external recorder to record PRR.
And from what I understand, PRR won’t easily support the higher resolutions like 12K because the file size is then massive.  It can’t scale up.  And before you say I don’t need 12K, again, with BRAW it can be a similar file size to 4K ProRes BUT you get the super sampling advantages.  I’m not saying that’s what everyone actually wants, but think about it from BM’s perspective. 
They made an awesome raw(ish) codec that plays back on any computer often faster than 4K ProRes, in most editorial and finishing systems that can handle and scale to higher resolutions with no real file size cost.  It could be implemented by other manufacturers if they wished, but they’d be happy just using it for their own eco system anyway.
I think the main reason that people aren’t using BRAW more on other cameras is that they don’t like the recorders that Blackmagic make, not because they don’t want BRAW.
 

I'm sorry to hear that and glad you've recovered and doing well.  These things definitely give clarity on what is important in life!
Sounds like you definitely deserve a new camera - the S5iiX looks like a killer offering.  I've been playing "if I won lotto, what would I buy" recently and the S5iiX is high on that list.  Enjoy!!
My only piece of advice is to just shoot a bunch of test shots and play with it to really understand how far you can push it etc.  Especially shooting highly saturated, high DR scenes, and doing a series of under / over exposures, then trying to pull them all back to a normal exposure again.  If you can get everything setup to where you can pull footage down / up to a normal exposure and have it look correct then you're in a good place with normal WB / exposure / saturation / etc adjustments.

So...
 
I was diagnosed with kidney cancer on September 5. I had my right kidney removed on October 13 and am now cancer free (and if my scans show nothing in April I'll be considered cured!). During that entire period though, I didn't do any jobs and just focused on recovering, but had decided to dip my toe back into the water and had a small job planned for a friend this week.
 
As I was just going through my equipment in preparation of getting back into the swing of things my pup Teri knocked over my main S5 and IT BROKE. Now, it doesn't impact my job because I have two extras of the same cameras, but obviously it left me needing to get a new camera. Sooo...
I bought the Lumix S5IIX instead of getting another used S5. I swore I'd never buy a camera brand new again, but the used price isn't that much less, and I was able to get a decent deal on it with a lens. With all I've been through (having my kidney removed was, without a doubt, the most painful thing I've ever experienced, just FYI) I figured I'd treat myself. 
This is a long way to ask a couple questions while I wait for it to arrive tomorrow:
1. how easy is it to match the original S5 straight out of camera or with a little tweaking using the standard or natural color profile? I will use log, but for certain jobs it's just easier to skip that part.
2. why is there no third party battery grip? has anyone heard why? 
3. I have a couple third party batteries. Wasabi and Newmowa brands. Has anyone encouraged any problems with third party batteries? I have like six OEM batteries but I've heard the S5II and S5IIX's battery life isn't as good as the S5.
4. what are the best settings? I've seen tons of YouTubers but I'd prefer to hear it from people that do more than film themselves in their spare bedroom/garage and actually are out there getting the most out of their camera.
5. This one is most important: I just want you all to know I love you all. My ordeal has given me a greater appreciation for life, the interactions I have with other human beings, and just everything, really. Thank you @Andrew Reid and everyone else that makes this place special.

Actually, here's my nomination for best-bang-for-buck camera nowadays - the Blackmagic Micro Studio Camera 4K G2 just announced by BM.
Here's why:
It's tiny, and fits the entire ecosystem of the previous Micro models, including battery type (Canon LP-E6) It can record BRAW up to DCI 4K60 to USB-C....    so you don't need a big expensive external recorder, you can use any old HDMI monitor you like! BM specifies 13 stops of DR, the same as all their previous cinema cameras, and up from the 11 stops they quoted for the previous Micro Studio camera It has AF (it won't be fast, but the previous BMMCC didn't have AF, and the OG BMPCC one was quite useful) It's $995! So, it's smaller and cheaper than the P4K, but appears to only have one native ISO.  Interesting.

