Danyyyel

+ even if hollywood graders are able to turn it into something beautifull, it will take them a lot more time then grading something from arri. Time is money as well. 

Can someone please point me to some A7SIII S Log graded footage where plants are nor radioactive green and people skin doesn't look like wax? Could not find one. Thanks

I've taken a similar approach to my travels in having multiple setups as backups.  Considering that although my trips are holidays, they're similar in that we're away from major cities with electronics stores, we have tight schedules that aren't flexible, and I won't want to repeat the same one for lost footage so it's a now-or-never kind of thing.
I went through my whole setup looking for single points of failure and eliminating them.  I have multiples of every item and can, at a pinch, have anything fail and still continue shooting.  The only weakness of the setup was that my backup body wasn't that great.
Also, because I had backups of everything I essentially have duplicate setups, and so can film things from multiple angles if I choose to.
I disagree.  IBIS can reduce and even eliminate hand-shake to create smoother and even locked-off shots, whereas global shutter means that whatever movement is there isn't removed, it's just far less objectionable.  Also, IBIS on wide lenses can combine with lens distortion and RS to create wobbling that global shutter does not introduce.
So IBIS and GS both have strengths and weaknesses, but aren't equivalent.  They're different tools for different jobs.

This is the opposite of what RED has done with the Komodo.   This is the lowest priced RED ever produced. 
 
 

I second Chris' words but I must also praise such outcome, thanks for sharing : ) Lovely colours, a charm... kudos to both gear and a special mention to the talent behind the camera :- )
Shame they didn't add 4K 60p or I had adopted one then, pity they didn't. Great AF performance/system BTW.

Thanks for the Nikon videos and comments.   I don't think you're hijacking this thread at all and your post contain good information. 
Maybe you'll help people understand choices or systems they thought were DOA or systems they thought they had to live with.  
I am very happy Sony pushed media storage options, 4K60p, 120Kp and RAW external recording. 
You produced beautiful work my friend.  Did you record internal or external for the video above? 
 
 
 

Nikon never really upgraded items through firmware either. 
They already paid one for Pro Res RAW.   It kinda defeats the purpose of getting the Pro Res RAW license.
The market in 2020 is dictating 4K60P.  Nikon didn't follow the market with 4K 10bit external.   I don't follow your logic about Nikon's decision making process.   2018 said they were thinking differently.

And work in harsh tropical conditions with very hard light, high temperatures and monsoon rains. Until now zero shutdown or any malfunctions. From all the Nikon bodies this is my most preferred body, at worst I keep it in its cage even for photos As I prefer a little bit larger bodies. Because it serves me so well in photos also even when I worked on Film set as set photographer, shooting between it and d810, I had no problem thinking I was looking in an actual viewfinder.
 
 
 

Exactly, they are just brainwashed by their youtube gods. The latest on is that guy called Undone. I call him the pink guy before all his new found fame. I mean I would never present myself with such colors, when he just not well shave he looks like a drunk with the colors he has graded himself. The guy who tells you not to take into consideration that the Sony overheats.... While it factually does. I am fed up about youtube shooters that are some kind of like of authority now while they never venture outside of their basement studios. I mean I remember all the fuss about Nikon 4k RAW video being less detailed than the 4k (6k down scaled to 4k), so what about charts that show clearly that the A7s3 is much less detailed than the S1H for example?

And work in harsh tropical conditions with very hard light, high temperatures and monsoon rains. Until now zero shutdown or any malfunctions. From all the Nikon bodies this is my most preferred body, at worst I keep it in its cage even for photos As I prefer a little bit larger bodies. Because it serves me so well in photos also even when I worked on Film set as set photographer, shooting between it and d810, I had no problem thinking I was looking in an actual viewfinder.
 
 
 

You are 100% correct.  The Z6 is much better than what's portrayed on YouTube.  People on the EOS don't know what they're missing.  It's all marketing.  This is what I hate about Sony marketing.  It's to the point that it's false and hyped up.  It's great for the Sony side but it takes down a company like Nikon.  That's the dishonest part.  Have people lie about the Z6 camera so it has a poor reputation.
Nikon pushed the limits of video quality that we expected, no reason they won't do it again.

Amateurish af on z6? I don’t know why this myth continues. AF in video mode is actually excellent. And native s lenses don’t breath (almost). Strangely, Nikon somewhat showed they really cared and understood the needs of video shooters, and then sort of left things in the middle of the road. Lenses need linear focus mode as an option (was mentioned they were to get it, but when?), z6 was the first with prores raw, but the wait was too long, processor appeared to be too weak (they had to compromise it a bit with pixel binning, although the quality is still great), internal rec was just 8bit. Could they fix all this with z6s? Somehow they don’t know how to market their products. Z6 is a much better product than is presented on youtube, etc.

I had a z6 before my actual Panasonic S1. I believe, with the latest firmware update, the af is miles ahead than what it used to be. @Jordan Drake rates video AF very highly, and I came across comparisons with the A7iii, and the z6 is not extremely far from it (at least for my needs, which exclude eyes af, and also compared to my S1). For the codec, same thing, it punches higher than its weight. In fact, I am right now browsing "old" footages I took with it, and play with them in resolve to compare with my S1 10bit. The nikon flat profile, as frequently reported, is very good. Sure, as you point out, it is weak compared to other offerings, but it quite good. To be honest, as I browse my old footages, I find more pleasing images than with my S1. I don't know, despite the very robust specs of the S1, and the image quality, there is something in the Z6 image that I find lacking in the S1 (a bit of "soul" maybe). So yes, if nikon could raise the next Z models to the level of offering of the competition (codec and better AF like you said), it could be a beast.
I forgot about the lenses, but the Z line-up is really good, and more interesting  for me than the RF and L. Plus, as I shoot with tele, the 300pf and 500pf have no competition...

