hansel

I'm seriously into watching movies... but for instance I just downloaded some stuff off Youtube in 360p (it can';t be got anywhere else). Because you see, it's not the picture quality that really counts. It's good to have, but real filmmaking is about the story (and a host of other stuff that doesn't depend on resolution).
 
That's what's unfortunate. There's this fanatical obsession over K numbers. And given that AXIOM Beta is about giving creatives more freedom, I wouldn't like to see the effort blighted by reactionary fixation on the idea of keeping up with the Joneses... or Japanese broadcasted TV.

1) perhaps but i feel you may be being a bit harsh on canon colours,  alot of people go on about canon colour and try to emulate it heck half this website is about canon colour in  one form or another.
2) when has movie making been accurate ?  its all the look and flattery plays a big part if it didn't, ugly people like me would be actors and tom cruise would be waiting on tables some where ?

This. It is truly amazing what is available. If I’ve said it once, I’ve said it a million times, look at what Kendy Ty did with a t2i and a Sigma 30mm 1.4 lens. 

I remember thinking to myself a short while ago, “The current camera so damn good, Do we really need anything better? “
It seems many in Hollywood are taking note. I recently read a article which can be found here in which they state that the new movie “The Haunting of Hannah Grace” was shot entirely on the Sony A7S2. 
Granted, they rigged it up pretty good. But at the heart of that rigging was a Sony A7S2. 
So the day has come... hell has indeed frozen over. A humble prosumer camera can be used to shoot a Hollywood feature. Now if anamorphic lenses would follow suit, we would really be in business.

Nikon Z allows three user settings ... 3 in stills and 3 in video. Probably best if you set the user setting in stills ... U1 for instance then setting for video on U1.
When you change from stills to video in U1 you can go from P in stills to M in video ... should work ... have not tried it as I do most everything in M.
U1 could be 4K 24P and U2 1080 crop.
 

I am still waiting for 4k next year for the last 5 years, oh wait I am still waiting for 1080p, because 90% of the world is still on 720p and SD. Japan and Korea are some kind of tech lab experiment that never represent the world. In fact 1080p is good enough and in a good sense for any normal viewing distance display for our human brain. Over and above that is really pushing it in terms of diminishing return. it is like moving from a 100 hp car to a 400 hp one to get .2 second better from 0 to 100, now that's for 4k, I don't even know what will 8k bring.

I've never met anyone with an 8K monitor. If someone out there is salivating over the idea of trudging through the arduous process of adapting their worklow around 8K, then... well... there's one born every minute they say. I dread to think what the render times are like with 8K, but it must be a downright misery.

Yes, you're totally right. As I'm debating between the old 300 f4 and the 300 VR PF, I want to know what works (and don't) by combining ibis + ftz + vr lenses. I even got a tamron 150-600 to try out :D But, I do not have a lot of vr/G lenses anymore, so I'm gonna see what I can do (maybe borrow from friends).

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.

Yeah, I'm really unhappy with how I delivered that conclusion. The point I was trying to make is that if you only want to carry the camera, the GH5 and X-T3 are much more full featured. If you add an external recorder, however the Z6 and to a lesser extent the Z7 become extremely compelling. The audio issues can certainly be worked around as well, but I remember shooting with Canon DSLRs and occasionally being forced to use an underpowered mic. 
I do think the main purchasers for video will almost exclusively be people with a large selection of Nikkor AF glass.

