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Nikon ZR vs Arri Alexa Mini Color (R3D NE, N-Log, Log C) https://www.youtube.com/watch?v=mgJGK3YpIx0

Here is some completely unbiased coverage of Scotland’s previous meetings with Brazil.

I had a play with the Nikon Zr today and quite liked it, it's a capable, good value for money Sigma-Fp style camera with very good autofocus and finally a screen with which you can see what is in focus and what isn't. Well done Japan for going large after 25 years of 3.0 inches. It's the sort of camera that would be very exciting back in the day of the DSLR video revolution to say the least... Nowadays though, I find other stuff more exciting. Also the screen tilting mechanism sucks... I'd far rather they'd drop the YouTube vlog-style swivel screens on a camera like this and have a standard tilt screen that is ON AXIS with the fucking lens, and with it being so large it really feels unbalanced stuck out at the side and blocking the ports. In a way the Zr feels like a Blackmagic Pocket Cinema Camera 6K but done well. But it doesn't feel very high-end, even if the image is. Also I miss the EVF and think the Z6 Mark III is even more bang for buck. So yeah, doesn't set my hair on fire but it's going to be a very decent buy for a lot of people.

I have a colleague from Kansas that use to do second unit for Malik back in the 70’s and this anecdote is right on target. My buddy’s job was to wander around the set’s region and find shots of bugs.

Especially with so much competition, and smaller cameras.

Well in the newer cameras (S1II and S1RII) it opens up certain data heavy codecs that are not available in SD but I think with the S1R, it was more a case of having a more robust (and cheaper!) card option? I had mine set up writing to both for peace of mind insurance but beyond that, no other needs.

"You reach a level where that 5% more cannot justify the 10, 20x the price." true

As the saying goes it's same as a Leica SL2 inside, so $800 is a real bargain. The S1 / S1R ergonomics are alright, bit too heavy and big. I prefer Sony 4th gen (a7 IV onwards) in that respect, but the S1R really did feel and look like a high-end camera when it came out unlike the new stuff.

Liked the results mine produced on the stills side and the 5k was special. The only thing that annoyed me really was the different ergos to the S1H, especially the position of the on/off switch, but a great bit of kit and exceptional value used as is the S1H!

Made a lowball offer on ebay and scored the “Vintage Lumix” S1R kit for $800 US this week. I have a book project and need to photograph a lot of oversized art in high megapixel raw so i couldn’t pass it up for the money. Been wanting to try out the 5k mode for a while now and have a whole list of vintage lenses to adapt. As much as I wanted the SL2 or the GFX 100s the prices haven’t come down as much as the Lumix stuff and I can always revisit those later. For now the Original S5 with Ninja V for prores raw and the S1R for high res stills and 5k Super 35 Anamorphic. A little S9 for $800 is next and that will round out my 3 camera budget system for under $2,300, Not bad…

I've been rocking 2 secondhand S5s all this year, mainly with my Super Takumars (I've got the 20-60 kit for when I'm feeling lazy) and I've yet to touch the edges of their capabilities.

I don't know what people see in new cameras really. Used ones just so much more exciting. A GFX 100 for £1800. You don't need to buy a single medium format lens for it... Bang on a 10 quid adapter and Minolta 50mm F1.4 for 50 quid and it looks like a Leica M11 with Noctilux F0,95. A7 IV for £1300... What a bargain that is. Does everything. If you need the exotic frame rates and codecs... EOS R5, 4K/120p, 8K raw, £1700. Sony a1... You can go to Japan and the flight pays for itself. The list goes on. I will never buy a new camera or pre-order one again.

A couple of years ago, I was saying on Forums that Arri would fail, and people were calling me stupid. Ohhh its image is so special, etc etc how peasants could understand this. But the problem is you can't sell a lot of 70-100 000 usd cameras, the market is what it is, even more so when you have very capable cameras coming for much less. You reach a level where that 5% more cannot justify the 10, 20x the price. Before you had the highend market where camera cost/rent is peanuts compared to the overall cost, but that secondary market, the people that used to rent those highend cameras, can now buy a camera that will do 90% of what they need, and will rent only 10% of what they used to do. Arri and most US/german companies are going to be eaten by the Chinese ones. They still live in the rental business, for camera and other gears light lighting etc. The principal of the Chinese is that they will produce affordable equipment for the many, that will help them also produce for few highend that they will sell. You will find Aperture/Godox/Nanlight models that will cost less than a hundred dollars, to 4k led light costing more than 10 000 USD. They will sell a thousands of the 300 USD 300 watt cob monolight, for perhaps every 10 000 USD 5000 watt one. But those thousands of 300 USD lights will help them for R&D for those big lights. same for camera, imagine if Arri had repackage the original Arri LF in a more affordable casing, taking out some features of frame rate and sell it for 10K. They would be selling thousands of them, perhaps at the detriment of their higher ends, but those thousands of 10k models would overall bring so much money.

