4/3 Rumors: Will Panasonic transform their MFT product line to focus on vloggers?

https://www.43rumors.com/will-panasonic-transform-their-mft-product-line-to-focus-on-vloggers/

“I got this from a very reliable source:

They will change strategy here. MFT will focus on the V-Logging segment. They don’t see a huge market for a GH6 anymore as most people are moving to Full Frame. So the upcoming GH6 may be more a “Pro Grade” G100. It’s more of an upgraded GH5 in a new body with enhanced mobile integration. Or to make it short – a GH6 may not come with the desired specs and the story of the Pro Video MFT will end with the GH5….”

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Paul Leeming’s Panasonic Lumix DC-GH5 in 8Sinn cage with Scorpio handle and XUME magnetic filter holder system, the backpack travel version of a much bigger rig he uses for shooting independent narrative feature films. Photograph by Karin Gottschalk.

Commentary

“MFT will focus on the V-Logging segment.”

Say it isn’t so!

The Micro Four Thirds format has plenty of potential for serious video work, especially amongst self-funded independent documentary moviemakers, so long as Panasonic radically improves its DFD autofocusing to the point where it matches that of Sony and Canon’s PDAF autofocus.

Micro Four Thirds remains a great stills photography format, especially for documentary photography and especially when MFT raw files are processed with DxO PhotoLab and its plug-ins DxO FilmPack and DxO ViewPoint.

If print size is a consideration then try applying Topaz Labs’ Gigapixel AI and Sharpen AI if warranted.

I certainly rely mostly on manual focus and back-button focus with my Lumix MFT cameras, but I would certainly use autofocus far more if it equalled that of Canon and Sony.

No question about that.

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Panasonic Lumix DMC-GX8 rangefinder-style camera and Fujifilm X-Pro3 digital rangefinder camera. Similar but different, and a very different user experience from DSLR-style cameras, one especially suited to documentary photography and photojournalism. Image courtesy of Compact Camera Meter.

Despite the frequently-expressed desires of myself and many others, it looks like Panasonic will never release a pro-quality successor to the GX8 rangefinder-style hybrid camera.

GX8-style cameras are an excellent expression of the Micro Four Thirds ethos being small, nimble, discrete and versatile in comparison to the larger, heavier and less discrete DSLR-style GH line.

Panasonic’s Lumix GX9, designed for and marketed to “street photographers”, was a slap in the face of professional GX8 users and saw many of them move away from the brand.

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Panasonic Lumix DC-G100 mirrorless digital camera with Lumix G Vario 12-32mm f/3.5-5.6 Aspheric zoom lens and Panasonic DMW-SHGR1 Tripod Grip, marketed for v-logging. Image courtesy of Panasonic Australia.

Converting MFT into a format for v-logging only would be a further slap in the face of professional video producers, many of whom have been earning their living with the GH5 since it first appeared.

Marketing MFT with current iterations of DFD autofocus to v-loggers who have a choice of brands and often corporate sponsorship is a big mistake.

If the GH5 and GH5S are the end of the line, there go our investments in pro-quality lenses such as Olympus’s excellent manual clutch focus-equipped M.Zuiko Pro collection and Panasonic’s unique, wildly innovative and also manual clutch focus-equipped Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric superwide to standard lens.

Granted, the Lumix DC-S5 looks very promising and so does the possibility of smaller 35mm sensor-equipped cameras, perhaps even a 35mm GX8 successor.

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.

But completely moving over to the larger sensor format means a heavy investment in mostly larger and even heavier lenses, essentially flushing our current MFT gear down the toilet when our MFT cameras wear out or cannot deliver the results we need.

Panasonic, please say it is not so.

Panasonic, please do not abandon your professional Micro Four Thirds user base.

Or are you willing to see Olympus, under new owner JIP, snap them up with their apparent new emphasis on video?

Links

Press Release: Two Weeks until My RØDE Reel Entries Close, $1 Million in Cash to be Won!

– FOR IMMEDIATE RELEASE – 

TWO WEEKS UNTIL
MY RØDE REEL ENTRIES CLOSE

$1 MILLION IN CASH TO BE WON!

