gethin

Open Gate for sure.
I have been using 6k 30p up until the last few weeks for this very reason, the ability to produce 2 productions from the same result. Just one being sub 1.5 minutes and 9:16.
Having the full sensor height and using a 9:16 overlay when shooting was perfect…except being in a PAL region and being a fairly heavy slo mo shooter, shooting 30p has been a big compromise.
Too big a compromise so I have gone back to shooting cropped 4k 50p which fixes my slo mo issue, but reduces my ability to produce that second social media production a bit…
I’m looking forward to shooting that next gen of camera next year whoever it is with, but the Z8 has to be the strongest contender for me right now based on what exists.

well after a day of cutting z8 and mavic 3 footage, I'm wondering what the hell I'm doing. I stumbled on some phantom 4 pro stuff I shot a few year ago and honestly its less noisy, has better highlight rolloff, but most of all it was quicker: That's the thing I'm increasingly thinking. Maybe I can improve on what I was doing 3 years ago, but only a bit, if at all, and at what time cost? If I have to denoise every shot, and mask windows to try to squeak some highlights in from outside, for a marginal improvement in a sector where I'm competing with people charging $200 and shooting on an iphone. I've seen some of the HDR iphone footage and its pretty amazing.   

I just shot my first couple of things in nlog.  Can anyone point me to alternative luts I can check out?  The nikon lut is contrasty, and the skies are a bit fluro-turquoise.  I've just had a go at grading it myself without the lut and I need something in-between mine and the nikon one.   I'm in premiere for now.  I've tried turning down the intensity and tweaking the HUE/HUE controls in premiere but its a bit limited. 

Have you tried the Flat profile?
I’ve read and seen some good stuff coming from that.
Last day of a semi-working break and been doing some musing as you (I) do and the pairing of Z8 & Z9 are back on top (had a short dalliance with an imaginary gal called R3 and for her body alone, she would still be my pick, but lenses, less attractive), especially now that the Tamron 35-150 has been officially announced.
I wish I could try one but as none seem to be available in La belle France…

Far be it from me to encourage you to have more immediate gear angst but Megadap have just released the v3 Pro version of their E to Z adapter which promises even better compatibility with the Tamron lenses and improvements in AF generally, plus the ability to update its firmware directly from the camera.
So even if they don't immediately produce the 20-40mm f2.8 you could pick up an E mount version and attach the Megadap to it in the meantime to go with the native Z mount 35-150.
Opens up the a lot of other lens possibilities too from the E mount world, particularly the Sigma contemporary range.
My experience of the Megadap on @Andrew Reid's Z9 was that it was already near native performance so any advance on that will make it well worth checking out.
https://megadap.net/product/megadap-sony-e-to-nikon-z-autofocus-adapter-etz21pro/
 
 

H265 looks worse than ProRes HQ or N-RAW but only in terms of texture, the dynamic range should be the same.
I haven't done any side by side tests but it looks like the DR in N-log is the same as on Z9 or Z6II.

Are you shooting in N-log? What are you using to transform the footage to REC709?
The official LUTs are pretty harsh, even the updated ones for Z8. That might be your problem. 

Prores HQ looks way better, especially in nlog on the Z8 and the Z9. When you shoot in h265 there's a disgusting amount of internal noise reduction going on no matter what profile you're in and it's not possible to switch it off.

Interesting.  I'm curious, how are you converting to rec709?  Are you using Nikon's 3d LUT?  I shoot in NLOG frequently on my Nikon Z6, and i find that Nikon's 3D LUT has pretty bad highlight rolloff.  I get significantly better results if I use Davinci Resolve's Color Space Transform to go from Rec2020/NLOG to Rec709/Rec709.  Seriously, looks wayyy better than the LUT.  You should be able to get great results from NLOG; give Davinci's CST a try.

I bit the bullet and bought a z8.  I've done a bit of testing and couple of shoots.  First impressions are not great.
I need to do some more scientific testing this weekend, but the highlight rolloff and lack of dynamic range make the 10 bit h.265 look worse than my 8bit z6ii.  I was keen to get the raw video for those times where I wanted the best possible quality, but kinda hoping and expecting (from the general comments/videos/raving I've seen) that the h.265 would be a step up from the z6.  The stills dynamic range isn't quite up to my 11 year old d800 either.  And today I found the autofocus hunting a bit in low light.  Seeing as my bread and butter shooting involves low light and very high contrast I'm not sure it's the right fit for me so far. I've tried ramping up the d-lighting but meh.  