My opinion on the buyout of Hollywood by an oligarchy mafia. https://www.eoshd.com/opinion/warner-bros-risk-talent-exodus-over-trump-ellison-deal-who-will-follow-christopher-nolan-and-jump-ship-next/

I think people see politics these days as a form of show-biz entertainment soap opera drama, what a surprise they are going to get when the frogmen smash their door in next.

You are posting tons of good things on this forum, but EOSHD is a website that is paying the price for being a rare voice for honesty in the camera press, and it has upset all the right rumours click-weasels and pathetic social media influencers... But as a result, EOSHD is being starved of oxygen - undeservedly of course. Who the hell made these idiots gatekeepers? You can help right a big wrong here. If you use the forum regularly please make sure to: - Post links to your EOSHD Forum topics around the web to invite other voices into the discussion - for example on social media sites like Reddit and on Facebook groups, and on other forums like the very large one at DPReview - Share EOSHD blog posts and articles if you find them relevant or interesting or even if you disagree with me - Begin topics on other camera forums and Disqus threads on rumors sites about the subjects featured here. Because you know what? We are one of the best and longest standing camera forums around. Let's fight back against the clickbait, AI slop and social media hype artists. Over and out. The Camera Puffin

A bit of a stretch to go from developing an Alice in Wonderland app to accusing Tim Cook of being a pedo.

The new entry-rule is doubleplusgood. Giving five-year socmedia record to Borderforce is only goodthink. Right citizens with nothing to hide welcome full truthcheck, for it keeps out crimethink, facecrime, and all ungood elements. Freedom is Strength, and more watch means more freedom. The Party merely sees what all goodthinkers already show. Only unpersons fear oversight.

One of them leaked the script of Witkoff's negotiations with the Russian guy. Another one, an admiral, questioned orders and forced to resign. The problem is there won't be enough of them, because unlike Hollywood scenarios, you need more than few heros to save the country from fascists, it needs uprising by millions of people (tho I don't believe these clowns are fascist. They're too dumb to stick with a particular ideology).

I've been thinking for a while that, internationally, Hollywood is going to get cooked by the 'new' USA. Think how many of the biggest movies over the years have been predicated on the notion that the USA are, once you get down to it, the good guys, the freedom guys, the justice guys - how does that notion survive in a world shown, daily, evidence of resurgent American fascism, cruelty and opression. Even in those movies where the US state is engaged in bad stuff, the day is saved by upright American patriots (with great teeth) - but IRL, where are those patriots? We're now aware that they're not to be relied upon to do that. So how does a global cultural hegemony based on an vision of the US as that shining city on the hill survive the revelation that the shine is an illusion (obviously many of us already knew that it was a tortured myth anyway, but the grotesquery is now so pronounced it's unignorable even to the millions of normies who make up the entire international audience for Hollywood's product)?

In my experience, distance from screen matters the most.

This is my point. If a 20 year old varicam 27h can can do a lot that 35mm film rolls can do, the modern crop of mirrorless and cinema cams are much better, the gap between these new ones and the 35mm film rolls is really not that much, hard to justify the 100x cost and the much long time for processing.

The woman with bubbles at 1:00 or so or the sun behind the mountain at 1:50 or so are more challenging scenes than the baby and the rolloff in both looks really rough to me. The image at 0:49 also looks pretty bad to me, as do the highlights in the water at 0:40ish. It's great for a camera from 20 or so years ago, but in modern terms, I'd expect better from any mid-tier hybrid. Like with most things, in the hands of someone who knows what they're doing, it can look great - but so can a Nikon ZR or a Canon R6 III. 😃

We need to send a murder of crows to the click weasels doorstep

The effective resolution of properly-exposed modern 35mm film is somewhere in the neighborhood of 5K if I remember right. But as above, a lot of people aren't so likely to care about that. Unless the varicam had some sort of miracle sensor, though, 35mm negative film will have much better dynamic range and much, much more pleasing highlight rolloff. It's still seen as king of rolloff - and on a film with a 20 million dollar budget, the cost of shooting on film vs Arri vs anything else is basically an afterthought.