A quick follow-up on my previous first impressions, + issues found on the web :
- As mentioned everywhere, the AF starts to really struggles as the available light decreases. Absolutely not a deal-breaker for my type of stills shooting (maybe with wildlife though), but surely for sport shooters.
- Ibis during video recording with the adapted 50 1.8G impresses me.
- Ibis with the native 24-70 s is really good at the wide and normal focals, but clearly less effective near 70mm. I've tried to shoot handheld in DX mode, so at around 105mm ; it was cold, windy and, despite trying my best to stay steady and avoid shakiness, the result is just OK. At full screen on my monitor, you clearly see the micro-jitters. I've repeated the same test, but with my gorilla pod as a stabilizer, and it's working a lot better. I will try with a Tamron 150-600 and other lenses, to understand what work better, between ibis, lense VR etc. I also think that it's related to me and my previous video experience : shooting APSC fuji with the stabilized 50-140 f2.8 was really great (even more with the 50-230 OIS), while full-frame is a lot less forgiving with long focal lengths.
- The 24-70 is a lot more silent than my 50 1.8G. I've read somewhere that they have design the new motorisation with this goal in mind
- Did not try the audio pre-amps, but the first reviews show that they really suck. I will use my zoom H5 or the Ninja V.
- Image quality straight out of the camera with the tweaked standard profile (noise reduc disabled, sharpness dialled down etc.) is lovely ; I've shoot a  cloudy sunset until dusk, so not an extreme dynamic range, and this profile was sufficient. Next time I will use the flat one.
- I'm really happy to work again with Nikon's colours (and the Jpgs SOOC are great)
- I want to buy some Samyang lenses (135 f2, 24 f1.4...), and it seems that there is an issue with the Nikon version : they include an electronic chip, and it appears to "bug" with FTZ. A guy successfully "masked" with tape the involved contact of a similar manual lens (Voigtlander if I remember), and it worked. I think I will try the VDSLR versions of those lenses, as it seems they are not equipped with electronic.
Sorry, I'm limited in my tests latitude, but it's already night when I come back home... Can't wait for the week-end.

Digital Bolex claimed their GS CCD sensor helped give better motion and hence was more filmic and I'm inclined to agree with them given the tasty footage it exhibits.
ARRI Alexa/Amiga have the lowest RS (2-6ms) out of any non Global Shutter cine cam, so you can't really lump them in the (average) CMOS GS camera category.
EOS R & Z7 have severe RS in 4K. Fuji XT2/XH1 are also pretty poor.. that said, it didn't prevent me from buying both XT2 & EOS R which i both consider "filmic" in the right hands  
There are ways to avoid RS.. except if you're filming from trains etc..

