IronFilm

I'm sure on the 15th time @BTM_Pixyou'll finally get it done right. 

Yep, and this is why I said to go and watch latitude test on CineD. Before the CineD lab test I did not understand why people were saying Canon was faking its DR by using NR on its RAW files, now I know. Imatest is a synthetic test, you just have to apply a little NR on your footage and it might think the shadows are super clean. Look at Gerald's test of the Z8 h265 test, the thing is he got like an extraordinary number that he found out was due to extra NR on the z8 h265 footage and at the start of the file, that the imatest was fooled. 
Now look at the lab test at CineD. You will see above that the Xyla/Imatest result aren't that good compared to most other cameras, but watch the latitude test below. While most Sony sensors even the Venice 2 are at best 8 stops of latitude the Z9 is a solid eight and room for nine!!! https://www.cined.com/nikon-z-9-n-raw-lab-test-fw-3-00-rolling-shutter-dynamic-range-and-latitude/
Same for the Sony Burano, Which is even better as it reaches 10 stops of DR, the first camera to reach the Alexa Alev classic DR.  https://www.cined.com/sony-burano-8k-lab-test-rolling-shutter-dynamic-range-and-exposure-latitude/
You can see clearly when you analyze the different camera test, that the latitude test is much more real life DR of a sensor than the synthetic Xyla/imatest measurement. 
 

In the UK you could use the cameras to make a feature length documentary about the stage managed decline of the NHS to while away the time it takes for the ambulance to actually arrive.

Just wait and see how much it cost to use an ambulance in the US, you get 4 Z6iii for one trip. LOL

Which was the greatest ever GH series camera?
The GH1 that started it all?
The GH2 that was the most famous of them all with the hack?
The GH3 that was the ultimate refinement of the 1080 era? 
The GH4 that was revolutionary in being the first to deliver us 4K video and epic 96fps slow motion? (first ever with timecode too... but only with the YAGH!)
The GH5 that gave us 4K 10bit internal, waveforms, and IBIS?
The GH5S that was the low light monster? (and gave us timecode too! Without the need of that quirky YAGH)
The GH6 which pushed beyond 4K resolution, and in 4K gave as an astonishing 240fps? 
The GH5mk2, the quiet refinement of the GH5? (I'd be surprised if anybody votes for this model as being "the greatest ever")
The GH7 which finally brought us top notch autofocus performance on par with the competition, internal raw, 32bit audio, and ARRI LogC3?
 

Can we talk about the GH7 in this thread?

Because in the digital age, video is still the poor cousin of photography.
Mirrorless cameras did not end up in the hands of filmmakers but rather the opposite: legions of photographers found themselves holding cameras that also did video.
So we carry with us for eternity this bias inherited from photography that FF is the reference. A small dick complex destined to last.

Well I go through phases of different combos and actually mostly use a Spider Holster belt AND a twin harness.
The beauty of the hip set up is the weight is off your neck & upper back and on your hips, but with the added bonus that if you miss the Spider holster slot, the camera does not drop and smash into 62 bazillion pieces on the concrete floor, but dangles at the end of the strap instead.
Plus you can push the camera against the strap for added stability.
But…I don’t really like the harness system because it’s not great with a white linen shirt.
Sooooo I have been using a 2 camera system on non-wedding days and my white linen shirts and then on wedding days, adding the harness over a navy blue shirt for that third camera.
But going forward, that harness is now going into retirement as it’s strictly 2 cameras on me; one video and one stills with those other 2, strictly static.
This allows me the illusion of being George Clooney at a wedding rather than a photographer at George Clooney’s wedding.
And yes, I have also operated more than 4 cameras on a job…
One ceremony, I had 7 🤪
Pair of GH5ii’s on a single tripod at the rear, one wide, one long.
3x Go Pros, one front left, one front right, one high up rear to one side in a tree.
2x stills cameras.
Utter madness and never repeated, but you try shit and it seemed like a good idea right up until the point where it became a reality shit show 😂

Just "something" to get audio into the camera. 
Yes, perhaps it might need a little strip of rubber if it is very lose, but probably not. 
No, they are supercardioid 

I've managed to obtain the full breakdown of this hidden socialist import duty racket that makes cameras so expensive here.
Its an absolute disgrace.