Ps : the battery problem on the S1 drove me crazy, to the point I am gonna get rid of it (plus the overall bulk and the af, that I now need, and I did not back when I bought it), and i am contemplating going back to the Z6 of entering the Sony system.

Exactly, they are just brainwashed by their youtube gods. The latest on is that guy called Undone. I call him the pink guy before all his new found fame. I mean I would never present myself with such colors, when he just not well shave he looks like a drunk with the colors he has graded himself. The guy who tells you not to take into consideration that the Sony overheats.... While it factually does. I am fed up about youtube shooters that are some kind of like of authority now while they never venture outside of their basement studios. I mean I remember all the fuss about Nikon 4k RAW video being less detailed than the 4k (6k down scaled to 4k), so what about charts that show clearly that the A7s3 is much less detailed than the S1H for example?

Nikon is hardly drunk and passed out.  They produced a better camera than anything Sony has released so far (the A7S3 is not out yet).  This tells you how far Sony brainwash has seeped into the cine world.  You can't argue AF / No AF or BM IR pollution / color science and then give Sony a free pass on everything above.  People talk about Nikon full sensor read out Pro Res RAW external and get caught up in line skip binning / recording to Atomos or whatever but then Sony gets a pass on external RAW. We talk about image quality, color science and Sony gets a pass. You can't always fix Sony color, in fact you can't fix Sony color.  Sony does not produce a NR FREE, sharpened FREE cinematic moving image.  Sony does great PR and marketing and this is evident in the You Tube producers that we dismiss but now look to for reassurance that the Sony A7S3 is better than the Canon R5 because it records longer before over heating.  Everyone has forgot the R5 does 8K RAW internally.  At the end of the day the best produced image wins. 

The S1H is clearly better here, you can clearly see the pixel steps with the Sony while the Panasonic is completely smooth.

There is no one version of H.265. Like H.264 there are many, many different adjustable internal parameters. AMD's GPUs have bundled on them totally separate hardware called UVD/VCE which is similar to nVidia's NVDEC/NVENC. Over the years there have been multiple versions of *each* of those, just like Quick Sync has had multiple versions. Each version of each hardware accelerator has varying features and capability on varying flavors of H.264 and later H.265. 
Even if a particular version of a hardware video accelerator works on a certain flavor of one codec, this is not automatic. Both application and system layer software must use development frameworks (often provided by the h/w vendor) to harness that support and provide it in the app. 
You can easily have a case where h/w acceleration support has existed for years and a certain app just doesn't use it. That was the case with Premiere Pro for years which did not use Intel's Quick Sync. There are some cases now where DaVinci Resolve supports some accelerators for some codec flavors which FCPX does not.
There is also a difference between the decode side and encode side. It is common on many platforms that 10-bit HEVC decoding is hardware accelerated for some codec variants but not 10-bit HEVC *encoding*. It is a complex. bewildering, multi-dimensional matrix of hardware versions, software versions, codec versions, sprinkled with bugs, limitations and poor documentation.
In general Intel's Quick Sync has been more widely supported because it is not dependent on a specific brand or version of the video acceleration logic bundled on a certain GPU. However Xeon does not have Quick Sync so workstation-class machines must use the accelerator on GPUs or else create their own. That is what Apple did with their iMac Pro and new Mac Pro - they integrated that acceleration logic into their T2 chip.

Yup. Z6 has an insanely high and accurate level of detail if you turn off sharpening. Like you said, it's people that don't know how to use the camera doing the tests. 

Can we ask for a recall for the as7iii as well now? Or is the hysteria only reserved for canon because Gerald said so?

That's the problem of listening to youtuber doing 15 minutes test of gear they don't know. On normal picture profile Nikon did a lot of sharpening that you can dial down. On the flat profile it is already down on default sharpness. Nikon is doing a full sensor readout, no crop, that is 6k from all the pixel on the z6, which gives you very good 4k video. Only in RAW output that it skips pixel to achieve 4k from its 6k sensor.

You can turn down the sharpening on the Z6.  It depends on what mode you shoot with but you can turn it all the way down.
Yeah the "Z6 DR is lacking" comments are coming out of no where over the last 3 days.

People are just too enamored to specs, not so long ago 4k was the holly grail and now it must be 8K or 12k. Before it was hey you need 4k because you can reframe etc, now its, you need 12k to reframe 8k. In the end as the 10 year old Alexa 2.8k sensor has shown even as low as 2.8k is enough for the big screen because we human don't see more than that. I understand for some geek its like they need 150+ fps game to play, we humans have limits.
 

Until the part that he is cancelling the C300 III I would have given the doubt but it smell a bit fishy with his conclusion..... also not sure why you choose a cinema camera with ND, RAW, can run for hours, great audio control, etc.... and suddenly an hybrid is better... would he have chosen an FX9 then I would understand.

But if he mostly uses for indoor fixed scene like his YT channel then you get two camera and you don't care to much about the advantage of a true cinema camera.

The problem with all these YT review that is a race against time and you cannot really compare with others view that are all under NDA so you don't have any input on what to double check. If they would do the review after a few weeks that is broadly available would be much better but nobody will care at that point....

Nothing wrong with the colour. If you can't make great images with it, blame yourself not the camera's colour.