Márcio Kabke Pinheiro

Because the Z6 and Z7 have PDAF on sensor, D850 uses CDAF with video - with the crappy results that we all know.
And imagine that for the APS-C ones Nikon releases a second version of the F mount adapter with a speedbooster integrated on it. Would be awesome and probably a major selling point.

Never will happen, though.

A7S is niche camera.. you will be surprised to learn how low is the number of production. Nikon better spend its limited R&D money on lenses.  

I'm just going to chime in from the perspective of someone who uses Nikon pro bodies for work and would be looking to swap out his D810 against the Z7 versus perhaps going for a D850.
Its not going to be some moan about wanting to hammer nails in with it or tow it in the water behind a speedboat or some such but it is about the ergonomic differences between the pro bodies and those that use the PASM locking dial.
This will also hold true for anyone who uses a D850 in anger and was looking to swap over.
I'm not sure why they've gone to a locking PASM dial when the mode selection keys at the top of the dial of the other cameras (like the D850 for example) offers fast access to WB and Meter Modes as well as the PASM selection. Not to mention being able to switch Quality modes without having to go into a menu.

And it looks confirmed as per the post the other day that they've removed the dedicated lock file button which is absolutely nuts considering how vital it is.
Strange choices to be honest.
Quite surprising as well when you'd have thought that they would want to tap into their existing user base and offer them a seamless transition in to this brave new world of mirrorless.
This is not me just being an old fart and complaining about not wanting anything to be changed by the way but their existing ergonomics weren't broken so I don't get why they've tried to 'fix' them in this way.
The beauty of that top dial in their existing cameras is that you can change everything about the mode, the metering and the white balance with one finger of your left hand and scrolling with your right thumb without ever having to take your eye from the viewfinder.
I've no idea why the fps mode suddenly becomes important enough to have its own dedicated button either.
There are also a few other omissions (such as the multi pin front remote connector) that are surprising but the AF/MF switch seemingly disappearing is quite baffling, even for users of Nikon's lower range DSLRs.
For the benefit of people who don't use Nikon bodies at the moment, the AF/MF switch also has a centre button which enables you to switch between AF modes really quickly using the thumbwheel when you hold it down and, again, all without taking your eye off the viewfinder.

Its really puzzling what's happened here and as exciting as the new aspects of it may be, I'm not convinced they've done what everyone has expected them to do which is to make a mirrorless D850, irrespective of how close the specs are because it isn't comparable in one of the most important aspects of all.
If this thing is significantly cheaper than the D850 then those compromises might be acceptable but if its anything like the same price - and I've not seen anything to suggest otherwise - then I, for one long time Nikon user, won't be jumping on the merry go round this time round.
I'd completely accepted that a D5 style version will be somewhere further down the line but I'd definitely thought that this would be closer to a like for like D850 which suggests that there is likely a Z8 to come which will be even more expensive.
For someone coming late to the party - and having seen the lens lineup from Sony improve dramatically in the interim - I don't think they've gone big enough at all here with the Z7 especially when they are trying to push a new mount as well.
None of those choices have been governed by the body size either.
Puzzling and a little bit troubling to me but probably less so to the intended market.

No and yes, I guess. By the specs and pics, it really looks like an GX9 inside in a LX100 body with no modifications.

