Geoff CB

If the camera is stationary latency is not going to really be an issue, so one can cut corners and purchase a cheaper monitor. However, if you are moving the camera on a gimbal, slider... Etc, or doing some sort of selfie, like a vlog, then the latency can be problematic. In such as use case, you might be wise to cough up the extra bucks and get a good monitor that does not exhibit latency issues.

I can't see how the delay on the GH5 itself could vary depending on the monitor/recorder used. I think it's just that cheap monitors add some additonal delay of their own.

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version)

These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage.

Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh.

Nikon 24-70 2.8G  on Sony F3

My camera isn't built up at the moment. 
But the principle is get the camera as far back on your shoulder as possible, most builds I see are far too front heavy. And I use arri rosettes as much as possible, as they firmly lock into place. 

Edit:
Just found this picture of me from four years ago shooting a short film with the F3, this isn't how I'd rig it up today, but gives you at least a rough rough idea:

 

Nikon 16-35 on Nikon Z6

Sensor readout speed is the big unknown that will impact 4k60p crop/binning and rolling shutter.  My gut tells me that it will be similar to the 1D X III.

N-log gives you way more dynamic range and color information. You can only go to 60p to external recorder though. RAW seems to be worth it if you have an NLE that supports it.
Honestly I would recommend it, if not for this project for future ones. 

Yeah wish the power switch was around the shutter release.

If it's just for sync you can go for any cheap On camera XLR mic
https://www.amazon.com/Bestshoot-Condenser-Microphone-Photography-Camcorders/dp/B076J4TTQP/ref=mp_s_a_1_8?dchild=1&keywords=on+camera+XLR&qid=1593429930&sr=8-8#aw-udpv3-customer-reviews_feature_div
Then add a really short XLR with it. 
https://www.amazon.com/LyxPro-Microphone-Professional-Microphones-Connecting/dp/B00KWIM0K8/ref=mp_s_a_1_5?dchild=1&keywords=5"%2BXLR&qid=1593430075&sr=8-5&th=1&psc=1

This is starting to talk to me.......a........little.
 

I think you're a consumerist idiot.
Genuinely - if you don't want hyped prices... why cut and paste a YouTube hype piece about it all over Internet forums.
And then say "NOOOOOOOO"
What are you? a 12 years old?
This shill likely trawls this forum for content ideas - This thread being one. Which is why you see his F3 hype piece and smirky expression.
Where do you think he genuinely got the idea for buying an F3 from?
Do you really think he has a single original idea of his own?
Youtube - the gold standard for scientific research 😂
And his stuff is that boring too, I can't get past the first 15 seconds

Is it true that 10bit 4:2:2 isn't hardware accelerated?
Maybe this is why Fuji go for 4:2:0

Biggest difference is that 10-bit   H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

Noooooooooooooo..... I don't want him talking about it, that will push the price up on them!! :-o 　 Want to pick up a 2nd F3 myself one day  😉 

I think he's being a bit tongue and cheek! 
I like Caleb. I wish he didn't do the click bait titles, but he pretty much exclusively reviews cameras that he has bought.

For anyone looking for the best monitor for this and to get 4:4:4. Pix-E5 with XLR audio adapter.
https://www.ebay.com/itm/Video-Devices-PIX-E5-Recorder-Monitor-with-PIX-LR-2-SpeedDrives/333635380743?hash=item4dae37e607:g:CGwAAOSweLte9LOC

ProRes is factually a derivative of MPEG-2, that's why it's so light on CPUs. It compensates its old codec technology through high bitrates, thus the generally good quality.

h264 and h265 will always be better than ProRes at the same bitrates, provided that a decent codec implementation (with high profile and 10bit color depth) is being used.
So the question is whether 400 Mbit/s h265 (in the case of the Fuji XT-4) for 4K/25p video is visually as good as ProRes HQ at 737 Mbit/s for the same resolution and frame rate... 
 
EDIT: The real issue with h264 and h265 are not the codecs themselves, but that manufacturers - treating them as consumer codecs - bake all kinds of overdone image processing (aggressive denoising, artificial sharpening, pushed contrasts) into material recorded with them. ProRes, being conversely treated as a "pro" codec, doesn't get those over-processed images. This is why we think that ProRes is better...

Biggest difference is that 10-bit   H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

If you're on a budget, definitely consider getting a smaller camera for glidecam/gimbal shots. I use an A7III for that on smaller jobs, and it cuts pretty well after a quick tweak in Resolve. The Pocket 4K is a better match for dynamic range and grade-ability, but tougher to match in skin tones and much clumsier as a camera body. The 6K is a GREAT match, but at that point you're spending twice as much as you did on the F3 and may as well make the 6K your A-cam.
 
Haven't used all the newer DSLR/mirrorless bodies to know how well they'd line up, but all of them will take some secondary work to cut in a 2-camera setup. 

If it's just for sync you can go for any cheap On camera XLR mic
https://www.amazon.com/Bestshoot-Condenser-Microphone-Photography-Camcorders/dp/B076J4TTQP/ref=mp_s_a_1_8?dchild=1&keywords=on+camera+XLR&qid=1593429930&sr=8-8#aw-udpv3-customer-reviews_feature_div
Then add a really short XLR with it. 
https://www.amazon.com/LyxPro-Microphone-Professional-Microphones-Connecting/dp/B00KWIM0K8/ref=mp_s_a_1_5?dchild=1&keywords=5"%2BXLR&qid=1593430075&sr=8-5&th=1&psc=1

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

Biggest difference is that 10-bit   H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

I have H265 footage from my Drone and its a pain to playback and grade in DaVinci Resolve.  With BRAW, thumbnails load quickly, smoother playback even after grade, less likely to crash when working with the files.  
When you're working multiple large projects on a deadline, codec isn't so much about image quality as it is about an easy time in the editing suite.