SYDNEY, AUSTRALIA: Wednesday, 23 September 2020

There are just two weeks left until entries for My RØDE Reel close, and with it, the chance for filmmakers to win a share of $1 million in cash. The competition closes at 12PM Wednesday, October 7.

My RØDE Reel is the World’s Largest Short Film Competition. Over the last six years, more than 16,000 films have been submitted to the competition from 94 different countries, with RØDE awarding over $3.5 million in prizes to both emerging and established filmmakers. My RØDE Reel has launched hundreds of careers through providing a global platform for filmmakers to gain exposure, offering grants and scholarships, and giving away tonnes of RØDE microphones and filmmaking gear.

My RØDE Reel marked a new milestone when it launched its 2020 edition in July, announcing that the top films would win a share of US $1 million in cash – the biggest cash prize ever offered in a short film competition.

This includes a life-changing $200,000 major prize, which will be awarded to the best film as chosen by the three judges: actor Meyne Wyatt, director Selina Miles, and filmmaker Ryan Connolly.

In addition to the Judges’ Choice, there are nine categories: five genre categories – Drama, Comedy, Action, Documentary, Animation and Behind-The-Scenes – and four special categories – People’s Choice, Sound Design, Young Filmmaker, and Best Chinese Film. The top three films for each category will receive a cash prize – all-in-all, 28 filmmakers will win a share in the money.

As well as the incredible cash prize pool, RØDE is giving away a prize pack to the winners of the 10 categories. These are loaded with gear from the world’s leading filmmaking brands, including Lumix, Nanlite, Zhiyun, MZed, Musicbed, Rhino, Adobe, Brevite, Pelican, Arri and, of course, RØDE microphones and accessories.

Combined with the cash, this brings the total prize pool to over $1.5 million, by far the biggest offering from any short film competition.

Visit the My RØDE Reel website for more information on the prizes and categories.

HOW TO ENTER

Entering My RØDE Reel is easy:

  • Head to myrodereel.com and log in or sign up for an account to access the starter pack. This contains the My RØDE Reel title card, which must feature at the start of your film.
  • Make a 3-minute short film. The brief is completely open – use the different categories to inspire the direction of your film.
  • Make a 3-minute behind-the-scenes (BTS) film, which must feature a RØDE product.
  • Upload your short film and BTS film to YouTube, then submit this link to myrodereel.com.
  • Share your film for a chance to win a People’s Choice Prize.

For the full details on how to enter, head to myrodereel.com and log in or sign up for an account. This contains the starter pack, information on the competition, freebies, tips, inspiration and more.

Entries are open now and close at 12PM (AEDT/GMT+10) Wednesday, October 7, 2020. Head to myrodereel.com for more info.

–ENDS–

About My RØDE Reel:
My RØDE Reel was launched by RØDE Microphones in 2014 as a celebration of excellence in filmmaking and to provide a platform for filmmakers to reach a global audience and win incredible prizes to further their career. Since its inaugural edition, the competition has seen over 16,000 entries submitted from more than 90 countries, collectively being watched over 17 million times. More than $3.5 million in prizes have been awarded to both emerging and established filmmakers including gear, scholarships and grants, and many past entrants have gone on to establish impressive careers in the industry. Today, My RØDE Reel is the World’s Largest Short Film Competition and a highly anticipated calendar event for the global filmmaking community.

About RØDE Microphones and The Freedman Group:
RØDE Microphones (www.rode.com) designs and manufactures high-quality microphones and related accessories for studio, live and location use. Its products are designed and primarily manufactured in Sydney, Australia and exported to 118 countries globally. RØDE is part of The Freedman Group, with APHEX, Event and SoundField. Freedman Electronics celebrated its 50th anniversary in 2017.

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Prizes, My RØDE Reel 2020. Image courtesy of RØDE Microphones.

Links

New Hardware: Power Pipe by Blind Spot – The ULTIMATE powering solutions for USBC Power Delivery.