This makes a lot of sense to me. 
Personally I feel it is risky playing with fire to use less than 2 static cameras, and carrying anything more than two cameras at once becomes a bit ridiculous. 
 

Yes, but in the end we are getting what would be called very fast readout. Their is not much faster in the industry unless you go RED global shutter, the Arri Alexa has readout of 7.2 Ms, the Sony Fx3 8.4ms. 

If you want unlimited recording in any temp, and at this price point or even a bit higher, you have to give up something, either Full frame sensor (GH7) or EVF and higher than 4k resolution (FX3), or internal raw (S5ii). There is no conspiracy to not giving customers a perfect camera. The reality is that making everything right is becoming more and more expensive. 

Seems pretty stellar. Dynamic Range should be tested and also whether it has heating issues in warmer environments. 
Also all other 24MP sensor makers need to improve their sensor tech. This had some superb rolling shutter. 

The Z6 III initial price is 3100€ and the Z8's initial price was about 4700€ but the current (discounted) price is about 4300€. So there is a 1200€ difference, and 1600€ difference between initial prices. In 1 or 2 years the Z6 III price will have been reduced to 2500-2700€ if I am guessing correctly. That's how it works; during first availability the demand is at its highest and this is balanced by the higher initial price; after a while the demand is reduced because those who were interested already got theirs, and so a lower price can tempt a few more buyers.
 
The Z6 III has a number of advantages over the Z8, including 60 fps full-size still bursts (jpg though), more effective VR, more custom wide-area options, smaller body size, less processing needed to produce high quality 4K video (so less likely to overheat, since it starts from a 24 MP sensor and not 45 MP), higher-quality audio interface, brighter, more detailed viewfinder, better high ISO image quality (probably), better low-light AF, screen that can tilt into selfie mode (for those that need it) etc. The Z8 has other advantages (higher resolution and faster sensor readout, a screen that tilts two-ways without moving to the side) and so users can choose based on needs and budget.
 
If comparing US prices to European prices then things may look completely messed up, of course.

z6 iii seems very promising, due to:
1. z mount shortest ff flange distance
2. buffer size, 14 bit raw 20 fps for 1000 frames (30 fps for ? frames, 60 fps?)
3. raw video
4. ibis at 8 cipa
5. 4k raw mode may be s35 for all s35 lenses
 

Here's my take on it
https://www.eoshd.com/news/nikon-z6-iii-lands-with-video-aplomb-but-only-partial-excitement-for-photographers/
When it comes out at 3000 euros, you will be much better off spending the $100 less for a used Z8!
After the price depreciates by about 2000 euros in 2 years, then it's a different proposition, I'll take ten.
Once it hits the price of the Z6 (still nice BTW and better lowlight + DR for photos), sitting on eBay for £500 then I might even by an eleventh.
But even then, I'm not sure I will need 6K/60p or want to put up with the file sizes in RAW. Which begs the question why bother, what else is on the table that it offers?
And the RAW codecs just don't have that RAW look that a proper Cinema DNG codec has on a proper RAW camera like the Sigma Fp-L, especially in terms of noise and grain texture.
I also think that the Japanese keep making cameras and images cleaner, sharper, better...
Whereas the artist in me is starting to get very bored of that and looking for something different and more analogue.
On the lenses side it's the same.
So no the Z6 III doesn't really float my boat, especially not for 3000 euro.
When the Sony A1 II comes out at $6k by the way, keep an eye on A1 OG prices... These may well be close to the Z6 III and Z8 soon.
That 8K H.265 500Mbit/s 10bit 422 it does is the nicest one of all... and this is coming from an ex-Z9 owner....it is better than the 6K Z6 III N-RAW... Yet with an essential plus....a much more manageable size of recording.

