Juank

Gerald just posted a thorough Z8 review with a lot of overheat results among other things.
He reveals some mega aggressive NR and very strange artefacts using the h265 codec in 4K.
Apparently there is a new V2 LUT for N-log with a smoother curve.
This camera does tick many boxes for me and there is something about the IQ I find lovely.
But its true that considering you can now find Z9's for maybe 300€ more, that take care of the battery life and overheat issues.. I don't see much of a reason to go for the Z8 if I was going down that path!

I've actually been wondering on how much we can workaround and circumvent the overheating hassle with something like this:
https://www.zitay.net/ZITAY-CS-305-CFexpress-Type-B-to-SSD-Convertor-Card-Reader-Adapter-XQD-CFE-CFX-Replacer-Substitute-Nikon-Z6-Z7-D5-D6-D850-D500-PANASONIC-DC-S1-S1R-Canon-EOS-1DX-MarkIII-R5-C500-MarkII-p779221.html
Let alone set it with a more convenient temperature cutout from (auto) standard to high:

source

I seem to be spending a lot of time thinking and posting about the Z series cameras considering that I don't actually own one.
Well, not yet at least.
What is solidifying what now seems like an inevitable purchase of the Z8/Z9 (more likely the latter) is the mount but not necessarily the native lenses themselves.
Not that there is anything wrong with the native lenses from what I have seen more that I have a some may say addiction level collection of lenses and I don't fancy the expense of adding to it with a collection of native Z mount lenses.
Not least because, of course, I won't get any utility from them with any of my other some may say addiction level collection of cameras.
The supreme adaptability of the Z mount means that it is unsurpassed in terms of allowing me to use the, erm,  "carefully curated " collection of lenses of various mounts that I have in no way impulsively purchased over the years, particularly when it comes to providing AF translation too.
There are four adapters that I will be buying when I eventually cave in and buy the Z9.
Nikon FTZii - Absolute no brainer for most users of course but particularly for me as I do have a legitimately large collection of actually carefully curated high end F mount lenses from when I was a working pro. Meike EF>Z With Drop In Filter Adapter - EF lenses feature second largest in my shame and this lets me use them with full ND control built in. Meike/Megadap E>Z - This one has really pushed my decision to commit to Z mount as I have a few E mount lenses already but the bigger interest is in using it as a pathway to get cost effective mirrorless lenses in the form of the Sigma E mount contemporary range. TechArt Pro TZM02 - The secret weapon for the rest of the groaning draws of glass and metal as it provides AF for manual lenses on Z mount. Predominantly for M mounts (of which I have "a few") but with cheap adapters can also perform the same miracle for my Contax/Zeiss etc and, of course, the old Nikon F mount collection. The only gap is for PL mount lenses but only because I don't want to buy a basic PL>Z adapter when I suspect that Meike will produce a Z mount version of their PL adapter with drop in filter that they already produce for RF, E and L mount.
These adapters definitely cement the Z9 as my forever* camera as it fulfils the notion of bridging the requirements of what I need now and the future with a modicum of mitigation for the profligacy of the past.
Having said all that, one Z mount lens that I wasn't aware of that looks quite interesting is the 24-200mm. Not fast but very versatile and decent performance.
 
 
forever* - AKA this week at least.

Liking the 6k 30p ‘open gate’ (3:2) on the S5ii…
Testing it ahead of the arrival of that pair of S5iix’s due hopefully soon…
I think I will probably be using it as my go to for the bulk of my work going forward because it does have an extra edge of detail over 4k and allows for better quality 9:16 highlight films using the same material, on top of my regular wedding films/videos.
The only issue I seem to be having is my M1 chip MacBook doesn’t seem to like it much whereas 4k footage flies through it. Not sure what’s going on there…
The baked in LUT works great so will also be using that going forward.
Using the Gamut conversion LUT which is my preferred one and the footage coming out is nicer than using any profile with more DR.
After some minor adjustments, it’s then just a case of the grade but I am much preferring getting an ‘a good starting point almost ready to go’ SOOC image.
No ‘worthy’ examples at this time as I was just messing about really trying out some different set ups and getting round any potential flicker etc (using 30fps in a PAL region).
It’s tungsten that is the only occasional issue but these things have synchro scan so as long as you don’t mind breaking the 180 degree shutter rule, you can tweak it any which way. Or just shoot 108/216/324 degrees if you know it’s just going to be awful.
Most of my work is daylight plus some LED so not really an issue anyway.

