Juank

It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers

Like with everything, there's diminishing returns. If you're not doing a ton of tweaking in post, you really don't need huge files, especially if it's only going on YouTube. For a lot of my work 50mbps (or 100mbps in h.264) is more than enough, given the final edit will end up on a streaming service that will stream it at maybe 1/4 of that. 
That's not an argument against higher bit rate options, as there absolutely are plenty of good reasons to have that as an option, but not everything needs to have 400mbps just as not everything needs to be filmed in RAW.

Like I said the 150mbit 422 10bit on the S series and the GH5 is an anwesome codec. Highly recommended even for feature work I must say. Talking about acquisition of course, but that should of course be clear, if talking about codecs in cameras.:)

Good point.
My Panny's are all 150Mbps 420 10 bit and my grade is fairly mild but a lot of 50% Slow mo.
I tried very briefly (once) jumping up to the 400Mbps option...but never again. I didn't see any benefit and it chewed through cards at a crazy rate.
150 therefore is Goldilocks for me.

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming.
50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry.
Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly.  50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc.
You can't add bitrate in post!

If you record 1080p Prores HQ then that card should be good for about 94 mins, 422 should be longer...  Just in case you're feeling like more testing would be fun 🙂 
Great to hear the 2h 17m GH6 result was with the DR boost mode on.  I can't think of what other features would drain a battery so much that it would reduce that battery life significantly.  Thanks for doing these tests.
I've said it before, but I'll say it again.  Even basic tests frequently prove that a significant proportion of "what everyone knows" is actually just plain wrong, or so oversimplified or limited in context that it is either so useless or misleading it has the same effect as being wrong.  If you can test it yourself, you really should.

I would add that from my experience of using a manual focus 58mm Rokkor 1.2 on a 5D3 for photography I found that if I used the optical viewfinder to judge focus, forget it, it was out of focus. I missed it nearly every time.
However, I got an almost 100% success rate by using an LCD viewfinder (remember those?). So you're magnifying the large, high resolution image on the rear LCD screen. It's actually possible to nail focus this way.
 

Yeah, Cleff has been doing tests on DPR for a Long time. I find his stuff more accurate in real life than DXO's. Cine D's DR test of video cameras are way more accurate than what the company's spew out.  Like Red's 20 stops bullshit.

Not worth it from what I read on German testsite slashcam. Afaik, it´s 12bit linear and debayerd from 6K to 4K instead of giving the whole 6K out to the HDMI. On the S1H its 12bit and Log afaik and the whole 6K resolution.
Anyway, site states that Prores raw has more aliasing and artefacts than internal Prores on the Z6. Latitude or dynamic range is not better than Prores with 10bit Log.
Here is the article. You can run it through a translater. cheers
https://www.slashcam.de/artikel/Test/Nikon-Z6-RAW---Besser-als-ProRES---alles-.html
 

This is it.
All the other language about "greater than 23fps" and "4K or higher" or "internal, visually lossless" is all written to broaden the patent intentionally as a, in my opinion, blatant "idea" smash and grab.
They only came up with a method and instead they got a patent for essentially: "visually lossless compressed bayer data in a camera at greater than 23fps and 4K and up resolution".
Ford invented a novel form of locomotion via a box ("vehicle") with 4 or more wheels, powered by an internal combustion engine (as described in prior patent XYZ), moving at speeds greater than 23mph.
Ford is calling it a "motorized vehicle" and will sue anybody that tries to use wheels and internal combustion engines to go faster than 23mph.

Well, I made a total liar out of myself and went and bought another Panasonic GH5 with V Log in it. And to make it even more crazy I bought a Canon FD 300mm f2.8 lens, the big white one, with it, and the older 14-140mm Panny lens, the black and gray one.
With the newer firmware updates the GH5 has gotten a lot better than when I had mine before.  Pretty hard camera to beat used even today.  The 300mm ought to be good for birding and well why not. I am going to use it with my EF to M4/3 Speedbooster so will be interesting. So now I will have even more stuff.

We have the GH6 for work. 
 
