Django

New N-Log Low 2.0 (ISO200) setting that eliminates noise issues from reports. The update should soon come to Z8..

This makes total sense.. L-mount is an alliance so adding a new partner only makes them stronger. BMD make cine cams with no AF, IBIS, h26x or photo specs. They are not a competitor to Leica, Panny or Sigma. BMD finally goes FF which will open up their market. L-mount finally gives them a large sensor mount with adaptability. EF lenses are easily adapted and well supported by L-mount so the transition would be easy for existing EF BMD users. This seems like a win-win for everyone. I do hope they manage to keep the built-in ND system.

Academy award winning cinematographer Greig Fraiser (Dune, Rogue One, Lion) shot his upcoming sci-fi thriller entirely on an FX3 apparently. The ZV-E1 has the same sensor, image processor, 10-bit codec, S-LOG3 & even LUT support. I'm sure we'll end up seeing incredible cinematic footage produced with it. It is certainly capable of it for sure. That being said, not to sound like a broken record but the fact the camera overheats does limit its use. So maybe not the most reliable option for pro work vs A7S3/FX3 with passive/active cooling systems. I've done work myself with overheating cameras in the past (R5,R6) so its doable but its stressful and better suited as B or C cams to be on the safe side. The ZV-E1 seems even more unreliable than those because of its ultra compact size. We know for instance that indoors it is very sensitive to ambient temperature. What the latest findings show is that air flow is key. Hence why it is better suited as a Vlog cam where you are outdoors in motion, or as a travel cam where you are generally shooting short clips outdoors. And in both cases, even if the camera overheats, no biggie, take a coffee break let it cool off. But when there is a will there is a way, rig a mini fan on it and you may have yourself indeed a budget mini FX3! Not that bizarre. No cooling = overheat. FX3/FX30/R5C/S1H have active cooling so don't overheat. Sony has not played into the resolution wars with their A7S3/FX3/FX6/ZVE1 cameras. All 12MB 1:1 4K cameras. Overheating isn't resolution related its high frame rate and high bitrate compressed 10-bit codec related. Its when these appeared that overheating started plaguing mirrorless bodies. Its also why Sigma chose not to implement internal 10-bit compressed on their ultra compact FP. Its either RAW or 8-bit.

Well let's face it, everybody likes to save money no matter your income. So when the Sony shills on YouTube are out there spinning the ZV-E1 is an A7S3/FX3 for almost half the price, eyebrows get raised. What's the catch? Well its quite simple, Sony stripped the camera to its bare bones and it overheats during long takes as result. And the shit show commences. Overheating is a controversial subject. Most people I think feel a camera past a certain price point shouldn't have such limitations. Sony did put a lot of effort into making sure this camera is identified as a VLog camera. It's not in the A7 series its ZV. And I guess that for its intended use, the camera performs to satisfaction. So why the fuss? Because price aside, there are a few cool things about the ZV-E1. It has features neither the A7S3 or the FX3 have thanks to the AI processor. The AF is really impressive, it has breathing comp etc. Also the touchscreen supports gestures etc. The camera just feels snappy and the AF doesn't skip a beat no matter what you throw at it. So in a few ways, the ZV-E1 kinda feels like an updated A7S3/FX3. And that's rather alluring, especially in the US at its price point. But that's when reality hits and you must realise its a vlog/travel C-cam intended for short takes. If that's your method of shooting, well you're in luck. If not, its probably going to be a hard pass. Its as simple as that.

No in Fuji's case the X-Trans sensor has a huge impact on IQ. It uses a unique non standard Color Filter Array that affects noise, moiré and detail resolution. It also avoids the need for an optical lowpass filter. The new processor in XS20 is what allows 6.2k open gate in 10-bit 4:2:2. The XT4 could only do up to 4K in 4:2:0. Also allows FLog2 and ProRes RAW out.

Same guy got the camera to overheat in an indoor test.. in Canada. But not in the African heat, albeit covered from direct sunlight on a windy day. He actually also did an overheat test with one of those small fans blowing right on the camera and it passed so air flow seems like the key to manage thermals. I'm still way too skeptical to drop 2699€ on something that seems to require natural or artificial ventilation to beat overheating but these findings sure are fascinating!

