Davide DB

From rumors on new features it could be even a FW optimization only. Yet to understand why they opted for a new GP release. But I also know that everyone is now a slave to this hellish rush to a new action cam every year.

On a side note about overheating. On a underwater photo/video forum people were wondering about a underwater housing for the new ZV-E1. A user posted: Anyone ever test the camera in warm water with either Nauticam or Ikelite housings? My a7siii & A74 overheat in video mode in about 10-15" using an Ikelite housing in >80º F waters. Ikelite housings are made of Acrilic while other brands prefers aluminium with completely different results but you get the picture. It's like closing a toaster in a sealed plastic box.

Prograde 256

So in 2024 Sony will have 6 full frame cameras. 3 rangefinders: FX3, A7CII, A7CR 3 full body: A1, A7S3, A7R5 FX3 aside, it is really hard to think that they will not cannibalize each other. Perhaps only Canon can keep up with this steamroller. And thank goodness the market seemed to be in a slump! Poor Panasonic!

Always talking about the fruition at home VS cinema... Remember the controversy over the GOT episode with the night battle that was impossible to watch on TV? https://mashable.com/article/game-of-thrones-too-dark-cinematographer

Ouch! I tought it was the opposite

Sorry I didn't get you. Why yoou need a E mount to Z mount adapter if you already have a Z9?

Problem with FF is not the housing in itself. It's the dome/port which goes with a wydeangle FF lens. Yes Olympus camera are well renowed among pro uw photographers but for video, Pana features are in another league. For underwater photography, prior of the latest mirrorless FF revolution the market king was Nikon with its D850. With the new Z series and new mirrorless mount Nikon failed to give a valid lens selection for underwater use and now most photographers are switching to Sony A7R line. It's a complicated topic. A stellar lens topside could be the worst underwater.

I film 99% underwater and very deep so for me a small setup is paramount. M43 ticks alla my requirements and I'm happy with my GH5, GH5S and GH5M2 except.... AF. A good underwater housing costs about 4500 euro and it's tailored on a specific model. So an upgrade for underwater shooting is very expensive. IMO GH6 fratures doesn't worth 4000 euro plus the camera body. I will consider to upgrade only for PDAF. You cannot imagine what Sony autofocus is capable of underwater. It's the market standard but I hate Sony colors.

At that time we will have A6800 and FX40...

Any rumors on GH7 ora a GH6 successor with PDAF? Perhaps panasonic is still capitalizing on the releases of the S5II/S5II-X? Yet with Sony's new releases they should get a move on.

Thanks, In the meantime I found this one too: Speaking of overheating, while searching I found an Italian review which stated that with the screen door closed it lasts 40' 4K@30p and 20' 4k@60p

Yes but I find only youtubers running and dancing in front of the camera. I would like to see real world examples on different kind of animals. Maybe I'm asking too much

I can't find any good in depth review of the new A.I. autofocus. Any hint?

Interesting thread indeed. In the end L-mount is the most future proof option for BM.

Over the years I have invested so much in taking M43 underwater (GH2 GH3 GH4 GH5) that just the idea that it has reached the end of the line pisses me off like a beast. I am still convinced that M43 is the best format in existence for underwater shooting. The size of the sensor and lens allows for minimal lens ports, and with modern wet lenses you get a very compact kit (housing and port/wet lens). Switching to FF while maintaining the same quality means having an underwater kit at least twice the size and a bare expense of at least 20K euros if not more. Also, given the current availability of underwater accessories, it almost certainly means saying goodbye to Panasonic and jumping into the hands of Sony or Canon. If I were a professional earning from underwater work it would be an attractive investment. but for an amateur like me the jump is almost impractical unless you are really rich. What a shame.

Reading this thread about the opportunity to have native BRAW recording on Z-Cam, confirm that is OS on post production only: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=171209 Anyway, They could make a deal like the one rumored between Canon and Red: you don't f**k with your Raw and I let you use my mount....

It doesn't seem to me that there are too few lenses to work with. but let's put it this way: the entry of BM into this alliance will act as a driver for the development of new lenses, especially cinema lenses. https://lesdeuxpiedsdehors.com/en/lenses-for-l-mount/ I guess that BRAW is free only for post processing, not for camera internal implementation. BM pages refers only to sw and SDK. I should dig into the fine prints...

Sad story indeed

Thanks Kye, With a medium rig as my GH5 it's a completely different story. My camera housing has three 1" spheres integrated so I can attach clamps and legs as tripod for macro or details which requires a stable position. Fow wide angle shoot I just remove the legs, mount a diffrrent lens and port and I change floating arms to get a different bouyancy and trim.

He's a talented guy. Thanks for sharing. Tokina 10-17mm is a very mediocre lens for topside photography yet it's a legendary lens for underwater photography. IIRC went EOL months ago. On video it's a different story: some defects are called character.

The trailer for my new YT channel about diving deep in the Mediterranean Sea. All shot with a GH5 and a GH5S with several wide angle and macro lenses plus wet lenses and CRI 95 Keldan lights.

Even the 14-42mm PZ is really compact when not in use and it's very cheap. That small extra tele could be useful too. There's even a cheaper rebranded version on Aliexpress.

I paired my GH5 with a GH5M2 and configured them more or less identically. I only use it in VLog with an external monitor, and I have the Panasonic Lut control on both the display and the external monitor. With the GH5M2 I had to lower the brightness of the hdmi monitor to less than 50% and also change the contrast otherwise by exposing ETTR I get an image on the monitor completely burned out while on the display it is ok. Same scene on the GH5, without changing settings on the hdmi monitor, the image is identical on the display and monitor. Any idea or any feedback from someone using the GH5M2?

Never without it when shooting under tropical sun