“The Power Pipes give you the freedom to power your devices from readily available and affordable Power Delivery devices. No longer do you need to invest in expensive V-lock and Gold mount battery systems. Three versions are available, BMPCC, 12V and 8.4V.”

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Blind Spot Gear Power Pipes for powering your USB-C input production cameras and devices. Image courtesy of Blind Spot Gear.

Blind Spot Gear Power Pipes

Links

New Hardware: SmallRig RØDE Wireless Go Storage Cage 2998

https://www.smallrig.com/smallrig-rode-wireless-go-storage-cage-2998.html

“SmallRig Rode Wireless go storage cage 2998 is designed to store & protect Rode wireless go. The transmitter and receiver can be stably stored by using the wireless go’s own clamping shrapnel. The storage cage has a cold shoe mount that could connect to the camera or cage. It brings a convenient and comfortable experience for shooting. Only 74g, small and lightweight.

Key Features:
1. Stable storage of Rode wireless go transmitter and receiver.
2. One-piece molding, anti-drop and scratch-resistant, protect the machine.
3. With cold shoe structure, connect the camera and cage through the cold shoe.
4. Notice you restore the microphone when you finish your shooting.”

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SmallRig RØDE Wireless Go Storage Cage 2998. Image courtesy of SmallRig.

Commentary

Australian audio hardware and software company RØDE Microphones has become first choice of many filmmakers, journalists, moviemakers, videographers and vloggers, and the Wireless GO digital wireless microphone system is particularly attractive given its components’ size and relative affordability.

SmallRig has long been the first company I turn to for innovative protection and rigging solutions for moviemaking especially when size, weight and affordability are key, so the combination of RØDE Wireless GO and SmallRig Wireless GO Storage Cage makes sense.

SmallRig RØDE Wireless Go Storage Cage 2998 is in pre-order at time of writing and purchasing now gains a 15% discount.

Expected release date is October 12, 2020.

Links

New Hardware: SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934

“SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934 is designed to provide a comfortable grip and features a record button on top to control camera start/stop.

Compatibility:
Panasonic S5/S1/S1R/S1H
Panasonic GH4/GH5/GH5S
Panasonic G9/G95

Key Features:
1. Ergonomic Control Handle for Selected Panasonic Cameras.
2. Start/Stop Remote Trigger Button.
3. 1/4″-20 & 3/8″-16 & Cold Shoe Accessory Mounts.
4. Features Slots for Cable Tethering.
5. Adjusts up & down with Sliding Connector.
6. Integrated Allen Wrench Stores Inside the Grip.”

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SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934. Image courtesy of SmallRig.

Commentary

This long-awaited remote cable side handle for a range of Panasonic Lumix Micro Four Thirds and 35mm sensor aka “full frame” or “full format” hybrid stills/video cameras is in pre-order at time of writing with a 15% discount so get there soon to secure one.

This device looks well-designed and well-executed, and it is now on my production accessories wishlist.

Expected release date is November 16, 2020.

You may wish to consider adding a second wooden side handle to create a two-handed rig, such as the SmallRig Universal Wooden Side Handle 2093.

Links

Philip Bloom: Can you TRUST the FUJI X-T4 video AUTOFOCUS? – Commentary

“This isn’t a review of the excellent Fujifilm X-T4 but a detailed look at whether the improved autofocus abilities over the X-T3 get close to the superb AF of the Sony and Canon mirrorless cameras.”

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Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. The battery grip is essential if you need a headphone port for monitoring audio while shooting. Image courtesy of Fujifilm Australia.

Commentary

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The “best camera ever made” according to Philip Bloom. ALPA XO Exoskeleton aka cage for Fujifilm GFX 100 medium format camera with ALPA Switar 140mm cinema prime lens. Image courtesy of ALPA.

I came across this video by Philip Bloom while researching recently-released Super 35 video-capable cameras.

Autofocus capabilities of current affordable Super 35 hybrid cameras are a constant subject of discussion online, with different manufacturers achieving various degrees of success with it.

Theoretically all makers of such cameras should be able to achieve near-parity in autofocusing given time and R&D dollars, but there is a question of when and whether all current makers will stay in business until they do.