I think a lot of people would be surprised to learn how many movie theaters are still projecting in 2K. Movie theater projectors are expensive as hell and overall profits for theaters are down compared with 10 years ago. Exhibitors aren't going to rush out to spend thousands and thousands of dollars on anything that doesn't have a direct positive impact on their profits. Being able to count the pores in the lead actor's skin doesn't put asses in seats or sell more candy.

No, but it turns out that a lot of our guard rails are imaginary.

"The old world is dying, the new world struggles to be born, now is the time for monsters" - Antonio Gramsci, Italy 1930s

Vimeo is in the process of deleting ALL my videos, due to their new policy of deleting their entire library of content for ALL non-current users without an active Pro paid subscription. Also, about 90% of my Vimeo was nurfed by the copyright music shambles, where Vimeo did the 3-strikes thing and they delete your entire account. So to avoid that, back in the day, I just decided to make these videos private, and unlisted. I have not got round to putting it all on YouTube yet, but perhaps I should?

I'm talking about LOG video, it really does depend on the user more than the camera how the colours come out, especially as the modern range of gear now have a similar high level of codecs. So the Z-LOG = S-LOG = F-LOG they're all very much the same sort of thing. Whenever you see this LOG footage on YouTube, it's been graded by the user, either with a LUT or with their own grading skills in Resolve. Yet all the comments are like this... WOW the camera has great colour science, blah blah blah. And i's the same with RAW... All the sensors are now at a high level, similar dynamic range and so on. If anything they are now too good and are moving AWAY from the look of film. As for colour science... If you shoot JPEG or rec.709 video, then what the camera is doing matters far more. But in LOG they are all using a very similar wide colour gamut, and similar LOG curve, similar white balance, it is only the 8bit side that still has a big variation between Film Simulations, Photo Styles and Creative Looks. So just bear in mind next time you see footage on YouTube that the LUT is doing 99.99% of the colour you're seeing not the camera.

Speaking of name dropping AND Lubezki… I was bartending my day job years ago while in film school and came to work to set up the hotel bar and looked up to see The whole crew from “Knight of Cups” standing there silence. I proceeded to hang out and cut fruit for 3 hours while they shot some scenes with Christian Bale and Natalie Portman around the pool and walking in and out of my bar. I was giving “Chivo” and his AC’s beers at the end of the bar and chatting with them in between takes. At the end he wanted to pay and I just laughed. I told him he was a huge inspiration for me and there’s no way they were paying LOL. Have me his business card and got to meet Terrance Malik later. i don’t think any of those scenes even made it into the film but it would have been even better if i got some background work out of it LOL. Loved the way he ran his set and how quiet and professional it was. Lubezki told me Mallick wants it all naturalistic and wanted the hotel and bar open the whole time. No closed set and no yelling from the first AD. Just quietly exploring shots and vibing off of the mood and the actors. I learned a lot through observation and it was inspiring. Epic day.

S1R is a 6 year old camera so all of the codec options are pretty standard at this point. I think CF express type B will help with photos and faster buffer rate for continuous shooting. Other than that SD cards are fine for video specs.

Somebody discovered the h.265 softness issue is a variable bitrate bug. With Nlog its too low. It should be 320Mb/s but its 32Mb/s. They forgot a zero 🙂

GH5 GH4 EM10iii OM-1 5Dii XPRO2 XT-5 P1100 DSC-RX10 iPhone15 iPhone12 Xiaomi12 Ultra DJI Mavic Pro GoPro Hero All those different cameras were used to make our latest indy documentary on-and-off over the last 3 years. We finally finished post-production (for real this time) last month. Not to mention all the different ridiculous vintage lenses and modern lenses employed along the way. So that happened. My advice? Yeah, don't use so many cameras...and then try to make all that cohere somehow with no legitimate color grading skills... Surprisingly, I found the EM10iii footage the most pleasant looking color-wise when exposed correctly.

$800 is a steal for that powerhouse. Enjoy

Enjoy, I really liked my time with my S1R (and onto the S1R2 now)

Anyone watching this cringe fest World Cup draw would swap in a heartbeat.

