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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.

Because battery dies... not else. If confirmed, this is the news to my book... Z8 has been outside from my radar because of my doubts on such an issue from user reports heard or read.

Something seems off in those numbers. Are you saying they would make a whole different chassis for 1mm? That cannot be right.

Wow. Incredible. Very tempting. I hope Nikon can release a competitive zoom lens with fast aperture, it's the only thing keeping me from making the switch. - Canon RF 28–70mm F2 - Sigma L/E 28-45mm F1.8

I wish "organic" were a defined term, but it's not. To me, in Standard profile, it just looks the way I remember it being. The skin tones look diverse enough yet not accentuating skin blemishes. What I don't like is when I need to put more contrast in the skin tones because the camera reduced the contrast too much. At least for my caucasian skin, it looked nice. The files and colors just seemed to have some depth to them. I never noticed this; nor can I fathom why this would happen, but I cannot say with any certainty it happens not. What I did notice was it was practically impossible to confidently manually focus with large aperture lenses. The magnified image seemed too soft. This is unlike the GH5. I'm not sure about the GH7, but I have asked about without a real response. For everything you said about the AF, I soon realized that the GH6 couldn't be fully dependable and it was always better to use manual focus and make good use of the [AF] button on the screen or assigning a button. For video and AF, I think it's clear that PDAF is essential in 2024. Any testing of continuous AF with the current contrast systems seems futile and almost a waste of time IMO. I don't really understand why, but I've always thought Olympus had much better contrast AF than Panasonic (even with the millions they'd probably spent on testing, engineering, and especially marketing Depth by Defocus). In good light, Olympus cameras performed as their PDAF counterparts. I also didn't really notice a big difference from the GH2 to the GH6- what does that say? There was only a lot more boxes on the screen but the results were practically the same.

That's it, - I am buying 6 of them. Actually, not seen any reviews yet and I need to do so before pushing this button...

Absolutely. I've always started with the finished result and then reverse engineered it when I see so many 'shoot the shit' out of it and then see what they have got to cobble something together from. It's called vision. Actually, I say 'always' but that is not actually true... I started off having zero clue and then progressed steadily towards 'shooting the shit out of it and seeing what I have to then cobble something together' to in the last 10-12 years, actually 'reverse engineering' based on vision. For stills it's been a fairly easy process. For video, harder. For hybrid, hardest. The single biggest issue? The tools as in not quite having the right tools for the job so the tools do without question play a part, but as has always been and will always be the case, simply having the best kit is not enough.

NRAW 60k60p indoor recording: 1 hour and 45 minutes https://m.youtube.com/watch?v=kTej8zJFCXY&t=1158s

I am growing more and more fond of the saying I invented recently, which is that the art/cinema flows from the people through the equipment to the final film. It is simple, but seems to capture the heart of the matter..... and explains a great deal about the quality of work that we see from various people online.

6k 60 fps FF Raw internal video for 2500 USD is a new landmark price performance for hybrid camera, with great weather sealing and autofocus. With its partial Stacked sensor, I am curious to see the DR and refresh rate.

Maybe you would benefit from using back-button focus? I use it on the GX85 and it works brilliantly because you have full control over when the AF is enabled.