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Stores here are reporting stock is expected first week of next month. Just in time for my birthday then. ? Would've been nice to see some footage/reviews before ordering though...

For the sake of comparisons, here's an article on what our own Andrew Reid had to say on the D850 vs everything: https://www.eoshd.com/2017/10/nikon-d850-vs-everything/ he concluded with: Nothing has yet beaten the Canon 1D C’s 4K on pure quality terms, although the GH5 has a better codec. The Sony A7S II is the closest full frame camera to beat the 1D C’s incredibly cinematic image but it is 100Mbit/s 4:2:0 vs 500Mbit 4:2:2. The Nikon D850 feels the most like the 1D C out of everything so far – similar LOG profile, the closest colour, full frame with no crop sensor (the 1D C is 1.3x crop, still nice). The data rate of the codec is around the 150Mbit/s mark so higher than on the Sony cameras. The detail level is similar to the Sony A99 II in full frame 4K mode with hardly any moire or aliasing. MUCH better than the A7R II full frame 4K. I had no complaints over the full frame 4K from the A99 II. It’s early days with my D850 but I detect slightly less false colour than the A99 II, possibly even less noise and a more filmic rendering, indeed better colour at first impressions although EOSHD Pro Color 3.0 helps the A99 II A LOT. I’ll do a full comparison later. Moire is practically a non-issue. (...) Now, add on a 4K video mode with image quality to edge out even the best Sony full frame cameras and you have a compelling hybrid. It also helps that I can actually see my images, because the screen is way better than on all of my Sony cameras! ----- Now this was written before the alpha iii series but a lot of it still holds true including the codec size & screen resolution. Also most of the negatives Andrew lists there have to do with DSLR limitations (no EVF, no IBIS, etc) and lack of good video PDAF. Video AF is to me the big question mark but i can't imagine Nikon not responding to dual pixel tech from their main competitor, Canon. but in the end if you are a Sony shooter, i agree best is indeed to look past all this and hope towards the A7SIII..

You mean a GT650M? Then yeah, of course. My gut tells me the gap vs a 1050 Ti will be so large I don't even need to look that up to be sure, but here you go anyway: http://gpu.userbenchmark.com/Compare/Nvidia-GTX-1050-Ti-vs-Nvidia-GeForce-GT-650M/3649vsm7754

Yeah but the idea that they will match completely just because they're gen4 is probably not true. RED cameras cost 10x more than Blackmagic and have higher sensor rejection rates, yet their cameras do not match.

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa. Pretty amazing to me. Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot. The style these days is use what already exists, and augment the lighting, and use grip to subtract light. Subtracting light. Before ASA 800, when many of us were shooting at around 200 ASA, you would add light. Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. Toppers, cutters, siders, eggcrates. But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera. The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight. We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again. Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest. It was easier to do, since there were less stands to place on the ground and less rigging to do. Grip takes up a lot of space and stands. Lights - not as much. And we ended up making the bar more interesting than what it was - we transformed it. (I'll post videos and stills once the spots are released. It was putting on a different brain from an earlier era - cause we had to move a different way. And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again. That color of a tungsten fresnel - it has a golden warmth to it. Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls. To rediscover those old tungsten fresnel units, that was also important to me. These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

Yep, the non-bayer design of the Sigma is outstanding with how cleanly it resolves resolution. I have one and should finally get round to finishing that 2nd article about it. I'd put it at around A7R III level of detail, so not quite 50MP but very very clean and very close for the price. It has a lot of other weaknesses along with the mirrorless version of it, however, so it's a special purpose / occasional tool, not a full on replacement for anything else.

Hello! I'd like to share with you my setup. It is very simple to do, nevertheless I've spent about a $1000 to try different ways and ideas. I end up with a setup which costs about $200-300. It is a fully electronic dual follow focus system, controlled by Arduino Nano with two servos and powered by 2 3.7 Li-ion 4800 mAh batteries. The price very much depends on motors and potentiometers you choose. You can calibrate it with any lens. Still it is a bit noisy and I'd like to make a wireless version as well plus add a monitor and a possibility to store more than one lens in its memory. VIDEO

Transcoding to Pro Res (one highly compressed codec to another slightly less compressed) throws away image data unless you use one of the very high end lossless codecs and then the storage size gets to be a problem - it's also time consuming and even with 4k ProRes you will still struggle to edit smoothly on the OP's existing or proposed hardware.

Still if they fixed the 'scan line' corruption with a 'y axis stretch' of 1% you would think they would be smart enough to also stretch the 'x axis 1%' too.

Transcoding the H.264 to ProRes really helps fluid 4K editing. It helps more than upgrading the system. To answer the OP... Yes the upgrade is worth it, 100%, over the 12" MacBook. But you will still need to convert the 4K H.264 from the A6500 to an editing codec to see the most significant leaps... Or switch to FCPX.

At least you laughed while watching it...