Having grown up as a photographer and videographer during the analog era before autofocusing cameras and lenses even existed, I have always seen autofocus as something of a luxury and fall back on manual focus and back-button focusing anyway.

Philip Bloom has an obsession with autofocus in video and speaks about it well and in detail.

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More substantial grip and better hardware design. Fujifilm X-H1 with VPB-XH1 battery grip and Fujinon XF 16-55mm f/2.8 R LM WR professional zoom lens. Image courtesy of Fujifilm Australia.

Meanwhile I believe it is a good idea to keep an eye on developments in affordable manual-focus Super 35 prime and zoom lenses that are native to Fujifilm X-mount or that can be adapted.

Keep an eye also on the coming Fujifilm X-H2 professional hybrid camera, successor to the under-rated X-H1, though its arrival may be some time off.

I found the X-H1 much easier to use handheld all day long than the X-T3 and its more hand-friendly design ranks alongside the X-Pro2 for ease of use and of carrying.

As for autofocus on Fujifilm cameras, perhaps the X-H2 may see it come to fruition and match if not beat that in Sony and Canon’s mirrorless cameras, along with new and redesigned Fujinon prime and zoom lenses made for video as much as stills photography.

We can only live in hope.

A “phenomenal” manual focus lens and adapter combo for Fujifilm video

Links

Firmware Update: X-Pro2 Firmware update, Version: 5.10, Last Updated: 09.17.2020

https://fujifilm-x.com/global/support/download/firmware/cameras/x-pro2/

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Fujifilm X-Pro2 digital rangefinder camera with Fujinon XF 23mm f/2.0 R WR “Fujicron” lens and Fujifilm MHG-XPRO2 metal hand grip, a necessity when attaching lenses larger than this one.

Detail of the firmware update

Ver.5.10

The firmware update Ver.5.10 from Ver.5.01 incorporates the following issue:

  1. Camera performance used with the XF50mmF1.0 R WR is optimized.
  2. The phenomenon is fixed that in a multiple-flash shooting where the EF-X500 is used as a commander, flashes in some groups sometimes don’t fire correctly. Also in case the EF-X500 is used as a commander and the EF-60 as a remote flash, upgrade the camera firmware to the latest version.
  3. Fix of minor bugs.

Links

Firmware Update: Free firmware update for FUJINON XF50mmF1.0 R WR Lens

https://fujifilm-x.com/global/global-news/2020/0917_3724073/

“September 17, 2020
FUJIFILM Corporation

To our customers:

FUJIFILM Corporation is due to release a free firmware update for FUJINON XF50mmF1.0 R WR on September 17, 2020.

This latest update enhances the lens’ AF speed and enables Color Shading Correction to mitigate subtle color casts when images are made at the lens’ maximum F1.0 aperture. Please note that the lens must be connected to a supported X Series camera body for the firmware enhancements to take effect.

Links

Videos by Panasonic About The Lumix DC-S5 “Full Frame” 35mm Hybrid Stills & Video Camera

Introducing LUMIX Business Strategy and New Brand Message in September, 2020. Also, introducing new full-frame mirrorless camera S5 and S series lenses which are introducing near future.

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Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.

PanasonicLumixVideo: LUMIX New Product Launch Event | LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser|First impression of New Product LUMIX S5 by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Behind the Scenes of LUMIX Ambassador, Todd White x LUMIX S5

PanasonicLumixVideo: LUMIX S5 Teaser | First Impression of New Product LUMIX S5 by Sports Photographer, Adam Pretty

PanasonicLumixVideo: Behind the Scenes of Sports Photographer, Adam Pretty x LUMIX S5

PanasonicLumixVideo: LUMIX S5 – “The Art of Glassblowing with Gail Allard” by LUMIX Ambassador, Todd White

PanasonicLumixVideo: Introducing LUMIX S5 | Full-frame Mirrorless Camera for all contents creators

PanasonicLumixVideo: LUMIX S5 – “Fall 2020 Fashion Looks for Estilo” by LUMIX Ambassador, Todd White

Links