gethin

finally found some z6 footage. Only looked on my laptop so far. It doesn't have a lot of magic, (in fact the 1080 looked nicer to me than the 4K), but it doesn't have anything that screams terrible.  I always found the d5300 vid looked miles better underexposed a bit. Curious about shadow noise 
 

finally found some z6 footage. Only looked on my laptop so far. It doesn't have a lot of magic, (in fact the 1080 looked nicer to me than the 4K), but it doesn't have anything that screams terrible.  I always found the d5300 vid looked miles better underexposed a bit. Curious about shadow noise 
 

Imo, The Z6 is the most underrated camera this year. And its not even out yet..

erm, i've not even seen any footage yet, or hands on reviews.  I for one kinda think thats a good idea before shelling the moolah
Getting a bit fed up of all the wankspittle from youtubers who also havent seen any footage yet, or handled the thing.  

ugh can't keep up anymore

On top of all that, as a nikon shooter I get autofocus for free on all my existing glass  plus nikon colour science, plus a workflow and presets that I've developed over 5 years that should slot in nicely.  I'm just wondering if z6+ my 14-24 will balance on my crane 2. eek

So, beyond all the Chicken Little reactions and  a subpar press release from Nikon (creating a crazy echo chamber of negativity), what I'm seeing is:
-A well respected manufacturer with good qc and customer service
-Small mirrorless body with adaptable mount
-Full frame 24mp with clean 4K
-10-bit HDMI out
-Flat and Log profiles (basically the Nikon equivalent of CLog1 and CLog 3)
-A few essential lenses, with every logical core option already roadmapped
-IBIS that, by all accounts, bests Sony's
-Great battery life (more than 2 hours of straight 4K)
-Solid ergos, on par with other mirrorless manufacturers
-Natural color science without any major problems (blue channel clipping, greenish skin, greens shifting towards blue, magenta cast, etc)
-Integration with Atomos recorders for easy on set workflow
All baggage, brand politics, and bad press strategy aside, it ticks a LOT of boxes for me. Gonna be looking hard at the Z6 when it drops.

But what do you really think about it?
 
 

Blackmagic Pocket Cinema Camera 4K ‘Models Walking in Daylight’
John Brawley talks about the Blackmagic Pocket Cinema Camera 4K for the first time. ‘Models Walking in Daylight’ is his first camera test where he checked out the camera’s ability to handle different skin tones.
“The whole point to this daylight test was to see how the camera handled skin tones. We were shooting these scenes later in the afternoon, so I was at ISO1000 or 1250, so it was at the lower ISO for this camera. I understand this gives more in dynamic range, so you have a little bit more highlight-headroom there. When I look at those shots now, I am really impressed at how good the dynamic range is. It is great to see all of that detail I was seeing was actually captured in those shots.”
“I don’t think people realize how easy it is to make things look cinematic with Micro Four Thirds! I know that there are a lot of people who like that 35mm full frame look, but it’s still very easy to get images with an out of focus background with the Micro Four Thirds sensor. I found it a great 4K sensor and really good compromise for a small camera that still gets really, really good looking pictures.”
Blackmagic Pocket Cinema Camera 4K
Apple ProRes 422 HQ 
ISO1000 and 1250
Olympus Pro 25, 45, 1.2 micro and Olympus Pro 12-100 F4 zoom Micro Four Thirds lenses

I think the adapter (s)? will be  pretty good and that is needed.      Three lenses at first will be fine.
As I have said, I think the 24-70 f4 that is expected with it could be excellent and the best "kit" lens from anyone FF yet. 
Sony started FF mirrorless with around that many lenses and a couple of adapters for A mount and the 24-70 f4 Zeiss which was sort of the A7R kit lens wasn't that good for its price and the 28-70 FE kit lens for the A7 while good for ITS price would likely be not anywhere near this Nikon (and neither would the Zeiss) and that is all assuming good copies of all the lenses.   There were already APSC E mount lenses that could be used as well though.
The other early (2013) lenses from Sony where    35 2.8 (nice light lens but nothing really special) and the Sony Zeiss 55 1.8 (which IS pretty special for most who have used it and even now) and  70-200 f4 (ok but maybe not as good as DSLR equivalents it seems).         Except for the 55, the later Sony lenses have been generally better.
There were two lenses in 2014, four in 2015, seven in 2016 ETC (not counting third party native lenses like the Zeiss Batis as well as the cheaper brands).
Sony will get a lot better third party native lens support I think than Nikon will at least for a while anyway.

My dear erstwhile member can you please stop attacking John Brawley now.
I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

760g body
80g roughly for battery
25g roughly for recording media
weigh your favorite lenses
Width is the real issue as it's 178mm wide, making it one of the widest cameras on the market.  It's as wide as many very big cinema cameras.
If your gimbal has both sides with bars on them it's 99% likely it will not fit.  Ronin-M/DJI M5, etc. Even single-sided gimbals like Zhiyun crane currently have problems but fixes are being implemented.
Currently the Tilta G2X and the Ronin-S are confirmed to work.

Thom Hogan has been saying two entry level mirrorless APS-C bodies in the US $500-$1000  bracket to be announced in the next few months followed by a full frame around US $2,000 four or five months later.D5600 is already due for update perhaps it is
the last of the D5000 series ??

Sorry cant help with premiere, but I know that when I looked into it, it did my head in and this: https://www.rev.com  seemed like a total no-brainer. If you send them a transcript, you should get 100% accuracy. 