Am afraid the standard Zoom F2 is useless for using with TC, you need the Zoom F2-BT version. (plus the TCS Ultrasync Blue, and 2x TCS USO for each Blackmagic Pocket 6K. Oh, and TCS Ltd has been bought out by Atomos now)
If you haven't yet got the Zooms, I'd recommend you get instead the Tentacle Track E instead, it is a better/easier setup. 
If you can wait, you might want to get the Deity PR-2 pocket recorder instead.
https://deitymic.com/products/pr-2/ 
https://www.newsshooter.com/2023/04/18/deity-releases-the-pr-2-pocket-recorder-with-32-bit-float/ 
https://www.gothamsound.com/product/pr-2-pocket-recorder 

Actually for gimbal use is a pita as it works only through USB so you cannot connect the gimbal to the camera, plus you have a cable from the gimbal grip to the camera that is not a good idea. Would have been Wifi or Bluetooth it would have been brilliant.... 

Yeah its a very cool accessory for sure! Also interesting for me to note in that video that you can switch to APS-C (DX) mode on the fly to punch-in during recording . That's awesome, I don't know of other systems allowing that kind of live crop functionality aside from clear image zoom which is similar but different.
To be fair though Z9 has built-in vertical grip, bigger battery, better weather sealing, ethernet, GPS etc. Its a flagship sports/action D5 type body. Z9 will also not overheat and has longer recording times. Quite a few reports of "hot card" and overheat warning on Z8.
Z8 is really a R5, A7RV competitor. Not R3/A1/Z9. Pretty amazing they did give it the same specs as their flagship.
Puts pressure on Sony & Canon to deliver stacked sensor tech in their next equivalent products! 

The MC-N10 remote grip allows operation of the zoom (and a host of other functions) to be controlled off camera too.
Its not cheap but it adds a lot for video shooters, particularly for gimbal use.
 

Seems a really good camera, probably the best hybrid at the moment.

It makes A1, Z9 and R3 look overpriced compared to this. Really good that Nikon is aggressive with the price/features pushing Canon and Sony. 

Only odd thing that apparently it cannot record video on both cards...and personally I don't like the screen as is a pita on gimbals...

A very cool feature I'd missed that came with the 3.0 Z9 FW is this "Hi-Res Zoom" which is basically what I assume is the equivalent to Sony's clear image zoom tech but with oversampled 8K to work with and zoom control can be set to lens control/focus ring. This is really sweet for prime lens shooters like myself, effectively doubling the focal range. Great way to make use of that extra resolution.

It's really hard not to root for Nikon given how hard they are working to stay relevant and trying to carve out a piece of the video pie. I am not in a position to switch from Lumix and the L-mount, but if I were in a position to do so Nikon would be the favorite. 
The thing is though that Lumix will release something within the next year that will make me want to stay, haha. 
I do hope though that Nikon is rewarded for the effort they've put in. They've definitely been amongst the most forward thinking companies since the full frame mirrorless transition, which is even more notable given how it feels like some companies are taking steps backwards (:cough: Sony :cough:)

Apparently the ghost of DPREVIEW is lurking...

Embargo lifted. Its got same video specs as Z9 so you get N-Raw, ProRes Raw etc. Pretty sweet camera!

No I don't use much lighting when run & gunning. Most low light I do is concerts and events and I'll use the available lighting for realistic ambience. I mostly shoot fast prime lenses so not a big issue. On Canon I'll usually go with the Canon 50mm F1.2 & 35mm F1.4 wide open. On Sony I shoot with the Zeiss 35mm F1.4 & Batis prime series. And for zoom the Sigma 18-35mm F1.8. I also don't mind crushing blacks and using a little NR. Whatever works. 
If I get the FX30 I'd surely go for those new 7artisans T1.05 cine primes I was talking about the other day.  

I can understand the FX3's uncropped 4K120 being a clear advantage but the "I like FF look better" sounds pretty arbitrary. YMMV.
Personally I like the FX30 better for video because the 6K oversampled video, 26MP stills, S35 & FF third party lens support (with speed booster), the more usable dual ISO range, the less aggressive NR, and of course 50% more affordable price tag. In fact with the last firmware update, chances are it is going to be my next camera (just waiting on the next few Sony releases of which another FX body is rumoured to be coming by this summer with the new AI chip/features).
By the way, was surprised to see French pétanque being played in NYC although I guess it is in fact its Italian bocce cousin!
 