Hold my beer! ? I'm addressing the dramatic and false narrative that seeped into otherwise fun, speculative conversation we're here for. While keeping open to many sources is a great thing, are they all equally valid and valuable? If the whole business model of youtube is to attract views, what does that say of the general intention and direction of the narrative there? I have never come across him before so I've made an effort to see some of his videos, visited his website, and generally informed myself about him from what he presented online. I agree with you, he doesn't seem to be someone desperately trying to stir the pot in order to attract views. I had problems finding his work or something that would give me a reason to believe he has a deep experience and knowledge of the topic. Apart from a smooth presentation reminding of a well rehearsed TED 'talker', he's not saying anything different. Maybe in different way, more, shall we say, (insert here his trademark slow nod and bringing index finger to the lower lip), thoughtful. He says that Nikon has an "opportunity to redefine state of the art -- actually reset the entire industry -- but they have to get past Sony's a7 III first", then states in the video that if they don't do that - they lose. What does it mean? Nikon stops existing, it's the beginning of the end for that brand? Why? Why do you think it is? It was a genuine question. From your previous posts, I've gotten a sense that you do have an idea. Again, I really don't see how I can enlighten you ( who is the plural you?). I'm asking because I thought you have some idea. I’m writing this to try and make people here step away from the discourse that’s been prevailing. Guessing and speculating is fun as we said somewhere earlier but it became a narrative of this battle or survival. And it’s not. And it has nothing to do with reality. It’s not a reality of creative industry, authors, amateurs, simple professionals. It’s only reality of youtube ‘influencers’, embattled fans on DPReview, idle wanna-dos.

Well as we've said, including Andrew, if Nikon simply matches the quality of the D850 footage and nails the rest of their mirrorless roll it then I'm sure it would be successful. Exactly! Especially the point: "All they have to do is change the mount which is trivial for a manual focus lens" Which is why I believe we'll see 20+ Z mount lenses within a year of launch, because just counting the manual lenses there are plenty coming along soon.

all i hoping for is that the f to z adapter, if there will be one, is going to af my old screw lenses. That would be mental, even if it is just for photo af.

Neither is capable of handling 4k without significant time consuming frustrations esp with Premier Pro.

Haven't you mentioned a couple of times you're not a representative sample for the market? The gentleman you've mentioned has to say that Nikon has to surpass Sony or that Fuji has to do something else because that's how he attracts views. You'll go there for confirmation of your opinions, someone else will go again because they are 'fanboys'. It's like a tabloid war. You think it's about right and wrong. And in reality, it's about the number of views and engagements. - Do you think Nikon or Canon market decisions are guided by the video users' needs? - Do you think their 'future' depends on catering to video shooters?

I still think you are missing the fundamental reasons why the Nikon lens roll out will be faster than Sony. Sony was first to mirrorless full frame. As such all the lenses (designed to work efficiently on the mount) had to be redesigned virtually from scratch for two reasons. 1) To incorporate 'stepper motors' for fast and efficient 'CDAF' which is combined with 'on-sensor' 'PDAF' (which is inherently less efficient than a dedicated PDAF array you find on DSLRs). Of note the Sigma ART lenses for FE mount didnt add these motors and people have found their af relative poor on Sony A7x. 2) Lens need to be optically redesigned to take advantage (mostly wide angle) of the much shorter registration distance. As an example the upcoming Laowa 10-18mm FE weighs 40% of Canon's 11-24. And redesigning a lens from scratch takes quite a long time - two years to production I have read. But once they have done that for Sony FE, they dont have to do it all over again for Nikon Z mount. The registration distance is near identical and Nikon will use a combination CDAF/OSPDAF focusing system. All they have to do is change the mount which is trivial for a manual focus lens, more difficult for af lenses unless Nikon licenses the mount details. As an example, The Fuji X mount was launched at the beginning of 2012 and Zeiss introduced totally new lenses - the Touit line - for Sony E and Fuji X in September.

When Sony launched their first E mount camera it was a different era to the one we live in today, when mirrorless is seen to be much more important. But even then, dumb adapters appeared on the scene very quickly. As for X mount, again in the past (but a bit more recent), however Fuji is a massively smaller player than Nikon, so less of drive to solve their mount quickly than there will be to do Z Mount. (as the first third party to nail Z mount with decent AF will surely make lots of sales)

Ironfilm saying they will have all these lenses out for the Z mount. Did you read the thread in the last day?? And the piece I was talking about is this rectangle on the inside edge thing at the bottom. It swivels if you touch it when the lens is zoomed in. Don't clean the rear element when it is that way. Big mistake. The thought behind my comment is Sigma or anyone else is not going to just change a flange on any old lens and make it work without some serious engineering. Now if they use their adapter well maybe. But we have no clue in hell what this Z mount will even really look like, or if they are even going to have a focus motor in the body yet, on and on. The Sony FE lenses are not a normal looking design with the rear exit that is for sure. Who is to say the Z mount won't be some odd duck thing also. And that dirt, smears is on my iPhone X camera lens. A 16 ounce T Bone steak adds to the mess trust me. Oh I cooked it to perfection tonight, the steak that is.