The thing is, open gate is a pretty big deal for people in charge of social media for companies big and small. Almost everyone i know doing that kind of work is a Sony shooter and are frustrated that they don't have that option, while my S5II X does. I know of at least three folks who switched to Lumix for open gate, though that's a drop in the bucket. Still, as other companies introduce it, Sony might find themselves shedding customers if they too don't introduce it soon.

Best footage I ever shot in my life was on a XH-A1. It was the situation and lighting, not the camera. Could it have been better with a new 4K-whatever-camera? Sure! But only marginally so.

It once was that the pros had 16mm an 35mm film and the "amateurs" had Super 8 and videotape. Now that's all changed. Yesterday I was capturing some old videotapes from a friend's project that we did in 2011 on a Canon HV20. It looked amazing. I was expecting it to look worse than cameras of today but it doesn't. Just shows that even a camera from then, with a CMOS chip from that era, MPEG 2 encoding, 4:2:0 chroma subsampling, 1440 x 1080 frame size recorded of the wide screen image, and 8 bit colour, it still can look amazing. It just shows that cameras have been very good for a long time now. The differences are mostly ergonomics and physical size. When deciding on a camera, you have to consider what you want to spend months living with.

Somehow strange that they did not put this technology in the FX2. I assume the development on the photo side is stronger. For the videoside it just reduces some of the A74 biggest flaws. The Crop on 60p has cost me some nice shots, i find the rolling shutter not too problematic even though i hate the effct- haven't shot for the big screen though. Will be super interesting to see a comparison of the picture of the A74 to the A75 -again skintones is what i am most interested in...

I do. Or at least I suspect I do and that is an FX3ii is coming and that WILL have all the ‘missing’ video stuff that is not in the new A7V. The FX2 is a bit of a Frankencamera (I quite like the concept but not quite the execution) possibly to use up a lot of old sensor stock but 🤷‍♂️ The new A7V is not meant to be a video-centric camera but a stills orientated hybrid, same as the IV was. If they had allowed 6k and left the gate open etc with it, other than the body type, what incentive would there be for any new FX3ii…which I think is certainly coming because although they have had some criticism lately, this is Sony and something they do perhaps more than any other company, is churn out cameras. Very good silent shutter mode on this new A7V for wedding shooters! Not enough to tempt me personally but it’s a really solid stills/hybrid unit at the new price point for such things.

I'm talking about in cinema, there's no use case for it. Sports yes.

I'd argue it is the MOST important because without the camera, you don't have a picture. It is the small differences between the latest sensors and codecs that's the unimportant thing. In cinematography, our job isn't to worry about the costumes or set pieces, that's the job of someone else. So lighting and camera are the most important for a DP. What has happened is the gap between the top-end i.e. ARRI and the cheap stuff has closed up. This has been going on ever since the start of the DSLR revolution so it's not a new thing but there's never been a smaller gap that exists now, for example between something like the Alexa 35 and a $1000 used Panasonic S1H. By the way although Magellan has beautiful content and really nice camera-work, the sharpness of it and the deep DOF isn't everybody's cup of tea. It does look a bit too soap opera in parts of that trailer, I think. It looks very different to an IMAX shot film. So there's big differences between formats and lenses still... The same cinema focal length for example on 16mm has always looked vastly different to same on IMAX or large format. Also there are big differences in grading style, camera movement style, and so on. I think most relevant for us is that you don't need to make a massive rig any more to get good results. It's horrible having the weight as a one-man DP. Probably why they used such a small camera on this.

I'd be truly shocked if the main sources on all of the ____rumors sites weren't the marketing teams for the various camera manufacturers. These days, those sites function as a pretty major portion of their pre-release marketing as well as allowing them to do sentiment/market analysis based on how people react to the rumors when posted.

I really do think the camera is the least important aspect these days though. Lighting, set pieces, costumes, locations, etc. are so much more important. Magellan could have been shot on pretty much any camera from the last 10 years and looked just as good, because everything else about it looks good and it's clearly made with skill and talent. 28 Years Later was a huge disappointment for me as a film (28 Days Later is one of my favorite films of all time) but it's still a gorgeous looking film that was shot on iPhones. If it was shot on a ARRI Alexa 35 it wouldn't have changed what I disliked about the film. And watching it, I didn't think to myself "jeez, this would've looked so much better if they'd film it on a better camera." A LOT of gear went into making it look as good as it does, but the camera itself was pretty low on the list, I think.

