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This is what I keep finding in France: The pricing is also consistent with the Nikon ZF, which is also $700 more expensive (after conversion). There's no doubt about it- Nikon asks a lot more from Europeans and seems to be far more competitive in the USA. It's not unheard of though. You can get an iMac for $1200 at B&H or the same one for about $450 more in Europe. The Sony A7iv is $2500 at B&H but not much more in Europe (2500 euros). I think it's really about company policy. What confuses me about pricing is that the Z6ii was launched at 2200 euros and $2000 respectively. With the Z6iii, Nikon is really going out of the "low-end full frame" market by bumping up the MSRP to 3000 euros. I'd always thought Nikon was more of a value brand, bang for the buck over Canon. I don't know what to think. Maybe there will be another low-end FF camera from Nikon?

OG BMPCC and 45-150mm f4-5.6 zoom... The cinema flows from the people through the equipment into the edit. No excuses.

....and far more friendly than the HK416.

For sure : ) Hence hybrid tools should be seen for video as primary scope of their natural target and not stills as usually is taken. A professional is someone than runs a craft for living whatever segment of business is.

Technical sense is different than saying from a technician sense or perspective... ;- )

Probably in a technical sense, but you will never be able to see it.

I wonder if the partially-stacked design will give inconsistent rolling shutter performance across the sensor? Meaning the top and bottom have significantly less than the middle. 10ms overall is great of course but when RS does show up it might be even worse/weirder-looking than a slower sensor with a consistent scan rate.

broadcast industry is a double edge for alexa. uncontrolled lighting requires high dr, which is the forte of the alexa. but broadcast industry on the other hand produces one time piece. nobody watches news over and over again. for news reporting, hcb's idea of decisive moment is the key. even if a phone catches a critical scene, can make a huge viral news globally. alexas, on the other hand, are too expensive, too big, not essential for news. maybe for arena type shooting like rodeo events, alexa is suitable. but even in this case, 2/3 box lenses with 2/3 cameras have distinct advantage over alexa. i think in the broadcase industry, 2/3 cameras still rule, especially when coupled with box lenses, for non moving jobs. for quick turn around jobs, 2/3 cams with all auto superzoom lenses have the best ergonomics. i have a varicam 27h (another 27h and panavision f900 for parts), so i know that 2/3 cams have the best ergonomics than anything else in the world for shoulder mount quick turn around. in summary, alexa has a not so bright future.

I think the big move of Alexa to broadcast during the last month, with multi system, is a big clue that this model of 50+ USD cinema camera is a bit at an end. Arri is focusing on the broadcast field as it is still the industry that are investing tens of thousands of dollars in cameras. What the recent sale of RED shows is that the niche camera makers aren't as much valuable as people were thinking.

I was waiting on this release to see if I'd go for it over the Z8/Z9. At the euro price its just not worth it to me. Very solid release nonetheless. ProRes HQ really seals the deal for me on the Nikon platform. My iMac Pro just can't deal with h265 in +4K resolution. That and the fact that I can smart adapt all my EF, E-mount, Nikon F/AIS & Leica lenses. Probably going to pull the trigger on a used Z8/Z9. Z6iii would be a dope B-cam body down the line when price comes down a bit.

the gap between something like z6 iii vs alexa family is getting narrower and narrower. at certain point, alexa will be truly niche product like leica s system.

Their is a test I posted above which is quite good. Something I don't understand is the concept of professionals. Today their is hundred of thousands more event and wedding people working with these hybrid cameras than those working with Arri Alexa on set. And these tools have made the general level of videography much higher than two decades ago.

Yes, but in the end we are getting what would be called very fast readout. Their is not much faster in the industry unless you go RED global shutter, the Arri Alexa has readout of 7.2 Ms, the Sony Fx3 8.4ms.

