Geoff CB

Hope it's full frame and that they say that they're going to be part of the L-Mount alliance

If it's another Pocket variation they NEED to use a bigger battery or I'm not interested. I loathe rigging up an external battery solution, I did it with the original Pocket and never again. 

Its extraordinary how people are misinformed about Nikon. I mean is it perfect, no, but which 2k camera is. firstly about construction, the Z line construction is as good as it gets. Its not me or some anecdotal feeling but expert in camera construction. Many feel bigger is better, I myself find it to be a little small but in this world, doing a d850 size mirrorless is suicide. For me I have the smallrig cage permanently on now, it givesme a better overall grip and I prefer bigger cameras anyway, but I understand them with the Mirroless must be small Jihadist.  This tells you how good it is constructed, there was a pro wildlife photographer that told about his experience in the artic where the D850 stopped working at extreme temperatures while his Z still worked until very very low. 
https://www.lensrentals.com/blog/2018/10/teardown-of-the-nikon-z7-mirrorless-camera/
 
 

The ability to match the color easily and swap the lenses is more important than the bit depth, and I'm someone who is obsessed with bit depth.

Recently was shooting a short and needed a gimbal shot to match my Sony F3, I shot on a friends A7s instead of the Z6 because of the ease of matching the two, because I knew the editor wasn't going to do an intense grade in post.

Hope it's full frame and that they say that they're going to be part of the L-Mount alliance

Why are they using Potato Jet's old studio?

Apparently my bug about the C100 slipped through the cracks at Lesspain / Kyno.  They asked me to try it again in the new 1.4 version and I can report that it is fixed.  It's a very nicely thought-out piece of software which allows you to trim, copy, re-encode video/audio in whatever manner you want .
They have a trial.  Highly recommended that you try it out, if you do any footage "pre-processing".
https://lesspain.software/kyno/

This is interesting and useful.
It shows you how Resolve can render the colour grading up to a certain node, but not beyond it.
So for example, if your node tree started with a Deflicker (great for timelapses), then NR, then a Motion Blur (for fake 180 shutter!) then you could render these three nodes into a cache but then grade normally after these and unless you go back and adjust one of them it wouldn't need to re-render that cache.
I've never heard about this before, so thought it was worth sharing.
 

My vote!

I feel its not that uncommon for a Hybrid to be used as a gimbal camera. Just was on a show with a FX9 as A cam and A73 as B camera and Gimbal camera. Depends on how high end the show is I guess. Probably not really a thing in most narrative stuff(the pro stuff at least).

All this stuff is mostly catering to the lower end of things I feel like. 

I also figure, worst case, If need be, I wait to find one for parts, and replace the back lense.

I prefer the SLR Magic APOs for overall look, but this is an AMAZING deal for technically excellent (if sterile) cinema lenses

I think the lack of PDAF pretty much killed off most of the market for the A7S II after the A7 III was released. 
When you also look at how much flack Panasonic cameras get for their autofocus performance, I'd be really shocked if the A7S III doesn't have PDAF.
So far though I don't believe there are any rumours one way or another on this factor.

Given R6 specs and price point it seems the Z6s is positioned as a useful update.    The Z6 already had IBIS and RAW out, so these new additions look better based on what Canon and I bet Sony will do.
The Z6s needs to have 10bit internal recording across the board also.

Higher frame rates, lower rolling shutter
I guess the improvement in technology means that it will be clearly better DR than the A7SII despite the stacked sensor penalty.

4K 120fps full pixel readout?
Yes please.
Sounds like a much better option than EOS R5.

If the rumors about the 12mpx stacked sensors are true, PRAISE FUCKING BE. If they don’t botch it with not including s-cinetone this may well be my dream documentary video camera.

In my opinion needs a lot more than what is rumoured.
What about internal 10bit?
Internal N-LOG?
Is the 4K/60p APS-C only or full frame?
Dual card slots - Dual XQD or one SD and one XQD?
Are they going to improve the body design? Make it less consumer?
More to the point... Why would somebody buy a Z6 instead of S1 or EOS R6!

Make timeline and 
Timeline and output color space should be Rec. 709.
Data levels for web delivery should be set to video.
On the timeline make sure each clips data levels are set to FULL.
Use sharpening instead of superscale, superscale internally raises the resolution, when you try to use x3 superscale it raises the internal resolution to 8K which is why your constantly running out of video memory. Use x2 max before sharpening.

 

The ability to match the color easily and swap the lenses is more important than the bit depth, and I'm someone who is obsessed with bit depth.

Recently was shooting a short and needed a gimbal shot to match my Sony F3, I shot on a friends A7s instead of the Z6 because of the ease of matching the two, because I knew the editor wasn't going to do an intense grade in post.

The ability to match the color easily and swap the lenses is more important than the bit depth, and I'm someone who is obsessed with bit depth.

Recently was shooting a short and needed a gimbal shot to match my Sony F3, I shot on a friends A7s instead of the Z6 because of the ease of matching the two, because I knew the editor wasn't going to do an intense grade in post.

This is what I've gleaned on the issue over the years...
To test motion cadence effectively you need to mount the two cameras on a dual mount tripod bar and ensure you have ,if not the same lens, at least the same focal length one on each.
For a test subject, you need something that can move of its own accord so you will see motion within a static framing but also that has enough movement to exit the frame so you can pan to track it and see the effects on a moving framing.
The ideal subject for this when it comes to testing motion cadence is, by common consent, a unicorn.
The ideal speed for the unicorn to be moving is from a slow walk up to a gentle trot.
Most unicorns are lazy but skittish, so a few party poppers will enable you to encourage this range of movement.
On the camera itself, make sure that the power draw isn't effecting motion cadence by using a fully charged battery and that you have mojo set to 10 or boost if your camera has it.
Depending on the brand of camera that you are using, you should also ensure that you have fully topped up your Koolaid levels.
😉
On a more serious note, this is a decent thread with some informed discussion about it and also contains a link to a side by side video between real film, Alexa, Red and the Sony F65.
https://cml.news/g/cml-raw-log-hdr/topic/16427778?p=Created,,,20,1,0,0::recentpostdate%2Fsticky,,,20,2,0,16427778
 

Rolling shutter isn't a single figure, but a range that goes from good to bad to awful.  How it sits compared to others will and should be judged.
As for whether is makes sense to everyone being irrelevant, er no.  Its very relevant.  And we are not talking about making sense.  We are talking about a tool that has features that are useful to video shooting and issues that could potentially affect video shooting.  This is relevant.  
An incredible piece of technology is in no doubt.  A good price is down to where you buy it and how important the camera could be for your work.  
The hype is also in no doubt.  Some of us would like to look beyond the hype. 😉

For years Canon have been saying this is why they don't push the video specs to the limit.
Reliability is key, blah blah!
And they suddenly do a U-turn for marketing reasons!!

On film set the cameras are always on. They only are powered off on breaks for lunch and diner (sometimes). But they are usually always on.