Hi all,
Very long time lurker, first time poster.  I’ve got my z6 in hands since the beginning of the week, and thought I could share some first impressions. Bought it in kit with 24-70s + ftz + a free XQD card, and a 50 1.8G. There was a good sale in a big French store, and I managed to buy it with almost a 550€ saving (regular price was 3099€ ; xqd reg price = around 180€ ; sale was a lense + a mirrorless = non negligible discount % ; 50€ cashback for the 50 1.8G).
Here are some first impressions, after a couple of short hands on tests:
        PROS:
Handling is great, especially the grip. Its feels like a “mirrorless dslr”. It’s build like a tank, and I’ll certainly feel more confident with it in the field, compared to my former fujis Button layout is OK: I can operate with only the right hand (“i” button, menu, iso etc.) The viewfinder is gorgeous, big and bright. Same for the rear lcd screen Touchscreen function seems well implemented, but I need to use it more The AF seems OK for my use, which implies landscape/nature and documentary photography. Manual focusing is really great, both in photo and video Video AF is great with the native 24-70s, but I did not explore it much, so I can’t tell more. It seems less effective with the 50 1.8G adapted with FTZ The dedicated video and photo modes that keep the settings in memory is just perfect ! The 24-70s kit lens is really a bargain! Very sharp, small form factor, convenient etc. For longer lenses, I believe the 300PF, the new 500 and zooms like the sigma 100-400 will pair wonderfully with Z serie cameras. Image quality in video surprised me in a good way. I quickly tweaked the picture profiles, and it appeared to be wonderful, even at high iso. I’m used to fuji gorgeous output right out of the camera, in video mode, but I think this one will be a step above. Really. The IBIS is quite effective, in fact more than I hoped for. With the 50 1.8G adapted, which is supposed to lead to only 3 axis, I manage to obtain a really steady image. Impressive in fact. I watched videos on youtube, with awful funky stuffs, like wobbles, kind of warp effects etc. and people in the comments moaning about how bad the ibis is compared to the sony a7iii. I've tried to replicate this... with success :  with the Electronic VR turned on ! With IBIS alone, it's perfect. And I don't know why, but in those videos I saw, they said the Electronic VR was turned off. I don't think so...         CONS:
The FTZ design is… questionable! The bottom with the tripod screw attachment is longer than the camera body. Thus, making the use of arca swiss plate on the camera with the FTZ attached complicated. A turn around seems to use a Peak Design “micro” plate, which appears to be just well sized. Anyway, I’ll attach my arca plate to the FTZ, and won’t bother much. In video mode, you can’t have both the histogram and the horizon level at the same time. I have to press the “disp” button to bring on the histogram, set my exposure, and press again until the level appears. I hope for a firmware update politic à la fuji ; a dpreview forum member explained that he talked with a Nikon Z development team member, during and event, and they are aware of the fuji successful firmware politic, and will try to offer the same. Fingers crossed! Another firmware-able fix problem (i hope): zebras only work in autofocus mode. If I switch the lens on manual focus, zebras disappear… I need to read the manual more, to check if it is setting relative or not. A lot of people are complaining about hot or white pixels on the sensor on brand new Z cameras. I got that too. An easy fix is to launch the sensor cleaning via the menu, two times in a row. It seems to trigger the pixels mapping stuff. Worked for me! Others are complaining (see the photographylife’s review of the Z7 and dpreview forum) about the coating of the grip peeling where the fingers are, close to the 2 function buttons. From what I understand, it affects people with large hands and long nails. Personally, my fingers don’t even reach this area… so, I hope it’ll be OK ! Video AF with the 50 1.8G attached, as I said before, is not really good. But, it’s a right out of the box test that I did, so maybe if I dive into the menu and the manual, I’ll find a way to make it better. Anyway, as a result, the 50 1.8G is always trying to focus, and seems to fail a lot, which leads to a lot of loud “buzzing” noises. That’s all! Before I choose the Z6, I was shooting with only a fuji X-T2. And, before that, with an X-T1 + a GH4 (and before that… only photography with a Nikon D610). I’ve been shooting  with my backup LX100 since the beginning of 2018. Not enough time and a will to spend my energy to learn more about editing, grading etc. leads me to be cameraless for months. I ditched my X-T2 because I was unhappy with the photo output (as a landscape photographer), not very fond of fuji colors (except for video… don’t know why, but love the colours of the video output, but hate the photo files). More important, I ruined a lot of video shots, because of crappy bug at that time (wobbles and “warp” effects due to the image distortion correction etc.). So, as I started again to think of buying a camera, helped a lot with all of your great contributions here, my choices were: a7iii, gh5, bmpcc4k and Z6. Gh5 and bmpcc4k were ruled out as a first “hybrid” camera (maybe next year, as a second cam), as photo is equally important as video to me (for the moment!). Then I choose Z over a7, because I operate mostly in the mountains (I live in the French Alps and spend a lot of time in northern Scandinavia), with cold, snow, bad weather, and I knew, because of my previous Nikon cameras, that  Nikon do not disappoints on the “toughness” side.  I’ve read too much stories of dead Sony A7’s during trip with similar conditions as what I operate in (and, to be fair, I've read the same with big 5dmiii and Nikon d810). I know, weather sealing is not such a big deal, but, still… a wide bottom opens on the sony would really scare me! And I’m no Chris Burckard, I do not have 200 sony a7 waiting to replace the ones you ruin during an arctic trip!
So, here I am with this little Z. Next step is to buy and Atomos ninka V, and some lenses. I’ll read posts from @Geoff CB and @IronFilm, I think I’ll find some great Nikkor lenses ideas
Sorry for this long and first post. Hope it’ll help some of you. I’ll be happy to answer questions or try things on the camera if you want. I’ll also share footages. But, for now, I’m taking the camera outside, because it’s sunny and the snow has arrived.
 