I think it is a heroic leap of logic to conflate 'Samsung may well be producing a FF BSI CMOS sensor' to the likelihood they well re-enter the digital ILC market. Producing high end CMOS sensor for dedicated ILC cameras makes a lot of sense, becoming a digital ILC camera manufacturer (again!)  doesnt.
According to Thom Hogan there are precisely three manufacturers of large CMOS image sensors for dedicated digital cameras - Sony, Canon and Tower Jazz.
http://www.dslrbodies.com/newsviews/nikon-2017-news/july-2017-nikon-news/confirmation-bias-and-image.html
Once you rule out Canon (in-house, pretty ancient tech) and (at the moment) Towerjazz (busy upgrading Panasonic plants) you are left with Sony. Forget Renasys (acquired by Sony) or Toshiba (acquired by Sony) or Aptina (acquired by ON Semi) or Panasonic (acquired by Tower Jazz). Making large CMOS image sensors isnt easy - from what I remember you get something like 20 FF sensors, 100 M43 sensors or 1000 smartphone sensors on a 300mm wafer - which makes yields tricky the larger you go.
I very much doubt that any camera manufacturer is enamored about buying their sensors from 'Sony' who is pretty much the most aggressive competitor in 'their' space. (Nikon appears to be looking towards Towerjazz but that is a year or two away.) Panasonic/Olympus seems to be working on Sony crumbs (is it really their choice to not have ospdaf?). So for a major very high tech player like Samsung to come in and offer large sized CMOS image sensors makes a lot of sense for Samsung and would likely be welcomed with open arms by pretty much every dedicated camera manufacturer (apart from Sony).

Not this again. 

Since we are in prediction land, my two cents:

- The more expensive one will be exactly a D850 mirrorless, with on-sensor PDAF, IBIS and maybe some more video helps (zebras, peaking, etc), but same video quality / specs. Will not exactly canibalize the D850 because of a higher price tag, better performance with F-mount lens and photographers that prefer OFV's.
- The cheaper one will be a A7 III contender, specs by spec.

And probably this will be enough for a lot of people. Their first priority is keeping the current Nikon users on board, still photogs first. Stills photographers still buys much more units than the video crowd. Don't expect 10-bit or 60 fps 4k in this first iteration, maybe 10-bit in HDMI out. They will start with the land that they know.

At the same time, don't think that they will restrain themselves to not canibalize DSLR - jut will try to keep the prices reasonable at the start to get traction (A7 III put a lot of pressure in prices). For me the clearly see the Z mount as their future - that HUGE size, for me, is to have the possibility to go to medium format at the future with the same mount (and use FF lenses with crop), not to make a better IBIS.

You missed out 
C) The official announcement on DPReview becoming a shitshow

I've enhanced the image using the latest Hollywood VFX and I can conclude it's so large because it has to fit in all the video modes..
I can clearly make out 1080 RAW 12bit, 1080 RAW 14bit, 4K RAW 14bit, 4K RAW 16bit, 4K Prores 444 HQ, 5K RAW, 5K Prores 444 HQ, 6K Prores 444 HQ, 8K Prores 444 HQ, but the last two are too blurry - I'm assuming they're 10K to downsample for 8K.

The release button being on the left on Nikon cameras is to do with the traditional functions of the controls on the right on the film cameras, which were for self timer and depth of field preview.
The latter physically engages with the aperture control lever in the lens to stop the lens down to enable the preview so you can retain the viewfinder brightness of having the lens wide open when you are focusing and composing but still be able to check the depth of field before you press the shutter.
This functionality is carried on through all their DSLRs today (along with the additional programmable buttons) which means if you are an old git like me then the muscle memory you've built up from starting with an F2 back in the stone age is still valid on a D5 but crucially the lenses that you had attached to it will still work too.
It might seem archaic in the age of constant preview for mirrorless (and it is for electronically controlled Nikkors) but its still relevant for Nikon as they have that big back catalogue of lenses that don't have electronic control and have to be engaged physically.
I've no idea why they decided originally to put it on that side - though I personally think it makes more sense to keep the lens release away from your 'busy' hand - but once they'd done it they had and have to even now stick to it in order to support all their lenses.
The problem for me comes when I'm swapping between my Nikon/Canon/Panasonic cameras to my Sony/Fuji/Leica/Sigma ones and thinking "where the f*** is the lens release"  
And, like when you get in a different car and try and find the windscreen wipers and indictors, you can guarantee that its on the opposite side to the one you've most recently been using !
The biggest issue is if I use a Leica R lens on my A6500 with the TechArt adapter as I also have to have a Canon adapter in the middle of it and each step has a lens release on the different side so its like doing a Rubik's cube to deconstruct it.

To save everyone else the math, it takes light 8 seconds to travel 2.3 million kms.
I guess that's written the camera off for me - there's no way I can hand-hold something that size, even if it does have IBIS!

