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They didn't use the full potential of that sensor in Z6iii. It can output two images per frame, one at first base ISO and one at second base ISO. Then the processor can combine them to achieve near 14 stop of DR. But as its 2x data, it takes longer to read out, hence the slow read out of S1ii when DR Boost is ON. Either Nikon's Expeed processor isn't capable enough for that task, or they didn't find that rolling shutter effect acceptable, or its a feature that needs premium license they didn't bother to pay.

Would you consider just upgrading to a used z6iii whenever it makes sense to financially? Just the fact that you’d be able to get arguably better internal recording than the atomos / not having to hook up the atomos all the time..

Same…one of my most used lenses for my Z6, an old Nikon 17-35 2.8, is not weather sealed lol, but there’s the 5% of times where it’d be nice for the body to be weather sealed.

Sorry if it was already mentioned but the Canon R50V ($699USD) seems like a no brainer. But also depending on when you need to squeeze the trigger, Canon is rumored to be announcing a new Cinema cam with the R50V compact form-factor next month: https://www.canonrumors.com/canon-to-announce-new-compact-cinema-eos-camera/

I don't really use the audio for dialogue so can't really comment on it specifically. To zoom out and think more holistically about sound, and also a bit about getting in front of the camera, there are a few approaches. High-quality sound on location. This is great but you pay for it in terms of paying for extra equipment, extra faff of charging it, setting it up, using it, cleaning and maintaining it, etc. High-quality in-camera audio is the most convenient and the most expensive to get. External audio makes it easier / cheaper but creates extra work to keep the audio files managed and to sync them in post. Acceptable sound on location. This could be through a combination of average in-camera audio and average external audio. The in-camera audio could potentially using on-camera mics like the Rode VideoMicro or a plugin Lav mic that don't require any power and are plug-and-forget but are dependent on the quality of preamps in the camera. The external audio could be as simple as using a smartphone right next to your mouth, or using the integrated mic in the headphones as a short lav mic. I've seen lots of vloggers do this in very noisy environments and it works fine. First example, second example. Record in post. ADR (Automated Dialogue Replacement) is where actors re-record their dialogue in post production to match their lips in the footage. It is so common that many films simply didn't bother to get good sound and created the audio (dialogue, sound effects, sound design, the lot) in post after the fact. I've done this before on short films and if you take a bit or time to do it then you can get results indistinguishable from doing it on-location. Recording in post also comes into the idea of appearing on screen, or not. By taking lots of notes and recording your thoughts during the trip (potentially just using voice memos on your phone at the end of each day) you can then narrate the finished film and have a significant presence in the finished edit, have high quality audio, and also take away the burden of getting great audio for everything that happens throughout the whole trip. Narrating the film will also enable you to communicate ideas and feelings and information in a concise way with carefully chosen words, rather than trying to piece together a coherent summary from fragmented snippets of footage. Narrating the final piece also takes a huge burden off the footage too, because anything you didn't capture can be explained in V/O so the film doesn't rest solely on the footage to be self-explanatory, which is a high-bar to achieve. There's a hidden mindset that you're at the cutting edge of (and being cut by), which is that the entire film-making industry assumes that anyone wanting high-quality equipment doesn't mind it being large, and that if you care about size then you don't care about quality. I've gone round and round with people online and it's like "small and good" is a combination that somehow doesn't exist in their world-view. This has lessened over recent years, but is still the elephant in the room. Speaking of the elephant in the room, be careful not to lose sight of the final prize, which is an engaging final product. I don't know how much editing experience you have, but making a doc is like making a bunch of lego pieces without knowing what you're eventually going to want to make, then designing the building, and then trying to assemble the building out of the lego blocks you have made. Obviously those with a lot of skill will be able to anticipate the final result better, and will make better pieces, but to a certain extent the more pieces you make and the more variety you include, the easier it will be to assemble the finished product you want. This is why I advocate for setups that: 1) you will use (giving you more footage) 2) is fast to use (giving you more footage of things that happen quickly) 3) is flexible (giving you more variety of footage) 4) is enjoyable to use (making you more likely to use it and also making the whole thing more enjoyable and more likely to be successful overall). Remember, this person is ready for anything, but misses almost everything switching equipment, and has a hernia by the end... You should start with the idea of just using your phone and only add equipment that will make the end result better, not worse.

