All Activity

Panasonic S5ii has line level too. Nonetheless this z6 looks to be another great camera from Nikon

That pricing in Europe is a bit controversial isn't it? €3k which is quite a big step up from the Z6ii and not too far short of the Z8... I wouldn't NOT buy something that fitted the bill purely based on cost, but what I thought for me was a foregone conclusion, I'm actually having second thoughts over now... Nothing so much to do with the Z6iii per se but more because I have a couple of alternative options lurking in the background and now when it comes down to pushing the button, I'm sitting on the fence a little longer. Hmmm...

No, its not stacked fast. Its just faster than non-stacked sensors.

You've got to be kidding. Who does that? Granted, if you buy ten of them, it's different. Why is Panasonic almost always less expensive then? You have the same warranty laws. Seriously, Nikon is screwing the Europeans. Why? I'm not trying to be difficult. I just want to know why.

To do that legally you need to report the camera at the customs when arriving back to the European airport, and pay VAT and possible tariff (you can get the US sales tax off by following appropriate procedures and paperwork). You also end up with the camera without warranty service available in Europe. In the end it probably doesn't pay off. Reasons why camera bodies are more expensive in Europe include higher taxes and much more stringent consumer protection laws. In my country the warranty is not limited to the period specified by the manufacturer but the responsibility for manufacturing flaws in the product extends for the expected usable lifetime of the product. In the EU, it is a minimum of two years, but specific countries have stronger protections. Being responsible costs the manufacturer money and so this is transferred into the price of the product.

This is a bit of a pity isn't it? Also the file sizes in ProRes RAW and N-RAW are not nice. Hopefully Nikon will do away with both in favour of R3D in future. Does it lack a mech shutter as per Z8/9? Apart from the above mentioned points and the bulkier body vs OG Z6 (not to mention bulkier price), it does seem like a very solid option but until it comes down in price, Z8 is surely the better choice.

My feeling is that the GH6 is prioritizing the midtones whereas the G9ii and S5ii are prioritizing dynamic range. Could that be the reason? As I'm 50 years old, I cannot honestly tell that much of a difference between the 4k and the 1080p that is oversampled. Also, I always turn off sharpening and NR. For me, the image looks acceptable. Is it 2024 awesome image quality? Maybe not, but I doubt anyone could tell the difference that much. It sounds like the GH7 is the one for you in that it really has that internal raw capability and you can add what you want in post. For me, I know way less than those Panasonic engineers and I'm just going to tweak the settings they gave me- good enough, job done, and Bob's your uncle. (I was looking for an opportunity to use that phrase- not British).

Yes, but you'll pay $2500 at the end of the day (including sales tax) with that Payboo B&H card scheme. In Europe, you're going to pay about $715 dollars more. No joke. We're back to 1990's price differences where you can purchase a ticket to NYC and back, buy your camera, and have a good weekend of travel.

VAT... but U.S. in the most part of States also has sales tax, although much lighter...

Why is it that Nikon hits Europeans so hard. USA price is roughly $2500 at B&H (with their credit card scheme) and in Europe it's 3000 euros ($3215) with tax. In Panasonic world, the prices are almost always lower in Europe than in the USA. That's a heavy hit.

To notice you need to watch footage on big/high resolution screens, or cropping a lot (to make zoom or pan in the image by exemple). Skin textures by exemple looks more mushy. The S5II also has worse detail rendering than the S5 and S1, but this time the S5II uses a lot of sharpening to try to hide the lack of details. Honestly, in 4K and the standard profiles, the S5II image sometimes look like a bad oversampled 1080P. I was always interested by Panasonic because they always had very good detail rendering like on the GH5, G85, GX85, S5, S1 etc. But now, I only seek cameras with internal raw because most brands use too much sharpening and noise reduction to get a better DR score. Yes I agree PDAF is essential, but I didn't think the GH6 could have worse AF accuracy (below 48fps) and worse pulsing in Open Gate than the old GH5. Especially when most youtuber said the AF of the GH6 was much better. At first I thought I have a bad sample of the GH6, but after using 3 GH6, I confirmed it was a general issue.