Anyone know if the highlight rolloff improves with pro res?  I really don't want to shoot raw for my little shoots - $7K AUD to make my life harder 🤦 

I really love high dynamic range stills cameras, I don't think there's one hybrid camera in sony's line up that is a good fit either. It's kinda depressing knowing that I could increase the quality of my output by shooting stills consistently with that 11 year old beastie. 

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range.  It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆.  I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range.  It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆.  I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range.  It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆.  I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

Photons to photos just released its stills dynamic range results and it's really confusing. I like P to P because at least you can compare one cam to another.  Xh2s has worse dr than my z6.  How that translates to 14 stops of video dynamic range I dunno. 

I just saw the pricing in Australia 
I was expecting 3-3.5k AUD, but $4200 is kinda nuts. Sigh  

 
 

I just saw the pricing in Australia 
I was expecting 3-3.5k AUD, but $4200 is kinda nuts. Sigh  

 
 

I really liked my XT3's except for the lack of IBIS.
Was going to go XT4 in 2020 due to IBIS (plus bigger battery bonus), but when it all went tits up due to Covid, went S5 at the end of the year.
The S5 is definitely a step above the XT3/4 IMO.
You can adapt Nikon glass to L Mount so potential option to consider.
'Better' video capability than your Nik's, but probably a bit less capable on the AF front...but if you were considering BM, AF is not part of the equation anyway.
And they are now stupidly cheap.

Our insider sensor guru has arrived 😁
Well at least its some newest sensor tech. A1 is pretty dope. 

The two new X-H cameras both use Sony Semicon sensors, they incoporate some of the latest technology from IMX610 (A1) including DBI and Sigma-Delta ADC.

Yeah, using a Blackmagic product, which I am a huge fan of, is like going back 10 years ago. Hardly Run N Gun, output wise darn good, ergonomics wise not so hot.

..If you don't like noisy footage, 6K Pro will be a step backwards in that regard for anything above base iso. You'll not only be losing AF but also IBIS. Also keep in mind EF mount means very little lens adapting choice. Finally be prepared for massive file storage requirements. Now don't get me wrong I love BMD IQ and the 6K Pro is great value but switching to it from a hybrid mirrorless system is a much bigger transition than just losing AF imho.

I would base my choice on the type of video’s you make. If its fast output and events that are run and gun, I’ll opt for the convenience of the z6ii. Battery live, autofocus and a color profile to get it right in camera (so forget 10 bit). Either flat or portrait with some adjustments will do. The hassle of external recording and diminishing results is what’s frustrating to you, so use the z6 to its strengths. If you have a bit more control and pre production of the shooting day, the bmpcc would be my choice.

I would think the Nikon Z9 is future proof for a long time. Can't imagine needing much more for years to come.

just checked out this 8k raw footage: around 0:46 there is some false colour/moire on the balconies, centre of shot.  
I dunno.  so much to love about this cam but eek If i'd paid $11K for a camera to find that I'd be grimacing
 

I have a mate who has been doubly unlucky with drones. 
1. First he had a Phantom which true to their name occasionally had batteries whose capacity would suddenly go from 40% to 10% in a few seconds. Tried to get it back over water but it sunk 20m from dry land.
2. The second time is immortalized in this video, The chances of 2 drones colliding in 3D space seem pretty slim to me but it happened in Myanmar. What happened next can only be described as 'lucky'.
  

Looks like they are using the same raw codec for both stills and video mode then?
6:1 and 12:1 compression modes
500Mbit in 1 bit per pixel 12:1 compression for DCI 4K 60p. Which could mean 4K/24p cinema at under 250Mbit!!
1000Mbit in the 6:1 mode (4K/60)
8K is up to 4000Mbit in the highest quality mode.
Not sure which of these Intopix configs they have actually implemented on camera so if anyone finds some more info from Nikon or a good source do let me know