I think we learned long ago that the "camera" was one of the least important parts of telling a story. You can take an iPhone and create beautiful art if what you're filming is compelling, you are skilled enough, and the story you're telling is good. Frankly I'm surprised that we haven't seen more folks using mirrorless cameras, because if anything, they are overkill for a lot of films being shot today, especially ones that will never be seen on the big screen. My buddy made me re-watch Terrifier 3 since he just got into the series. It was filmed on an ARRI Alexa 35 using Panavision anamorphic lenses, but honestly, you never would've been able to tell if they'd shot it on a S1/H, S5/S5II, GH6/7, A7Siii, R5C, etc. and using any of the budget anamorphic lenses that have been released for these cameras. It's great to have an ARRI Alexa 35 and Panavision lenses, I can't really fault any low budget director using them if they have the opportunity to, but it didn't make the film any better and, no offense to the director and editor, but he wasn't skilled enough to get anything more out of using that camera and lenses than if he'd just used any mirrorless camera released in the last 5 years.

They're already closing down their pro services, and no way they invest in a zero growth business when they kill their own zero growth businesses. Canon can't do it. That would be all against their ego. They and their customer base believe Canon color science is best in the world, and thats why they have 50% market share. They're like "we ain't need nobody". Sony will have a integration nightmare if they do it. Arri systems are in conflict with the whole Sony line up. Also it would be an official admission that the electronics/AV giant couldn't get the color science right and eventually had to go shopping. Nikon acquisition of RED unintentionally made this perception that its a preferred approach in Tokyo. But it isn't. Nikon had to choose between two costly options and the acquisition was cheaper. In China, its only DJI who can gain a lot with Arri reputation in its arsenal, but I don't think Germans are comfortable with giving away this German icon to Chinese. Zeiss would be the perfect owner. A German brand with enough money, so the brand stays in the country, and they're heavily invested in high end part of the cine market.

Mid season report. Actually, I am nearing end of season with just 2 more jobs to go this year until June next…which is quite normal for me. The TDLR is I almost love it… Why ‘almost’? I’ll get to that… The Good = The body design actually. Yes I would rather Lumix had moved to a body style more like the FX3, but I guess they thought that might scare photographers who expect a hump. Whatever the reason, it’s not as innovative as it could have been and despite not having a top screen, really is like a smaller S1H in the hand and IMO, that is a good thing. In my hands, with no battery grip or any other adornment other than the smallest Senheisser mic, it feels just right in terms of size, weight, build, comfort, ergos. It’s a true hybrid. It would be even better with an internal electronic VND, but hey ho, maybe that will come with the S1H2? With 5x C1-5 custom settings and a simple photo-video switch, it’s fabulous for hybrid work. I don’t even use all 5 photo and 5 video settings, but have it set up basically as: landscape photo, portrait/candid outdoor, portrait/candid indoor and low-light, all with a starting f stop, aperture, WB, ISO and equivalent matching settings for video so it’s actually only one flick of a switch to flip between video and stills in any given scenario. Brilliant. The sensor. 44mp. Perfect 👌 for me sweet spot between the more traditional 24mp and the 100mp of the bigger MF sensors. Suits both photo and video. Video files and capability. I shoot 7.2k 30p open gate and the file sizes are not huge or slow to work with. With baked in conversion LUT, SOOC I love them. Yes raw would be even better, but an almighty faff and overkill for my needs. The open gate allows any number of crops, 30p a 20% reduction in speed on a timeline and the 7.2k quite a bit of scope for punching in etc. Having said that, not fully edited a finished production yet but I have checked and edited a few bits here and there and it’s even better than the 6K I was using before which itself was better than the 4K from Lumix FF cameras so thumbs up. The Not So Good = Battery life is pretty poor. I’ve always scoffed at people reporting poor battery life and never experienced it on any camera. Until now. It’s not great, but a spare battery in my pocket at all times is how I now roll and is what it is. AF accuracy for video is good but not Sony level. Ditto for photo. Having come directly from an A7RV, I’d give the nod to the Sony for ultimate outright stills quality and AF, but the S1RII gets the nod for video and body. I don’t think there is anything else other than I have a pair of them matched with the 35mm f1.8 on one and the 85mm f1.8 on the other. The S9 is on lighter duties of video only, mostly longer than clips and sometimes even full length ceremonies and speeches and has only overheated once and that was on a very hot day in direct sunlight. The S1RII by the way, I have never even had a warning and has never got hot to touch, - just the usual warmth you might expect shooting a thing all day long. I may replace the S9 next year with an S1IIE for a bit more robustness and utility, but waiting to see if any S1H2 appears before doing that, if I do that. Almost certainly will trade the Sigma 28-70mm f2.8 for the new Lumix 24-60mm f2.8 next year as I think it will suit my needs better and appears to offer better AF and detail/rendering. S5II soldiers on in its static role and just does what I need it to do. I do need to find a way to get rid of the battery grip and the heavy tripod however and working on that… So ‘almost’ love it. It’s the battery life and good but not stellar AF plus the less than exciting body design that drops it 2 points for me so I’ll give it an 8/10. Along with the Z8, probably the best all round hybrid camera available today? At least for my needs. Taking into account lens options and prices.