I see this from a slightly different point of view.
The main "pro" that I see is that it has the potential to improve workflows for those who are already using the compatible equipment (FCPX and external recorders) or are willing to change their workflow to do so.
The main "con" that I see is that this is quite a deliberate move on Apples behalf to further separate themselves and their ecosystem from being globally compatible.  As someone who is now an Apple user (MBP, iPhone, iPads) but didn't used to be (PC, Android) I became acutely aware of how Apple will deliberately do things to restrict global compatibility and drive people to an all-Apple ecosystem.  My distain for Apple is significant, and perhaps only surpassed by my distain for Microsoft, who are also masters of playing this game, which is one of the main reasons I changed platforms.
It's not the creation of a new codec that is the risk here, it's that it places a greater likelihood that other more open codecs will not receive as much attention or support.  We have all suffered as the innocent bystanders in 'format wars' from Blu-ray v HD DVD to VHS v Beta and before that with Quad etc.  Some of us have also suffered at the hands of a feature that promised interoperability but was unusable due to some kind of bug, but unfortunately the manufacturer never fixed it and we lost months or years waiting and hoping that it would be rectified. 
Manufacturers are out for themselves and will shaft the customer as much as is possible to get away with while still gaining sales by being the 'least worst'.  Take Canon and ML as an example of what was possible vs what was delivered.

Jordon Drake is the tall, seemingly uncomfortably in front of the camera guy. The other guy is Chris Niccolls, who has enough hair gel/ hair wax for a an entire village. They actually do a superb job with their reviews.
Jordon implied that the viewfinder had major issues, but as Chris pointed out, he probably exaggerated the claims. They have improved it majorly, even if it isn't in GH5/G6 territory.  

real estate video shooting is my day job.  They have got crap loads of direct sunlight coming into that room. No lights needed!  I did a stills shoot the other day for a property the total opposite of this: no windows other than the one the view was through, no direct sun coming into the room from anywhere.  Total nightmare to shoot, ended up bouncing some light in with big reflectors. No way on earth a video camera of any flavour could handle it.  To combat the sun you'd need a huge light. Even in stills a big room will swallow a 300W strobe. You'd need HMIs, but totally impractical for a real estate shoot.  
When faced with videoing places like this it's really OK to say to the client "there's no way to get the view and interior". You can shoot the view with something in the foreground to get a sense that it is a view from the house. This can work well with longer lenses on a track or gimbal.  you can set the camera to auto and move from the dark room to the view.  Or you can shoot a raw timelapse if the dyanamic range is within the range of your gear.   
one ritzy place I shot I set up 2.4x1.2 metre poly silver boards, but even with an assistant and sandbags they kept blowing over lol.  I've never bothered again.  Would be quicker to go back at dawn or dusk and get the light streaming into the room.   Sometimes you can just chuck a silver reflector on the floor if there is sunlight coming into the room, that will bounce a fair amount of light back up, off a white ceiling.   
 
 

not sure - nikon could differentiate by the mirrorless not having quite as good af, not being quite as fast, not having quite the same usability.  To be honest though if they dont make the absolute best camera they are capable of (as I feel they did with the d850), they are F#!*ed.
This is my day job.  If I had one camera for stills and video I could shoot both at the same time, certain properties this would save me hours.  A7riii is the closes to fitting the bill at the moment, but it still doesn't quite have the dynamic range (or the look) of the nikon.  My experience with sony cams so far is that the usability isn't a patch on nikons, but I hear that is improving.  
 
 
 

Minimal:
D810 sensor (DR and colors) 
Sony A7Riii level focus ability (with native Z-mount lenses and adapted Nikon G lenses)
small but sharp 28/f2.8 or 35/f2.8 lens at launch. 
Plus:
IBIS (probably wont happen, at least 1-2 generations later)
10bit 4k video 
D810 level weather sealing

- A NX1 sized body.
- IBIS
- A7r II sensor as a base
- Video Quality from D850
- Dual Card Slots.
- Mini or Full Size HDMI out.
That is all it would take for me to buy. I love my A7r II, but miss Nikon Lenses.

not sure - nikon could differentiate by the mirrorless not having quite as good af, not being quite as fast, not having quite the same usability.  To be honest though if they dont make the absolute best camera they are capable of (as I feel they did with the d850), they are F#!*ed.
This is my day job.  If I had one camera for stills and video I could shoot both at the same time, certain properties this would save me hours.  A7riii is the closes to fitting the bill at the moment, but it still doesn't quite have the dynamic range (or the look) of the nikon.  My experience with sony cams so far is that the usability isn't a patch on nikons, but I hear that is improving.  
 
 
 

on the other hand: shoulder - the white rolloff is very nice, no clipping. Could it be something as simple as a new log mode? 
Unless we're talking about literal shoulders: I noticed some darkening around the white shoulders, which on the nikon at least is indicative of using active d-lighting.  But seeing as no one has mentioned that, and someone hit the nail on the head, that can't be it. 
 

i dont shoot anamorphic but to my eye the DOF is not M43.  I shoot 35mm lens on a speedbooster all the time, at f2.  It looks like this. Several people said it was raw, a few said it was a bigger sensor, but I think only one person said it was the sensor from the eva1 with a 4/3 mount.   So that's my guess. And also: this is fun! It's like a whodunnit, but nerdier :D

How does NX1 AF compares to A6500 or Canon's PDAF? 
I was very excited about the this new panasonic as I'm about to invest into a new video system until I saw the rumors out of Fuji. With IBIS, etc. 
I'm only waiting for Nikon to leak their upcoming mirrorless wonder, to make my decision even more confusing since I own many nikon lenses. 

If you export your camera settings I can load them up and see whats going on.