ND64

I liked the DR in this shot

The problem with Japanese camera makers is that they don't know how to make money anymore. You want to attract younger customers, you have to support the platforms that encourage them to use dedicated cameras. That's about a combination of knowledge and culture. Its a shame that these days its Apple, the king of parental "auto everything", that advocates manual control for its iphone cinematic mode. The Apple way of "manual" of course. Soon they change the taste of an entire generation to believe 60fps is artistic! Dedicated camera needs its own narrative to survive, and we're losing the narrative.

I noticed a significant drop in user engagement in the forums. Maybe the site's real traffic numbers are not as high as we think it is. Of course its still higher than other photography related websites. Since January they didn't even bother to cover the news of firmware updates. It doesn't take too much effort to write an article that Z5 got a new firmware update that adds eye AF in video!

OVF is lovely... until its dark.

You make it look more complicated than what its. Z9 sensor is noisier than A1 sensor, and using 12bit ADC to read out a noisy sensor doesn't give the best image quality. Nikon use the same raw codec for high efficiency raw still images, and photographers have no problem with that. BTW, raw recording benefit is not just correcting huge exposure mistakes in post. First, log profiled compressed images gonna suffer from banding. Its inevitable. Second, raw preserves the bayer pattern, so there will be freedom to use state of the art demosaicing algorithms in future, which are getting better and better with AI. Third, who doesn't hate baked-in white balance?

Different body for raw support makes sense, but different body for just prores? I don't know.

- Multi level pixel saturation capacity to get more capability in highlight recovery - Dual read out to get the base ISO DR at highest ISO - 16 bit logarithmic raw with 16:1 compression - internal SSD - internal wireless transmitter to send AV1 video to smartphone

I think there is always a debate in Sony headquarter office about "what should be our flagship?!", Canon has more experience in defining the flagship position and defend that clearly defined position. While I don't like Canon lineup, and its cripple hammer, I understand its logic. If rumors are true about Z8 being Z9 without grip, there is hope we'll have a winner 8k camera.

For me, cinematic has a straight forward meaning: a quality of cinematography that I never notice the cameraman. What these people do is exactly opposite of that, the only actor I notice during the video, is the cameraman.

Remember the rumors circulated for so long people consider it as fact? "Sony will release the first 100MP full frame camera and crush the competition". Turned out Nope, they have to reuse their old sensor cause new stacked ones are way more expensive.

We always underestimate our ability to handle pain of losing someone. Never say "I can't". Time will be your ally in this fight.

Initial price+inflation

Why you need 3:2?

Nikon is no different. They have filed a lot of patents for Z mount communication. They wouldn't do that if they wanted to make it open, or less restrictive. Even the content of the patents indicates a long term plan is integrated into the mount, since they have defined a generation compatibility. Its like Gen2 body uses the most potential capabilities of Gen2 lens, but can't use all capabilities of Gen3 lens, or something like that.

Continuing EF would send a mixed message to their customers, also glass production capacity is very limited these days. Otherwise a $2500 EF lens profit margin is not lower than equivalent $2500 RF one.

Digital stabilization works better with higher shutter speed; cause you don't see the micro motion blur. For serious video production we can't use any shutter speed we like. But for YouTube, sure its good enough.

Some of us knew its coming tho

Imagine Nikon or Panasonic do this.. yelling thumbnails with "seriously?" title on them would explode in our YouTube home page.

OIS or IBIS have almost no problem dealing with severe vibrations. Their killer is dust. Even if your lens is "weather sealed", its not immune to dust. Stabilizer being on lens or sensor, use very tiny metal balls lubricated by a special oil, to move smoothly. If that oil contaminated by environment particles, it loses its required viscosity, and the result is jumpy moves.

Chip shortages and thin profit margin. Look at the Nikon announcement today. Everybody is trying to use the parts they already have in inventory or still available to order. This one has 1 inch sensor and two of them, at just $700! Japanese gave up single 1 inch P&S at $1000. I don't want to be business manager of this company.

Z9 heatsink.

It actually turned to a good discussion: what exactly defines a cine camera?

I strongly recommend reading this article. I recommend everything Jack writes on his weblog. Its a treasure. https://www.strollswithmydog.com/on-white-balance/

50hz vs 60hz defines the ecosystem that the device is compatible with. "24fps or more", is intentionally mentioned there to prevent still camera makers, who were already using raw compression for still images, to make Cine cameras that shoot raw internally. If a judge doesn't understand this doesn't mean its not clear.

Sorry, the first line is technically incorrect. You don't have sensor look. You have CFA color response, which isn't perfect, because we don't have perfect chemicals to use in color filter to get perfect response. There are some differences in this not-being-perfect response between different sensors, but its way smaller than you think. So when we use matrix transform (to bring raw data to our desired color space) we end up with errors. Then we use LUTs to correct those errors as much as possible, with bias to "true to life" rendering, OR "pleasing look" rendering. You simply choose how the color be wrong! You don't find a sensor with better look. You find sensors that are better profiled to be aligned with your personal bias. Bottom line is you can make ANY raw image to look like Arri, if you think Arri looks good. The reason behind that sometimes its difficult and time consuming is not that there are some shortcomings in the sensor itself. Reason is the company is not open to share the data about their sensor CFA response and white balance pre scaling, AND they don't bother to give you proper LUTs to ease the process.