The guy in this video did a brutal test in direct sun from Texas and the camera came out surprisingly good. It is as from 9min 50. As for DR, I will wait for CineD lattitude test, Nikon implementation of their Nlog is so contrasty that it gives very bad result. In CineD lattitude test the z9 scored a solid 8 going to 8.5- 9 stop latitude. While most Sony's prior to the Burano where around 8 stops. Which scored a good 10!!! The only camera to equal the original Arri Alexa sensor.

It remains to be seen what the real price will be once it hits retail in Europe, but 2650 sounds like a direct currency conversion from dollars... and therefore does not include the 20% VAT in Europe 3180 EUR would be the price including tax So therefore it makes more sense to just get a used Z8.

It isn't a faster readout. Z9 is 45 megapixel! The Z6 III only has to read 24 So the very marginal benefit in RS is due to the lower megapixel count... 6K vs 8K, not a faster chip architecture.

For video Gerald undone got 9.5ms, which is faster than the z9 and Canon R5 about 13-15 ms. So for video it is very fast.

I don't know the bitrate of the this new z6iii for sure, but on the z9, you have the 4.1 K raw mode, that is half of the sensor readout, and at 24 fps it is about 350 mbs!!! Since I have known this, everything a bit high-end and not long take I use it. The resolution is 4128 x 2322, so the 6k in the z6iii would be about twice that, so about 700 mbit, which is not much higher than 500 mbit h2.65.

codec means compression decompression. anything is compressed is codec, no matter compressed raw. only ml raw can have true lossless codec due to the lj92 engine found in ml cameras.

Of course. But, when they want they give it to us, R5C was the answer to the R5 overheating problems. What comes first? IBIS or solving the issue? Still any doubts? Why not to buy one of these then? And when they don't put fans or don't care for thermal issues with an effective active cooling design, what can we expect? Yet, I am done with still photography coming first rather than motion picture for hybrid pipe dream. When this actually should mean quite the opposite. And if you/we're unable to work with stills without having control on motion at first grade in 2024, you/we're in the wrong business in all likelihood : ) Moreover, I am done with still photographers (and I am not completely outside of this bloody group when also shoot stills but don't sign the subscription) claiming or intending they come first than the rest of the crowd, like photography arrived first than cinematography... Phew. So what? Since Jim & Jannard launched the Digital Still and Motion Camera concept, the times have changed. Yes, tiptop audio is mandatory in a mirrorless camera and still photographers can go to the hell with their mantra! I'm sorry for my hard words but this has been one of the main problems of this segment of the camera industry. Many losers who are unable to handle moving image dictating how or/and where the manufacturers have to put their eggs. Something has changed the world. High-end is not the same throughout this last quarter of century, when from one hundred of users only 15 years ago to have access to a system born in the 6-digit realm, we have now millions of users receiving their last version of Resolve or/and prone to be upgraded and coupled to their affordable one or two grand camera. - EAG

I don't understand, it was said at launch the price would be 2650 Euros and 3000 with the 24-70!!! What has happened since then.

ProRes RAW is closer to a true raw as it's not debayered, whereas BRAW is partially debayered (whatever BM means by that). In the end result it won't really make a visible difference, but black belt pixel peepers reported macro blocking issues in BRAW, so it's clearly more processed than ProRes RAW. However, I would just use whichever is supported by my NLE.

If you want unlimited recording in any temp, and at this price point or even a bit higher, you have to give up something, either Full frame sensor (GH7) or EVF and higher than 4k resolution (FX3), or internal raw (S5ii). There is no conspiracy to not giving customers a perfect camera. The reality is that making everything right is becoming more and more expensive.

Gerald Undone did test dynamic range in his video review; he didn't experience any overheating but hey, he's in Canada and he admitted that his testing environment wasn't very warm. It does seem like a great camera; wish the IBIS was better....I think Panasonic still has the lead there.

I'd say this one in the U.S. 😆 and BMCC6K-FF are those the bets of today : ) Don't invite me for higher than that as far as price range concerns especially when overheating issues are far to be solved... : P Those are not professional capture devices, they are a pain in the ass, not a reliable camera for professional use. The use of lower resolution recording modes serves too little, these don't help either or why someone is buying them, after all?! : X