The lack of anamorphic shooting options frustrates me as we have a slew of anamorphic lenses. There is no 3.3K (which desqueezed would make a nice 4K image). Instead, we got 5.7K anamorphic and 4.6K anamorphic at 48fps?!?
 
I can only reason was to shoot anamorphic in high resolution and slow motion as high of a resolution as they could (4.6K). The issue I have is the 3.3K 4:3 desqueezed gives it that nice textured Super 35mm look. 5.7 is too clean for anamorphic for me.  

I’m confused as to why that was omitted. Not to mention all the anamorphic modes are 10 bit 420 Long GOP with no ProRes options at all.  The GH5 is a Anamorphic beast IMHO.
 
 

I can run a test for you if you tell me the parameters you're interesred in. I can run record on a full battery and see how long it lasts.

Y'all left out the part where I said what the patent's definition of "visually lossless" is. It's not an Imatest or anything of the sort.
The fact of the matter is, Red RAW is NOT lossless. Again, if it were, you wouldn't have different compression options. Lossless is lossless, there would only be one compression ratio. It is lossy RAW but "lossless" because the average person can't see a difference.

Just a an update. RED still haven't shown up at my door. I did started locking up in the evening and hiding the camera in the safe houses. I started checking if I'm being followed.
On this side of sanity (hopefully), I finally shot some material. Clients I often collaborate with suggested that we try playing with format of the visual research and use moving picture. It's usually stills photographic work. Since the whole job was more of a exploration case study I decided I may as well push and shoot RAW.
I have mostly XQD cards and SD cards. XQD was able to record about 7 seconds of 8K at 50p before interrupting. Slight disappointment (but there was a twist later on). So I went and bought CFast B cards. San Disk were easiest to get quickly, 128GB holds 5 min 40 seconds at 8K60p and RAW quality NORMAL. I went with SDR and Nikon FLAT, used waveform and kept ISO at 64, partially because I carry the habit from the stills and partially to keep aperture values reasonable. I only played with the footage a bit on the flight back. In Resolve 17 on Mac (you have to run the app under Rosetta, so affecting the performance) it edits without issues on 16 inch M1 MAX. I've been out of serious video for more than 12 years so tweaking it is going to be a bit of challenge but also why I really tried to get it right in the camera. The picture didn't break when I pushed it hard in Resolve.
The camera's ergonomics are great for photography. For filming - I'm not used to stills cameras. I feel it basically needs to be rigged to get the best of what it offers. Monitoring is good, it has a mode where the LCD shows everything an assistant would need. Speaking of, the viewfinder on Z9 is the best I used on mirrorless camera. My workdays are sometimes 13, 14 hours and the eye strain can get too much (I'm squinting at you GFX 100s). I can't comment on the autofocus for video as all of the lenses I used were manual focus.
What might be the most interesting part for me is that camera runs really cold. I don't know what kind of processing TICORaw uses but the whole focus on low hardware requirements they've brought from their broadcasting background seems to be paying back. While the first part of the job was at 18 to 20 degrees Celsius and low humidity, the second one was at high 30s and low 40s with very  high humidity. The camera just kept going.
The card surprise that happened at the end was that I tried 8K normal quality RAW at 24 and 25 and XQD card recorded without issue for minutes on, full capacity, without problems.
This material can't be shared but if someone wants, I can shoot short and specific tests and send over the RAW footage. Maybe skin tones, cadence and highlight/shadows but not longer than 15 seconds each. Which brings me to the main problem of the RAW. You need a data wrangler and increased budgets for storage.

Finally...  a 360 setup with enough bitrate!!

I'd imagine it's slightly worse considering the the sensor is likely older and definitely smaller but is still crippled with the same codec and bitrate.
Each time they upgrade I've seen comparisons (not with this model yet though) that compares the new and previous ones, and they're always a little bit better but ultimately still disappointing.  Lok Cheung normally does a comparison and seems to own all the models in the range, but he hasn't released a review on this model yet, which is unfortunate.