Do you own a Sony FE mount lens?

Appreciate the kind words. A lot credit goes to our DP and colorist. They both did excellent jobs. Our colorist actually reached out to the colorist from Moonlight for some colorspace info which was really helpful in locking down the final look.

So I decided to pull out the GH5S to see how it works with the Ronin S. This is a single take, shot anamorphically. I still like the look of this camera and feel it's very underrated. It felt light on the Ronin S... but then again I'm used to flying the Canon C200 ? What are your thoughts?

I dont think the opening will be anything like as large - 62mm - that people have guessed from some grainy photos. My guess is that it will be between the E mount 46mm and Canon EF 54mm. By far the largest number of sales for the Z mount over time will be APS-C cameras. And it is terribly inefficient making a 62mm diameter mouth opening to accommodate a sensor with a 27mm diagonal.

I would actually give Nikon a greater chance of having a better FF Mirrorless than Canon to be honest. Canon can sort of gimp around, I don't think Nikon has that option. And Nikon color science is pretty damn good to be honest. I like it better than Canon for a lot of stuff. Maybe not wedding photography but.. Plus, who doesn't like the underdog here.

Agreed, Sony needs to outdo itself to remain relevant against Canon and Nikon. This is starting to get interesting.?

So I am noticing some jerkiness in the footage. I believe this is due to forgetting to recalibrate the Ronin S for the lighter weight GH5S. None the less here is some additional footage. Oh, I also forgot to bring ND filters on this shoot. I guess I have been spoiled by having built in NDs on the Canon C200. Oh, one last thing, these clips are edited in FCPX. The free version of Resolve does not support the 10 Bit ALL-I files of the GH5/S.

Like virtually all cameras released these days, I believe it will generate pretty pictures and ugly arguments. So, yes, absolutely not revolutionary.

Thanks. I like how the skin tones look.

I feel you're 150% missing the point, as it wouldn't even matter if the C100 had pre amps "twice as good" as my sound recorder, as it simply is an impractical workflow to not use an audio recorder/mixer and instead record straight to camera for scripted narrative filmmaking of a certain level of complexity. To do so would undoubtedly lead to worse audio.

Welcome to the club! Going to be using it this weekend for a feature film I'm DoP for.

Shot with this yesterday on a shoot with quick turn around. All Procolor V4. Still need a little white balance to match (and Pre boat removal on the horizon )

I got the A5 in a rush (after finding last minute that the Ninja 2 does not work with the NX1), and have been shooting with it every day for the past two weeks. I'm pretty happy with it. Regarding the discussion of the brightness, it's adequate. I've had the brightness at 50% and it's viewable outside for framing and peaking, though it's no match for an EVF. All in all I would totally recommend it to anyone on a budget who doesn't want a massive 7" monitor. But make sure your batteries work before using! Here are my pros and cons, loosely in comparison with the Feelworld FW760 that I used to use. + Smaller but still 1080p. 5" vs 7" is a huge difference - and also it has thinner bezels and is thinner so it's actually much much smaller. + MUCH lighter. Makes my setup more balanced + HDMI out + Mounting points on three sides + Screen is fantastic. Focus peaking works very well. + It remembers settings through power on/off cycles. The FW760 would reset everything if it powered down. - The battery plate is finicky. It's not a problem for me since I power everything from a power bank (I didn't even own any batteries for my FW760). It will not work with a Wasabi LPE6, but it will work with an Ipax LP-E6, even though BOTH of those batteries power a 5D3 perfectly. - Plasticky. I think the FW760 felt a little sturdier, but not by much. However, the mounting points seem secure and it's not going to fall apart in your hands. Sort of the build you expect from a screen this price. - Only one customizable button. - False color does not have a color scale on the side, so you have to guess what IRE each color corresponds to - The 1/4-20 threads are too shallow. I had to put a few washers on my friction arm's thread. - The hot shoe mount that comes with it is junk. - It would have been really nice to put one of these on the back: https://www.amazon.com/SmallRig-Camera-Threaded-Monitor-Accessories/dp/B01NCK79G2 . I had one on my FW760 and then used a lock washer on the friction arm to keep it from accidentally rotating.

I'd follow Rich's advice & stick with what you have, since you'll almost certainly ruin your lens. Your lens does have character & most people tend to think that horizontal flare is the only thing anamorphic lenses are good for, which is completely false - there's so much more to using anamorphics, you just have to experiment a little harder. I've got MC anamorphics to flare just fine, eventhough I don't particularly like horizontal flare This was a quick'n'dirty flare test that I did with a MC Isco 54. My personal favourites are examples 9+10 (9 was a vintage Tomioka with Gold-ish coating & 10 was a new MC Zeiss ZE).