The problem with Seafrogs are the low quality domes and ports. P.S. I have a housing for the GH4 that I use as a paperweight 🙂

At least it is more on topic than a dreadful Sennheiser 416

Yes I use the AF-ON (or the shutter) button everytime on the GH6, even when I record in AF-C. I always did this with the GH4, GH5 etc. But it's not very convenient in some situations.

Yeah I personally would never ever ever buy a proper underwater housing for a current gen camera! Waaaaaaaaay too expensive. I have a splash bag, but if I was to get a "real" kit then I'd be getting it for a GH5 (heck, maybe even a GH4 if the price is cheap enough!). Definitely not for the newer GH6 or GH7 Or perhaps even the chinese Seafrogs underwater casings. Of course if I was doing this professionally, the economics of all of this becomes totally different. And you go for the best.

99% of the readers of NikonRumors.com wouldn't fully appreciate the significance of this! 🤣 😂 😆😁

Now this is marketing... clicked on an S9 thread? Here's a product you might also be interested in... the ARRI 416!

Until the early years of digital cameras, the few housing manufacturers produced housings for one or at most two camera models. The top of the line for Nikon and Canon. Then digital cameras became more and more complicated, with more and more controls, and the manufacturers went into crisis. the digital revolution caught them off guard and they could not keep up with the new releases. It took over a year to design and make a housing. Nauticam revolutionized the market by applying industrial design and construction logic to an industry where all companies were (are) little more than skilled craftsmen. Now the housings come out almost simultaneously with the release of the new cameras, probably thanks to agreements between companies that are able to get the designs in advance. They are producing housings for the more niche camera models, the problem is that the cost has skyrocketed. A housing for a mirrorless goes from 3K Euros to over 4.5K Euros (without dome and lens port) A housing for a cinema camera goes to over 20K Euros with all the accessories. The second hand market is ruthless with prices less than 50% if you are lucky to get one of the latest, mainstream models. When you decide to change, the camera body is almost the least of the problems.

Now I understand why they cost so much. Damn, I would not want to be the engineer to design and produce such a contraption. There would have to be a huge hidden cost with every minute change in chassis.

That line support came out of nowhere, and makes me think how this rumor/leak business works. Nobody cares about audio to the point that when they want to leak a feature, the audio related ones don't cross their mind.

Well, yes and no. It depends... Modern housings bring outside all the controls and remap them in a more ergonomic position for underwater use. A housing is like a glove with a perfect fit. Once upon a time the internal mechanisms allowed micro adjustments to compensate for small production variations between camera bodies. They no longer exist but I remember that the legendary GH2 was little more than a toy and when I changed the camera body because I had flooded the housing I had to change the rubber wheels that acted on the diaphragms because the wheels of the two bodies were slightly different. Now with more professional cameras the problem no longer exists. To show you how even 1 mm can make a difference, this is the back of an S1H, outside and inside. A small gem of engineering. You understand that when a new camera model uses the previous body, I open a bottle of sparkling wine 🙂

Blimps existed for MOS cameras to make them kinda suitable for sync sound in a pinch. Or the other option is rent one of the more expensive cameras that are designed from the ground up to be used on sync sound shoots. On that topic, if anybody wants to buy one, ARRI has the very best available for sale right now: https://www.newsshooter.com/2024/06/16/arriflex-416-plus-hs-auction/

Was impressed to see that the Z6 mk3 gains waveforms! (as I don't think the Z6 series had this beforehand? https://www.dpreview.com/forums/thread/4680517#forum-post-66604118 Was only Panasonic who had waveforms as a feature in their stills cameras??) This is a big deal! For people who are used to the benefits of using waveforms already. Ohhhh.... and the Z6 mk3 now supports line level audio!! That's also quite unique for a stills cameras, a great feature for a camera to have. Only half a dozen? Nah, go full hog, get a round dozen of them! I reckon they also need a slower zoom, say a f4 zoom that is a mega 10x zoom, not 24mm to 120mm but to 240mm! Or maybe even 28mm to 280mm??? With f4! It would be a nifty way to make use of that handheld control grip that Nikon has made for their cameras if you could control it like this, while covering sport games or other event coverage.

Still no custom LUTs😢

Well seen, it should be the same, I guess.