BasiliskFilm

I am not dissing education or training. The thing is the academic route was set up when access to professional tools and equipment were limited and you could only get to practice with expensive kit by signing up. Now that a digital camera, a few lenses and a laptop with software are in everyone's hands, the colleges are no longer the gatekeepers, and work can be shared on-line. Even if you go to college you probably still need to buy your own kit, in addition to fees. So think of what else you could do with that time and money.

no one ever asked me about my degree. OK that is many years ago now. It is all about skills, portfolio and word of mouth. If you are a self starter you can build these yourself.

no one ever asked me about my degree. OK that is many years ago now. It is all about skills, portfolio and word of mouth. If you are a self starter you can build these yourself.

Does a Tamron 28-75 f2.8 FE (adapted) focus as quickly/smoothly on the Nikon as the native 24-70 f4?
I have to say the Tamron f2.8 zooms are a big attraction, budget-wise, of the E mount system, but if they can be adapted well, or Tamron produce a native Z version, then Nikon looks much more attractive. 
Maybe Tamron needs to get someone from Techart to work on their AF protocols?

If they had turned the lights on someone might have noticed the starbucks cup

Nikon video AF looks fine, but currently Sony seems to take it to another level, with magical levels of stickiness with object tracking. Considering a camera that is capable of wildlife and action video/photography, this could be a deciding factor.

If they had turned the lights on someone might have noticed the starbucks cup

If they had turned the lights on someone might have noticed the starbucks cup

Cue more idiot directors saying - "we will fix it in post"
Seriously it is pretty clever stuff. Not just items with a clear consistent outline on a plain background. In some ways this can be done more cleanly in video than stills, as there are more chances to find a clean backplate to clone from.

Cue more idiot directors saying - "we will fix it in post"
Seriously it is pretty clever stuff. Not just items with a clear consistent outline on a plain background. In some ways this can be done more cleanly in video than stills, as there are more chances to find a clean backplate to clone from.

To be honest, I am holding fire on a decision until I see the new firmware. Sony have stepped up their AF on the A6400/A9 and I am guessing there will be a video oriented release taking on the z6 (A7SIII, A7IV?) which will have to be competitively priced. Can Nikon improve their already good AF to keep up with a firmware update? Particularly in the field of action stills, the Z6 is not really a sports camera, the DSLRs still have the edge for stills. The ideal hybrid video/stills action solution is still not there; the A9 is perhaps the closest, but still expensive and lacking key video features like profiles.
 

Sony is still selling the original A7 with kit lens for £879. They can do this by reducing the price of legacy models, which obviously Nikon can't in the mirrorless market. 
Nikon wants to compete in that segment, makes perfect sense. They may have to cut some corners to do it, but the A7 is a perfectly respectable stills camera (with less than brilliant AF), and the full frame stills market is probably still larger than those looking for 4K video shooting.

Sony still sells shedloads of the A6000, so I think that is the target market for this. From a serious video point of view, I would look on this only for pointers to where the next prosumer models may be going. It is aimed at the sub $1000 market, and at this level all the kit zooms have stabilisation anyway. Sony often starts their upgrade rollouts with the cheapest, best selling models - remember when the A5000 had better quality 1080p video than the more expensive models? The higher end version will be along soon. Animal eye-AF - I would love that! Come on Nikon, keep up...

I'm all in favour of retro fun; I even put a roll of Ilford FP4 through my Pentax Spotmatic recently. Sadly I don't have the time or money to buy multiple expensive bodies, and the Z6 seems to be the Swiss Army Knife sweet spot at the moment, especially with my existing Nikon modern and vintage glass.

You can keep a model on the shelf longer if you keep improving it through its lifetime. Sony have been a bit cursed by releasing so many different models of camera, some with major, some with minor improvements, but with no upgrade path - beyond the fact you could keep you lenses and accessories.
To some extent it makes sense to "build in" the cost of software upgrades, as later purchasers will get them included in the price of the camera. Like Apple now does with OSX and iOS updates. There is an argument that not many users use Log output, so perhaps only the few should pay, but there are quite a lot of folk who buy for the flagship features who never use them, so it is probably worth including all possible software improvements to boost sales.
This is the same company who produced the retro Df, which deliberately removed video to keep all the photo purists happy! Nice to see they have moved on. 