If APSC is in the mix, FX30 would be my pick also. Lenses would need some consideration but the Sigma 18-50mm (27-75 FF equivalent) optically very good and is tiny. There is also a bigger and heavier newer lens offering 17-40 (so approx 25-60 FF) but it is f1.8 so better for low light.

I think a huge part of what sets Martijn's stuff apart, other than him just being very engaging and charismatic, is the aerial drone footage - seeing him cycling in some of those breath taking locations elevates the visual way above any other one man band adventure stuff I've seen. It immediately looks pro to me Love Mads Brugger's The Mole in North Korea - I think if your stories need it then for sure stepping into the camera can give scenes more gravitas, changing the dynamic. I'm sure there will be stories you come across that may need this touch, having the instinct to know where and when is part of the film makers skill in this case Ah don't get me started on Enfield adventures...

Fun topic! I'd be tempted to say phone & action cam for actual biking and a compact mirrorless for off-road filming/vlogging. Weight, battery life & weather sealing probably the most important factors. Overheating something you wanna avoid too. I'd be tempted to recommend Sony FX line (FX2/3/30). Why? Built-in fan (zero overheating), rugged and compact, big sensors, mounting points, pro audio, class leading AF, cine OS (LUT support, shutter angle etc) and the cameras are discrete. Model wise, the FX30 is most affordable, APS-C means smaller lenses. FX3 is most expensive, full frame and has that extreme low-light ability, minimal rolling shutter and is Netflix approved. Just released FX2 is the middle ground and the model I'm currently eyeing: Does both FF/APS-C, oversampled 4K & 33MP stills, AI AF & the unique tilt EVF (very handy for harsh exterior shooting). I saw the R5 was mentioned by OP, if he can swing it the R5ii is much better: less overheating, C-log2 and 4K SRAW (small RAW files). But it's fairly heavy vs lighter options! Also Canon has a super cheap great 28mm f2.8 pancake RF lens which could be your one and be done travel / v-log lens. Casey here actually does an awesome job comparing the R5ii / 28mm combo vs DJI Pocket3 for V-logging & street videography on skateboard:

It will be fine but needs either a baseplate & grip for even basic handling but better a cage from someone like Smallrig. I have the Smallrig baseplate/grip myself for my needs but if I was going anywhere rough and for more than a couple of days, the cage for sure as it’s not the most robust camera ever built. S9 + grip + Sigma 28-70mm f2.8 (42-105mm in APSC mode), Sennheiser MKE 200, mount for monopod. If I had the cage instead of the baseplate/grip, I could mount 2 accessories instead of one such as a mini LED. As it is, I just have to swap out the mic for the LED if I need it. Extremely compact and lightweight package for it’s capability but neither the body nor the lens have any proper weather sealing so IMO, this is not something to take around the world when you are inevitably going to have some inclement conditions!

Ah you should check out his 'One year on a bike' film where he cycled Amsterdam to Singapore. I spent a year in India but mainly on an Enfield motor bike, should have made a film of that, got it on good old mini dv tape somewhere

I never have and was going to cycle from UK to India once, but in the end flew and backpacked it. I do have a few trips planned, but skipping the bike for all of them. Probably…

Ha I dare you. But yes it is very inspiring stuff, have done a fair few bike packing adventures but this is next level

Worth a look. Part I. Without reframe — so far available on DJI Studio at least (video here) — will look like crap (versus Insta360 X5 with correction in-camera). source And now Part II... Imagine it now coupled to a new tool like this one: