hansel

Just a tip :

By default, the camera is set to shut down after a given delay (30s or 1min, can't remember), and goes into standby mode. I was surprised when everything went black in the middle of a long shoot ! The setting to change is in Custom Menu => C "Timers AE Lock" => C3 "Power off delay" => Standby timer. I set it to "No Limit". The Everedy day dad has pointed it out in its review, and someone gave him the tip.

Any formal link for this info?

I had no idea, pretty significant news for me. 

Here is a quick test with some heavy grading on the internal 8 bit footage. Lens cap test at about half way through. I didn’t have time to hook up the Ninja V, will do that test tomorrow. Enjoy!
 

No, there's no way to clear the screen of all the info. It will only show a screen with less info, but often I want nothing but the image on my screen. Especially as I have that top display for vital info. 
Also during image review I find no way of displaying histogram and/or blown highlight warnings. All this is possible on Nikon's DSLR so I don't understand why it's not on the Z yet. Firmware must be in the works. 

I'm getting a bunch of people frothing on the nikon z facebook page for querying why nikon set the min shutter speed in auto modes to 1/25th, AND forced autoISO in the auto modes. You cant switch it off!  I phoned nikon today, I'm hoping there's something I'm missing somewhere. Frothy facebook people are wondering why anyone would want to use an auto mode, but for what I do it is essential. Auto iso in manual mode doesn't cut the mustard.  I've used this on canons, a couple of GH's and 2 DSLR nikons. It's baffling that the z implemation is so limited. (and why didn't they just set the min shutter to 2xfps, or at least let you specify max shutter angle).  
I'm in that weird period with a camera where you're getting to know it, and finding out all its quirks and foibles. (Controlling the IBIS via the lens. No peaking in autofocus mode, despite the fact you can change focus manually. No zebras and peaking, no level and histogram on screen at same time... and i have much to learn about autofocus.)
 

I know of another unreleased project shot by an award-winning indie director that also used a bunch of A7S2's for principal photography.
They also used a camera per lens approach which allowed to shoot in multicam in order to get more authentic dynamic/energy on scenes & save on budget. 
A7S2 was chosen as the film was shot only using natural light and contains many night scenes. In that aspect A7S2 is pretty unique with it's still incredible low-light performance.
Overall i think they achieved what they wanted but the producer did share with me some horror stories of camera failures (they went through at least a dozen bodies).
They eventually had to pickup FS5/7's to complete the film (and FWIW their next project will be shot with 'camera per lens' but on C200's).
My feelings towards this topic is that yes, the latest hybrids are technically capable of giving beautiful big screen IQ and can even do tricks big cine cams can't, however the reliability, ergonomics, rigging etc of a lot of these consumer cams is still the biggest risk/limitation, especially for big productions or even pro events where failure isn't an option. The sub-$10K compact cine cams are imo where the real breakthrough has happened for pro video as they give ARRI/REDS/VARICAMS etc a run for their money. The latest mirrorless hybrids can be good B-cam solutions to those though, especially for drone/gimbal shots.

If you check on the left in your edit timeline, you can set for each track of video / audio if they will automatically move up when you delete something. I always directly deactivate that, I don't understand why it's on per default because I can't even count anymore how often I accidentally deleted video when I just wanted to delete the audio, etc.

Sounds kinda spammy coming from @Video Gems Productions in the 3rd person??

I am mainly a lurker here - mainly - but I'll decloak and will say "yes, please" for that one. It'd be much more interesting, and useful, than the gear debates. 

But I also know that those topics cost a lot of time, and might go up in flames easily - so I'd be thankful, but also understanding if it doesn't happen :).

Sure, if I can’t open the aperture any further. Of course I will apply more gain when it is required. But my point was that same gain can look different depending on exposure. 

And this guy sure as hell isn't going to be able to afford two wireless Lav mikes and receivers, or even a setup with both plugged into a recorder. And I doubt he is going to carry around a boom mike and stand either. That is why the average persons audio sort of sucks, but hey it is what it is. Use a shotgun mike on a adapter like @IronFilm suggested.

You are going to be shooting at 400 iso? I wouldn't think you'd need any noise reduction unless you were shooting higher.

I don’t understand. Are you saying you get more noise at 1/50, f4 iso4000 than at 1/50, f1.8 iso 4000? You’re giving the sensor over two stops less light. Why wouldn’t it be noisier? 
Have you tried taking photographs exposing at 1/50, f1.8 iso 4000 and 1/15, f4, iso 4000? Different lenses and apertures but somewhat equivalent light.
what does it look like if you set the 35 prime to f4? Does it look different from the zoom f4?
 

Since you don't tell us your other exposure settings it's hard for us to tell what is going on.
What exposure mode are you in? Manual at 1/50?
Aperture priority?
Why would you need to go to ISO 4000 at F1.8 in a well lit bar?
And of course any sensor underexposed has more noise. That's how CMOS works. It's not just a Z6 thing.
You give it more light, move the lows into the mids, less noise.