Slightly off-topic, but the "Film Maker's Kit" doesn't actually look like a bad selection of stuff, if you don't have any of the items already. Any thoughts?

If you add in some of the best sensor stabilisation on a full frame camera, the ill effects of rolling shutter are much minimised in hand held footage. I have not seen much of it in footage online, even when using non-stabilised lenses.

Most of the quirks you list are possibly software issues rather than hardware limitations, so let's hope that this is the programmers running out of time, as you might expect with a first model, and that a firmware update might sort some of it out.

If you know in advance that you are going to slow down to 24p then 180 degree will give you the "correct" amount of blur for whatever your original frame rate. The problem comes if you decide to use your footage at actual speed say 60p footage on a 30p timeline by dropping half the frames. It will look a bit choppy as your 1/120 shutter is now the equivalent of a 90 degree shutter. 
After Effects has slightly more sophisticated tools for retiming footage, if you want to ramp it up and down, and recreate "correct" motion blur in post (see Pixel Motion Blur)
In Premiere you can just send a single clip to After Effects, retime it, apply effects and still render it within your Premiere timeline.

If you are just editing in Premiere and getting creative with retiming, you will probably have to put up with some choppiness.

That's one of the attractions of the Swiss Army Knife approach of the Nikon. You can stick the same camera in small bag for spontaneous moments at unprecedented quality, but the same body can also be used in the studio for shooting 10 bit log for green screen, with a recorder and audio extras.

That's one of the attractions of the Swiss Army Knife approach of the Nikon. You can stick the same camera in small bag for spontaneous moments at unprecedented quality, but the same body can also be used in the studio for shooting 10 bit log for green screen, with a recorder and audio extras.

That's one of the attractions of the Swiss Army Knife approach of the Nikon. You can stick the same camera in small bag for spontaneous moments at unprecedented quality, but the same body can also be used in the studio for shooting 10 bit log for green screen, with a recorder and audio extras.

So now we are getting some confirmation that the Z6 is not going to show up with many nasty surprises we are perhaps in a position to write a tally sheet of the pros and cons of the "affordable" full frame video options as currently presented. Sony A7III vs Nikon z6:

Image quality/resolution/dynamic range - similar sensor means there is not a lot to choose here.
Colour science/gradeability - lots of people seem to like what Nikon does here, and 10-bit-to-recorder seems an excellent option, for example, green screen shooting. 8 bit Log internal on Sony seems an advantage but Andrew's Zlog seems a work-around there.
Single card vs dual card - 2 slots nice to have, but not a deal-breaker for video
Auto focus - Nikon, so far, doesn't look disappointing, and demonstrations with adapted f1.4 glass are very encouraging. Eye autofocus is nice, but for video good face AF is probably where we are at. Sony strong here too, so it would be good to have some proper side-by-side tests in tough situations.
Usablility - lots of votes coming on the Nikon side, Sony still not "loved" by many for ergonomics, menu systems, button layouts etc.
Lens options - for Nikon shooters with a big investment in modern glass this is a no-brainer, as the adaptor seems to be very solid. Otherwise, Sony has the lead by some margin. Ironically the killer choice for budget/weight conscious shooters is the Tamron 28-75mm f2.8. Still not clear whether/when a Z mount version will be available. Still Sony glass is expensive, and F mount glass seems very useable and more available second hand.
Stabilisation - does Nikon have the edge here? More stablized lenses for Sony though.
EVF and back screen - (assuming this is the same as the Z7) - Nikon seems a clear winner, as Sony economised on both of these. For run-and-gun MF shooting, this may be a biggie.
Stills shooting - yes I want to do this too - keeping settings for stills and video separate as the Z series do, seems to make sense. My main question is - can I ditch the DSLR for shooting action/wildlife etc.
Anything else that should be added to the list?
 
 

I have plenty of AIS/AI lenses that are ready to fit right on the FTZ adaptor, and my 50mm f1.2 will be a lot easier to focus on mirrorless than my DSLR.
Novoflex adaptors are ready already for most mounts, and much cheaper ones will be along as soon as demand ramps up.

I have plenty of AIS/AI lenses that are ready to fit right on the FTZ adaptor, and my 50mm f1.2 will be a lot easier to focus on mirrorless than my DSLR.
Novoflex adaptors are ready already for most mounts, and much cheaper ones will be along as soon as demand ramps up.