I have a GX8 with 12-35 F2.8 and I love it for the documentary style photography that I do. The combination of sensor stabilisation and optical OIS is fantastic, definitely making this a keeper. I sold my D810 and bought this combo instead, when I realised that my customers did not want 2 metre prints.
MattH is correct about the crop problems for video though. I line the shot up in the view finder and then hate the fact that the image in the viewfinder (and being recorded)  suddenly crops in 4K mode when recording starts. I very often have to reframe.
Like Matt, I use 4K for enhanced 1080 output, but I have a range of manual Nikon glass and a MFT metabones speed booster so I am seriously considering buying a dedicated video cam such as a BMC in the near future.
I am becoming more convinced that hybrid cameras are too compromised - they are either great for photography, and good'ish for video (GX8) or vice versa (GH4). For a beginner, though - they are fine .
There are fantastic deals for the GH7 in the UK at the moment so this would be a great place to start, but try and buy used lenses in good condition.
Investing in manual glass such as manual Nikors is also a great way of building an investment that can move from camera to camera.

I empathise with your dilemma.  Panasonic currently have the best budget 4k options.  (Not sure why you are looking at opymus if one of your priorities is video.) For the record I do not care about 4k video for 4k output.  I care about it for good quality 1080p output.  What we don't know is if panasonic will come out with a 4k camera that doesn't crop. The crop makes native 4/rds lenses narrow.  I also dont like the thought of lenses with large narural distortion that digitally corect.  Maybe that doesnt make sense, but for some reason the idea doesn't sit well with me.  The 12-35 2.8 looks a nice lens but it is expensive.  Is it realy worth it for a system that can only be 2x crop maximum?   I would say at the moment, the best future safe budget system, If you don't mind using manual lenses, is the GH7, cheap speedboster and full frame manual lenses in nikon mount.  That way your lenses are garanteed to be usefull on anything.  My only issue with this setup is that full frame lenses are big. And there dont seem to be any good ultra wide options.
This is the reason that I have been waiting for sony to bring out a 4k apsc mirrorless. But they have been dragging their feet so far. Probably for a few reasons begining in FS.  hopefully I dont have long to wait. and hopefully there wont be a massive crop.  Even though I think panasonic 4k is a cleaner image than sony 4k, Id rather have a compact apsc system for photography.
If cannon eos m had 4k I would have got that long ago because the native lenses are great and fairly cheap. But I doubt they will ever have 4k.  at least not in the next 10 years.  They just wont undermine their cinema line.
Maybe I have just thrown up more questions than answers, but hopefully you will find some use in my post.

There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find.  Please post anything awesome you find.
(Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge.  These people provide a steady stream of bad habits, misleading and flat-out wrong information.  There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!)
Juan Melara is excellent.  If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.
 

For the price it just isn't much of an upgrade as far as I can see, though if colour is stunningly better that would be good, but I think there are better options from competitors, personally
It's good in theory, but you better nail your focus and have a damn sharp lens!

Hopefully, a smartphone will beat them to the 8K punch, so that some asshat will be able to do a comparison review and single-handedly annihilate what remains of the ILC market.

Most of them aren't going to be shooting on mirrorless ILCs though!

Well for narrative probably not, but I guess newfoundmass has never had the pleasure of clients asking you for CSI ENHANCE because they want to focus on something else in the shot.

I can't tell the difference on 1080 monitors without zooming in but I've never seen 4k on a 4k monitor or 8k on an 8k monitor. 

To me though 1080p is good enough for everything (unless you need cropping). 

The bigger deal breaker right now is internet viewing. 4k looks way better then 1080p on platforms like youtube due to compression. 

At a movie theater, ehh not really imho. 

I will never understand, do you shoot or are you just some kind of geek. Because I will never understand people that says thing like that. I mean, can someone at real viewing distance even see more than 2k. The perfect example is the Alexa 2.8k sensor, I don't see anyone complaining about lack of resolution. It is just the geek that might find it sexy to be able to count every pores in an actress face when stopping the image.

My Macbook fighted with h264 4K25p 100mbps 8 bit files OK. It's on its knees with h265 4K50p 10 bit files. 8K it's the last thing I need from a camera for the next ten years!

16bit is ordered by marketing department. Even 14bit is only useful at base ISO, beyond that you only waste the extra bit with noise. 

I haven't seen a sport shooter with 20mp or 24mp camera who says "I need more pixels".