The audio could suck with testicle syncs, depending in what kind of film industry you work.

My eyes are watering just imagining what such a contraption would do.
Auto correct obviously decided you wanted to literally have a balls up situation instead of avoiding a balls up of the audio variety.

I have an SD Quattro and the snout is not only big enough to contain a variable ND but the chicken dinner as well.

Thanks for the site / forum / content, Andrew. Even as an amateur, EOSHD is one of the responsibles for falling in love with video.

About the GX9: I second the opinion for a straight comparison with the GX80/85 - almost all sites compare it to the GX8, which I think it is downright silly (the GX9 is not a GX8 sucessor). Especially about resolution / low light performance / crop differences / color science - I have a GX85 and still thinking if it is worth to upgrade.

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

Such a pity that the LX100 resisted all efforts to join the party.

Shameless plug but that is one of the benefits of my controller in that it makes the operation of different Panasonic cameras identical and you could operate two of them at once in the scenario you are looking at.  
This is from my original post to demonstrate the hack.
It shows the output of my G7 and GX80 using Cinelike D pointed at the same charts in contrasty lighting.
If there is a difference then it isn't glaringly obvious. 
 

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing.
You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is.

And yes, it does look rather like a calculator doesn't it?
The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are.
Here is the finished spec and features :
Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps  Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories :
Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders.  The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever.

I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then.
So, I have been a bit less lazy than first imagined
By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

Maybe you can use it with a counterweight to help balancing, if your gimbal can handle the weight of the camera+counterweight.

Moment, which makes lenses for smartphones, sell a counterweight with this purpose: https://www.theverge.com/circuitbreaker/2017/11/21/16686030/moment-lens-dji-osmi-gimbal-official-counterweight-iphone-8-plus

What a contraption.

https://***URL removed***/news/1929459569/the-yongnuo-yn43-is-a-micro-four-thirds-smartphone-clip-on-camera-with-canon-lens-mount

Our @Mattias Burling already gave the firmware a spin.

That Eterna colors are really beautiful.
 
 

Right, after battering away at this thing all day from numerous different angles, I now remember why I put it on the back burner in the first place !
When you try and put cinelike d or v on it, it responds in exactly the opposite way you want it to and puts a ton of contrast into the image with a saturation boost just for good measure. 
The histogram looks like a truck has driven right through the middle of it and pushed everything to the shadows and highlights.
And not a small truck either.
A big fat one.
Possibly with a sidecar attached as well.
On both sides.
Trying to correct this in camera with exposure compensation and highlight/shadow curves made a difference but still nothing even approaching usable.
One interesting thing (well, interesting is all relative but after hours of fucking about with this you take your pleasure where you can) is that there is the expected colour response difference between the cinelike d and cinelike v so it knows what its supposed to be doing but this is also accompanied by a hue change. 
Again, trying to correct this with hue adjustment commands wasn't exactly a roaring success.
What I suspect is going on is the other two cameras that share the same guts, the GH4 and the HVX200, have exposed (if you pardon the pun) controls for hue, levels (i.e. 0-255) and master pedestal and its a combo of these that the LX100 just falls apart on when it receives the cinelike command.
The HVX200 is the only one that has an app (iOS only which makes it trickier though not impossible to harvest commands from) that can access those functions remotely so there is no chance of me finding anyone with that combo to have a look it. The camera I do have that has these functions is the FZ2000 but its all done in camera rather than via the app so no chance of harvesting the commands that way either.
So, sadly, no cinelike for the LX100.
Which is all the more reason to give EOS HD pro colour a whirl on it

I might have another tinker with it over the next few days regarding what happens when I was trying to put cinelike d on it.
Its been sat on the naughty step for a few months because I never got back round to trying to probe it a bit more.

Always thought this way about my LX100 - a lens with a free camera.

Have to use it back to tinker a little bit with photo quality - always have the impression that the lens is a bit soft.

Unfortunately the video quality is now lagging behing the GX85 - G9 - G85 - GH5; the noise levels are from the GH4 generation. If it could be updated to the GX85 level, would be amazing.