Not just taxes, but lots of other hidden socialist/European regulatory costs. Maybe for instance consumer guarantees are higher in europe, that's a cost which has to thus be recouped somehow somewhere. 
Was rather annoyed by the 10% California tax I had to swallow today. 
 
Very strictly honest people?
Sure, most people won't do it! But you're technically a criminal. 
Maybe different cost structures they have to tackle the additional regulatory burdens? Or a different appetite for risk / minimizing margins. 
The Fujifim XH2s as well, I just found out. 
Still, that's a very short list! XH2s + S5II + Z6III, only three cameras, does make them quite unique indeed. 
Indeed Andrew! If I was starting out in photography (with no interest in video) I'd be hard pressed to justify spending more than the sub $400 it costs for a used Nikon D750 or D800 or the $500ish for a Nikon D500 (or if going even cheaper, the D600 for sub $300 or a D7100 for sub $200!!!) vs buying any modern Z Mount camera, not even the OG Nikon Z6 secondhand, as if a person only cares about photography, why not get a D750 for $300 less??
Plus there is the glorious range of cheap Nikon F Mount lenses! 
Maybe by 2030, by that point in time we'll probably have a tonne of dirt cheap bargain priced secondhand chinese Z Mount lenses to choose from (for instance you couldn't today easily find a half priced secondhand Meike 50mm f/1.8 AF Z Lens, but a secondhand Nikon 50mm f1.8D lens? Easy! Found one in second on eBay for under $60), and Z6 will have fallen so low in price they'll be within a whisker of D750/D800/D500 pricing. 

To do that legally you need to report the camera at the customs when arriving back to the European airport, and pay VAT and possible tariff (you can get the US sales tax off by following appropriate procedures and paperwork). You also end up with the camera without warranty service available in Europe. In the end it probably doesn't pay off.
 
Reasons why camera bodies are more expensive in Europe include higher taxes and much more stringent consumer protection laws. In my country the warranty is not limited to the period specified by the manufacturer but the responsibility for manufacturing flaws in the product extends for the expected usable lifetime of the product. In the EU, it is a minimum of two years, but specific countries have stronger protections. Being responsible costs the manufacturer money and so this is transferred into the price of the product.

VAT... but U.S. in the most part of States also has sales tax, although much lighter...

....and far more friendly than the HK416.

Yeah I personally would never ever ever buy a proper underwater housing for a current gen camera! Waaaaaaaaay too expensive. 
I have a splash bag, but if I was to get a "real" kit then I'd be getting it for a GH5 (heck, maybe even a GH4 if the price is cheap enough!). Definitely not for the newer GH6 or GH7
Or perhaps even the chinese Seafrogs underwater casings. 
Of course if I was doing this professionally, the economics of all of this becomes totally different. And you go for the best. 

Now this is marketing...  clicked on an S9 thread?  Here's a product you might also be interested in... the ARRI 416!

Well, yes and no. It depends...
Modern housings bring outside all the controls and remap them in a more ergonomic position for underwater use. A housing is like a glove with a perfect fit. 
Once upon a time the internal mechanisms allowed micro adjustments to compensate for small production variations between camera bodies. They no longer exist but I remember that the legendary GH2 was little more than a toy and when I changed the camera body because I had flooded the housing I had to change the rubber wheels that acted on the diaphragms because the wheels of the two bodies were slightly different. Now with more professional cameras the problem no longer exists.
To show you how even 1 mm can make a difference, this is the back of an S1H, outside and inside. A small gem of engineering. You understand that when a new camera model uses the previous body, I open a bottle of sparkling wine 🙂

That line support came out of nowhere, and makes me think how this rumor/leak business works. Nobody cares about audio to the point that when they want to leak a feature, the audio related ones don't cross their mind.