Famous Sony footnotes kicks again:
Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues.
Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

Exciting! Been waiting for a global shutter hybrid for years. Would love to have no rolling shutter and an unlimited flash sync speed. Now I just have to wait about five more years until it's available at a price point I can afford, and from Panasonic 😄

I have a strange relationship with the GX85, now that I've gotten sufficiently good at colour grading - I don't feel limited by it.  Of course, if they were to increase the DR, improve low-light performance, add 10-bit, etc etc, then I'd be happy, but I'm not chafing at the bit for those things.  
What I wouldn't mind though, is having a log profile.  And not a "V-Log L" style unsupported thing, I mean a real log profile that's supported with professional specifications.  Apple did it with a phone, so there's no excuses now.  They might need to add 10-bit for that, but so be it.
There is quite a bit of info about Panasonics future plans.
For example, this says that Panasonic has registered two new cameras, likely on higher end and one lower end:
https://www.43rumors.com/panasonic-officially-registered-another-new-model-in-china-we-now-have-two-cameras-coming-soon/
This article from France suggests that they're selling well there, that although the compact camera market was crushed by covid, their sales are increasing due to competitors leaving the market segment, and that expert users prefer compact cameras with interchangeable lenses instead of expert compacts:
https://phototrend-fr.translate.goog/2023/10/interview-panasonic-salon-de-la-photo-2023/?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp
That's all hedging-our-bets marketing-speak of course, but it sounds to me like Panasonic might be keeping its eye on the compact market segment with the view to having a large share of a relatively small market.
We all know that smartphones ate the point-and-shoot fixed lens market, but interchangeable lens cameras will always have a huge advantage over smartphones in this regard, so I think there will always be demand of some sort.
The Resolve v18.1 manual is 4036 pages.  They're up to 18.6 so I'd say that one is longer still.

Gratuitous very tenuous link to post, but just for ‘proof’, my daughters little story on IG…
 

It is.
Around a decade or so back, I was what is known as skinny fat, ie, very little muscle tone but a surplus of fat around my middle.
I never exercised, had developed asthma, smoked and drank (but not heavily) and it was a gradual erosion/accumulation more than anything.
I decided to do something about it around the time of my 40th birthday.
I’m 53 in a few weeks and never been in better condition and actually have a fitness competition (Hyrox) that I have traveled to Ireland for from France, in a couple of hours.
Why mention this?
Fatigue, or reduction of from being in shape.
And not just the physical, but the mental which is unseen but contributes.
But I still have trouble getting to sleep after an intense 15+ hour day because despite downing tools, I’m still buzzing.
The next day though…and I can never lie in and catch up no matter how late I went to bed or how tired I am, by lunchtime, wiped out and can easily grab another 1-2 hours early afternoon, but it’s not until the day after the day after I feel recovered, so never take back to back jobs anymore.
No way I could be working the way I have been for the last few years one to two decades ago and I guess another factor why when other photographers or videographers ask me how I do what I do, part of that answer is level of fitness.
But as with all these things, it is only a part of a greater whole.
2.8kg unsupported in and out of your hands all day though is a bit nuts which is why it has to go!

I don't see your problem, just build strength by carrying around a brick all day when you're at home or running errands.
It's a standard industry strength training practice.
This photo shows a steadicam operator popping down to the shops on his day off:

 

Speaking of weight, one of the principle reasons I am shifting some of my kit, - my main unit clocks in at just over 2.8kg 🤪
My targets now are 2 units 1-1.5kg each.
I don’t mind a bit of chunk and heft, but anything over 2.5kg…as just one of 3 units is a bit much on 12+ hour shoots!

If I had to choose just one lens to keep out of my collection, it would be the Pana 14-140mm F3.5-F5.6 - for the range it provides it's relatively small (75mm long) and light (265g), it supports dual-IS2, focus breathing isn't noticeable and on my copy at least the zoom ring is reasonably smooth. It's been my most-used lens ever since I got it as a bundle with a G6 years ago.
If I could keep a few more, then...
The Oly 12-40mm F2.8 - just a great all-round, reasonably bright, moderate wide to moderate telephoto, no noticeable focus breathing, 85mm long and 382g. (The Pana 12-35mm F2.8 is a bit smaller and lighter and gets you dual-IS - I was considering both a while ago and then a really good used deal on the Oly came up so I went for that).
The Oly 75-300mm F4.8-F6.7 - what I use most often for wildlife, pretty small (117mm long) and light (423g) for the focal range, and decently sharp for something that small/light/cheap.
Low light? usually just chuck the Pana 25mm F1.7 into the camera bag or pocket in case I need it - cheap/small/only 125g.
I also own the old Pana 20mm F1.7, but that's noisy when focusing, so I might swap it for a 17mm or 15mm fast AF prime at some point (Oly or Pana Leica probably).
I've recently acquired a used Pana 35-100mm F2.8 (to complement the Oly 12-40mm F2.8). Decent lens and not too large/heavy for a 'pro' lens, but it's got noticeable focus breathing so not ideal for video C-AF use.
(and yes, the Pana 12-32mm pancake is great when you want to keep things as small as possible, especially if you're taking two cameras on a trip, so that would be a 'keeper' too).