I have the S1RII and the S1II. I also still have the old S1 and S5. The S1II is the same than the S5II about video details, even if some youtubers said the details rendering has improved, it's not true at all. Same bad rendering as the S5II. I understand some people are not bothered or can't see the difference and it's nothing wrong about that, but the difference is clear by example if you zoom inside your videos on people faces. Like the S5II, there is a sort of rough detail sharpening and in the same time a lack of very fine details. As always V-log looks better than the 709 profiles but it's still not great in my opinion. The S1RII also has the same detail rendering and I was very disappointed by the 6,4K Open Gate, it was not better than the 6K of the S5II, maybe even worse, like if this mode used a tiny bit of binning like the 5,9K 16:9. The new 7,2K is ok and looks better than the 6,4K. The 8,1K Open Gate is even better but limited to 24fps. Even if the video engine is the same between the S1II, S5II and S1RII, the later has much more resolution in 8K, hence the fine details looks finer even with the bad processing. it's only when the footage is a bit underexposed or overexposed that the S1 6K looks better. I read somewhere something interesting about Real Time Lut, using a burned in lut with a good amount of contrast helps to recover fine details. When recording V-log without Real Time Lut and grading in post, some fine details can't be recovered. I can confirm it's true. So using Real Time Lut V-log on the S1RII in 8,1K Open Gate is the best for details rendering. I'm glad Panasonic has fixed the colored pixels issue in Prores Raw on the S1RII and now the footage looks great, same details rendering than on the S1 or S5. But it's really crazy we must use Prores Raw to get the same good details rendering than on the S1 or S5 H264/265. And the crop is a shame, 1,45x ! When cameras like the Z8 or Z6III offer 6K or 8K 60fps raw video without crop ... About the S1II, Prores Raw only has a minimal crop (about 1,05/1,1x I think) and it was the main reason I bought this camera. Like on the S1RII, Prores Raw is excellent and like it has much less crop, fine details looks even sharper (in a good way). Finally we have a Panasonic camera with not only excellent IBIS but also excellent detail rendering and good AF without using external recorder (even if Prores raw is a pain for the workflow). The only issue I found is the 240fps 1080p mode, it is clearly not finalised because some horizontal lines appear randomly. I also found the photo raw files of the S1II and S1RII to be slightly less contrasty than the S5 and S1, they have less that punchy looks and I still prefer the rendering of the S5 and S1 with my best lenses like the 50mm S or 24-70mm Pro. it can be because of ACR but the JPEGs out of the cameras also looks slightly less contrasty than on the S5 and S1. Other than that, IBIS is stellar but sometimes more digital than on the G9II or GH7, color science is good but not as good as the GH6 to my eyes. The S1II also has better AF than the S1RII and I can feel the difference. Compared to Nikon, Lumix has several advantages like the IBIS and Open Gate. L-mount also has great "practical" lenses but I think they lack really great lenses with very nice rendering and more pancakes. After using most of the L-mount lenses, only a few looks really fantastic, like the 50mm S Pro (if it has not the coating issue), 24-70mm S Pro, 28-45mm Sigma and the APO Summicron SL. While absolutely great, the APO SL are really too much expensive for most people and it will be hard to attract a lot of people in the system, it is why Lumix try to attract people with smaller lenses and never released again new S Pro lenses since 2019/2020. Nikon has better AF most of the time but also more great lenses. The 50mm f1.8 is much better than the Lumix, the Nikon 35mm/50mm/85mm f1.2 and 135mm f1.8 are some of the best lenses you can buy. You can also adapt Sony FE lenses and there are more interesting "cheap" lenses available from third party manufacturers like Viltrox (mainly the 35mm f1.2 and 135mm f1.8).