If the signal is lower, the same noise will be more apparent. Or perhaps Nikon is doing some automatic corrections as suggested above.

Holding a shotgun out at full arms length is a quick way to get tired arms! And I think you're perhaps meaning something like a Senal ENG-18RL, or other reporter's mic. But he doesn't want anything in frame...  which I believe is a bad idea. There is a reason why reporters have it in frame! As when you're doing quick interviews, on ultra low budgets, in bad environments, then this is by far the best way to get passable audio. 

And yes, if he has a wiiide lens then that will allow him (and the mic) to get a lot closer while shooting which is beneficial for the audio.
 

People are getting 4k TV by default , its not like they really really want it, it is just that you can get a 4k TV for 5-10% more than a 1080p one, or no more 1080p model. In fact if 4k was successful in anyway, there would have been a premium on that, but like 3D, no one cares. The reality is that young people are watching movies on their mobile phone or tablets. We are living the MP3 audio transition but for video. It is really sad for people like us who are a bit passionate about image quality but that's a big trend.
The TV manufacturers and as a lot of other consumer electronic product are experiencing a shrinking market because people just can't see a big difference between 1080p and 4k at normal viewing distance. The only thing that for me would push big sales again would be a cheap tech for much bigger screen size. If you could get 80+ inch screen for 1k etc, then people will go back buying TV. Display size does make a difference in the viewing at least for me.
Sincerely there is about 100 pixel difference between a 1080p and 2k screen. If you can tell me how there is a huge difference, i am happy to hear that. When I am talking about 1080p, I am not talking about Canon 5d style 1080p which is barely 720p, but true 1080p-2k from camera like the Alexa. In my country most screen are still 1080p-2k and until now I have never seen a pixel on 10 meter wide screen.

The F1 is very versatile in that you can use their add on shotgun mic module or their other stereo mic modules as well as the add on dual XLR module but be warned that the XLR module can't provide phantom power.
 

How do you know he doesn't have a second dude pointing that thing right at someone's head and out of frame LoL. But yeah the Zoom is a good choice.

Well, on the road you can easily drive 160km/h with 100hp. With 400hp obviously, too. But on a normal viewing situation 4K is already a waste while 8k is simply for show off race car drivers were 99% of humanity just shake their head about this guy in a lambo. It is manly just penis size at this point and everybody knows size is very important and storytelling is completely unnecessary if you can have 8k or a lambo respectively.

Zoom F1? Just a nice self-contained lavalier mic/recorder?

Microphones are not like a telephoto lens such as a 200mm would be. 
Thus I suspect you're looking in the wrong places here in imagining what you think you want. 
Is this a seated staged interview? What kind of interviews are these? Indoors? Outdoors?

Quite possibly the best way to get acceptable audio here while a solo shooter is (however the best step is to first not be a solo shooter! & have a soundie) to have a C stand with Boom Buddy for the boom pole to position the mic just half an inch above the frame line. (an example of a very low budget recorder and mic to consider if doing these outdoors would be the Zoom F8n + Deity S-Mic 2 Shotgun with a blimp)

As the three most important rules of thumb for audio is:
Location! Location! Location! 
(the location of your mic that is)

Next most important tip to consider: your location again! (but in the sense of what is your shooting environment? As if you can improve it any form then that will lead to better audio too)

 

Pleased to announce that my Pocket4K app for Android is now complete and is with beta testers so barring any calamties will be available from the Play store on the 21st of December.

Here is a screen shot with a quick run through of the features from top to bottom :

Across the top we have the controls for Aperture, ISO and shutter angle.
Next up we have the colour temperature and tint controls, the preset white balance selectors, the Auto White Balance button and, of course, the Record button.
Beneath that we have the 8 snapshot memories which you can use to store and instantly recall 8 different custom settings of ISO, Aperture, Shutter Angle and White Balance. To store the preset you long press on the memory slot that you want to use and to recall it just short press. Haptic feedback is given to indicate that the preset has been written and the currently loaded preset is denoted in orange (M1 in the shot above). Presets are stored in non volatile memory so are always available in any session.
Next is the focus controller, which is operated using the slider and/or the fine tune buttons. A long press of the button moves instantly to closest focus and infinity respectively. The AF button in ths row activates the single shot auto focus.
To accompany the focus controls, you then have 6 memory slots (A to F) to store focus points and you can switch instantly between them by simply pressing the required one. In addition, next to these are the controls for A-B-A focus transition and the speed control. Again, all focus points are stored in non volatile memory for use in any session.
Finally we have the controls for applicable MFT power zoom lenses with the same interface as the focus controls (including long press for instant minimum/maximum zoom) and 4 non volatile memory positions for later recall.
There is another function that it can do that I'll let you know about closer to release date and I will put up a little demo video of it in action late next week.
 

I expect to see this statement posted again in 2020 as well....