The best bang for the buck to me are one of these birds. : ) From same pilot: Rome on Mavic 3 & Istanbul on Mini 3 Pro.
- EAG

That's true, although the wider you make the shot, the higher the quality but also the more specialised it becomes.  For example, if you cropped at 90degrees it would be a standard wide angle view which has almost unlimited applications but is almost unusable, but if you don't crop at all then you're getting 6K 120Mbps in all its glory but the shot is literally unusable for anything at all.
The problem is that for any real use you'll need the quality to be above a certain threshold and the crop associated with that is only usable in a tiny tiny percentage of applications.
To give you a comparison, an action camera might have a 100Mbps 4K image and a 15mm FF equivalent lens.  For a 360 camera to replicate that it would need to be a 1,500Mbps 12,000K image.  
When I film with my GH5 in 200Mbps 10-bit 422 1080p and my Sony X3000 in 4K 100Mbps I think the action camera looks poor in comparison and I have to really treat it nicely in post to try and elevate it from the cheap/nasty/brittle image that it has.  A 6K 120Mbps 360 camera cannot possibly hope to compete against that.
I mean, I'm filming with my GF3 and its 1080p 17Mbps, which is still more bitrate and resolution than the 360 camera has at a 15mm FF equivalent crop.  This brand new 360 action camera when cropped to anything remotely sensible can't compete with a budget MFT camera from 2011.
Oh, I never said this was a "meh" update.  It's taking something that is woefully inadequate and taking it to merely being quite inadequate - a huge improvement no doubt.  But just because a kid improves their math test scores doesn't mean that they deserve to pass.

I pre-ordered my camera back in January has no information on when this will be shipped. But Amazon pushed the estimated delivery from February to November!
But I'm glad that it's available to order here: https://camix.co.uk/product/sony-fx6-cinema-camera/

Disappointing and barely improved from previous models (or at all??)
Once again, people fail to understand what is actually going on here.  The problem with 360 cameras was always that by the time you crop to a FOV that doesn't look like you're on massive amounts of drugs, the image starts to fall apart with lack of resolution and compression (poor bitrate).
When you crop into the image, this 120Mbps 6144x3072@25/24fps in 360 degrees equates to:
15mm lens on FF (100.4 deg Horizontally) 1713x723 resolution (16:9) at 7.9Mbps
18mm lens on FF (90 deg Horizontally) 1536x648 resolution (16:9) at 6.3Mbps 
24mm lens on FF (73.7 deg Horizontally) 1258x530 resolution (16:9) at 4.24Mbps
Realistically, the 120Mbps is the limit, not the resolution.  A 1.2K image wouldn't be so bad in the context of a nicely graded edit if it was more than 4Mbps...  I'm waiting for a 400Mbps model - that would take that 24mm crop to something approaching 'real' camera territory (15Mbps or so).
The challenge is that these are often used in situations where things are moving a lot and really stressing the codec.

I wouldn’t choose to switch from what I have today, but one of the reasons I moved from Fuji was the lack of stabilised bodies or lenses.
It was basically XH1 and slow zooms when I left.
Loved the image quality coming out of the XT3 and much preferred it’s tilt screen that they ruined (IMO) with the flipping flippy flip screen of the XT4.
And now Tamron has brought out the 17-70mm f2.8 (basically a 28-105) with probably around 3.5 stops if OIS.
For around 1500 for this lens and an XT3…WOW.
So Z9, amazing bit of kit, but just how much does something like that really bring you when it comes down to it?
Very little for a HUGE amount more.
When prices hit around 3k, it might be viable for me, but that is a couple of years away at least.
It may even be superseded before anyone even has their preorder the rate they are knocking them out…
Chip shortage? Shit shortage for anyone that wants to buy anything these days…

Well if the price of shit is going up that much then the stuff that comes out of Boris Johnson’s mouth might actually have some value for once.

Thank fuck I don't need any fertiliser.
Cheaper to buy a horse and make your own these days...

It's a worldwide problem for many many products, both supply chain shortages and inflation hitting hard. 
Look at these prices increases I just saw announced today for fertilizer in New Zealand: 

 
Makes the +1500 euro premium to pay for a camera seem like a pretty trivial increase in comparison. At least you're not seeing over 1500% price increases!