I haven’t used either so my comments are entirely without substance but when I was considering (and came very close to) flipping my L Mount set up, I decided the closest would be neither the FX3 nor the FX30.
Instead, it would be both.
FX3 instead of S1H
FX30 instead of S5
But I got an S5ii to replace the S5 as the 10k approx to change systems was a bit rich 🤑 
I like them both in principle and perfect lens line up for me from Tamron and if it were not for the €‘ s, I would have done it as for my needs, it would be the only current viable way for me to get from a 4 body down to a 3 body set up (A7RV being the 3rd body in the equation).
Maybe next year because I really do want to go 3 body as soon as it is viably possible.
 

I have shot many videos with both cameras (not borrowed for one week from Sony). I thought I would like the fx30 better, since I am a bit of a stickler on resolution, and the fx30 oversamples 4K from the full sensor. But, what I found is I just like the look of the full-frame 4K from the fx3. And the fx3 4K 120p is uncompromised, while that from the fx30 is clearly noisier and has a big extra crop. With the fx3 one can mix together slow motion (from 4K 120p) with any regular-motion frames (in my case, the dreaded 4K 60p).
The "big" fx3 disadvantage for me is that the lenses for the full-frame fx3 are so much bigger. I need to travel light, and also cannot poke big rigs into crowds or in some travel spots.
Thus, I tried out the fx3 with the smallest zoom lens there is the "kit" 28-60 collapsible lens. It is slow and has limited range. So, can you get shot variety from it? - Clear Image Zoom though helps it get to 90mm essentially losslessy. Do you sacrifice image quality from this cheap lens, including subject isolation from shallow DOF?
I took this combo to Bryant Park to capture the Spring blooms and the activities. The video mixes slow motion and regular motion (some bocce and pingpong clips are in slow motion 2X).
I was pleased with the results. The one issue is that I cannot smoothly manually zoom the kit lens, and I am normally very good at manually zooming. Clear Image Zoom gives me smooth variable-speed zooms, though, but only up to 1.5X.
Note this video does not use any of the new firmware features - this video could have been shot with the a7siii.

Early days and as with the S5 that preceded it, like it but don’t love it.
To be fair, it’s not it’s fault but more my use case for it which is long static stuff and a tiny amount of gimbal.
Edited one shoot so far with it and no idea what the critics are saying about it…but as above, fairly limited and controlled use so far.
Shot another job but not edited it yet and then a third later this week.
Really, the S1H is my workhorse for the greater part of my video work and that is a case of ‘love’ over simply ‘like’. Has a certain mojo to both using it and the output.
In other news, my pair of S1R’s came back today and just in the nick of time as I leave tomorrow for my next job. I’ve tried selling one of them once previously but came to the conclusion last week, without going Sony or Nikon (both with native or adapted Tamron lenses), I just cannot get from my current need for 4 working cameras, to 3.
Not without chucking 10k into the mix on top of all my trade in kit…and I cannot justify the cost right now. Or this year.
Not complaining though… In my ideal world, I would flip to a 3 camera system without hesitation but also unless any future camera has internal ND, using any system for hybrid work is a pain in the arse! I know because I have been wrestling with it for about 12 years and still have not found the ‘perfect’ solution.
Does it exist? Nope.
Could it exist? Yep. Easily, if we mashed up a few of best bits of several manufacturers…
Will it exist? Probably soon. I think we are one step away and it will become reality if internal ND’s can become a common thing.
In the meantime, I will ‘soldier’ on with my pair of S1R’s for stills (and emergency video use), S1H for primary/creative filmmaking and S5ii for the more static stuff, gimbal and anything requiring good AF.

@MrSMW I picked up a Sigma 18-50 to use in crop mode based on your recommendation and it's great! Vignetting and distortion corrections work. AF is great (quiet as a mouse, I think it's actually totally silent). Build quality is good. Image looks good.
I'm going to use it as a family/holiday lens. Thanks for the tip! I never would have spotted it otherwise, as it's not a popular choice for Panasonic L mount. I think I got the only one in all of Ireland!

Check out this new music video shot on A74 24-104 and UV light.
 

Smallrig 450d light is on sale for $699 today at B&H. That's a great deal
 
https://www.bhphotovideo.com/c/product/1729862-REG/smallrig_3970_rc350b_cob_bi_color_led.html

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

They need to hack Sony firmware and make a Magic Torchlight or smth. Lots of ppl would support that in a heartbeat. I would. 

I dusted off my EOS-M today and loaded the new ML. It's feeling a lot more user-friendly than before. 2.8K with accurate monitor display? Heck yes. This is potentially an acceptable level of 'frustrating' and I might actually shoot something with it.

The funding goal was just reached. Thanks to everyone who donated!