According to comments on the above video, someone asked a gaffer who said the whole thing was shot on FX3 and Oren Soffer said this on Twitter: "We can’t share any technical info JUST yet but promise we will spill all the beans when the film comes out! All I will say for now is just a reminder that any rando can edit IMDb and despite our efforts to contain it the info up on there isn’t accurate, so, grain of salt! ;)" Not sure why all this mystery around what was used but I sense this should make headlines if/when it is officially revealed that the whole thing was shot on the FX3.

Really not that surprising. The Q2 could already do DCI4K and the SL2 5K/4K60p/10-bit. These are not the same users as the M series. Video is a given on the Q & SL series. SL2 is the clear winner with a full cine mode that switches to shutter angle, EI ASA & even measures aperture in T-stops:

Sounds like Z8/Z9 is calling your name! I honestly don't see Pannyboy catching up with neither the sensor or such features as 8K60p RAW within the next year. Nikon AF has always been superb on stills. The burst rate is insane. Great flash integration. The tilt screen. And of course the open lens system giving you access to pretty much anything you desire.. I heard lens support was weak especially older Nikkor.. but good to know performance is on par with native Z on G lenses!

@markr041 So any overheating reports in any of your 4K60p endeavours ? Just checked the weather in Chengdu and its about to get pretty hot, good week ahead for stress test!

Well I'm very happy to see Nikon is finally back with an extremely solid flagship. Its system/mount certainly deserves it. The irony is that it sort of took Z8 to redeploy the light on Nikon, despite it being a repackaged Z9 that's been out for 2y! But it is certainly those smart adapters that are the real game changer for someone like me with multiple lens systems that isn't sure where to go next.. I still have some reserves (specs aren't everything) but GAS is high so again I need to test out a Z8/Z9 ASAP.. Also don't forget in DX mode with one push the 20-40 turns into a 30-60, and that with Hi-Res Zoom function it becomes a 40-80mm via lens ring control. How cool is that?

I've always liked the Q series. Almost traded in my M system for a Q2 when it came out as I use a 28mm summicron almost exclusively but couldn't come to grips with abandoning real rangefinder plus the Kodak CCD sensor on the M9 has such unique rendering, it's like film in contrast. This seems like a pretty incremental update, like with everything in Leica land. 8K is a bit of a surprise, on such a compact body but even Leica has to justify new models so.. No IBIS but the lens IS is actually really good, not hard to get stable video on Q2 and I'd also assume that DIS may even improve on that. Agreed on cooling though, 8K is going to have some serious time limitations I'm sure.

So I'm slowly just realising that I could adapt my EF, E-mount & Leica M glass on a Z system. And obviously F-mount duh. So basically all of the glass I own could be put to use on this one system. That's a huge friggin deal. I'm not yet sure what type of performance I'd get, especially with the EF & E-mount and I hear the FTZ adapter is kinda garbage but yeah that's a big win for Z system as far as I'm concerned.. Oh and yes, tilt screen display is the way!

Right, I actually learned this on my level having worked on low-budget commercials where the 3D VFX team were begging for 2K pulls whereas the DP was pushing 6K from the BlackMagic. I was naively hoping 4K could be the middle ground but quickly realised there simply wasn't the budget or time for that. So I have first hand experience with this type of scenario, however I admit I assumed that on high budget Hollywood films things were different but I guess it also depends on budget and deadlines.. I wonder if theatrical releases are also more lenient as US theatres are still mostly using 2K projectors? Netflix requirements are high but they are partners of Samsung/LG/Sony pushing high resolution TVs which need high resolution content to shine! Its not just one big hustle though and I feel this pushes the industry forward, including ARRI.. I wonder if Disney+ does the same with its original series (they have the most VFX heavy content with Marvel & SWU IPs). Speaking of Fraser, I know he shot The Mandalorian season 1 in ARRIRAW 4.5K on the LF but that's also using mostly VP for the VFX via The Volume so whole other paradigm. Its not a rumour, its been absolutely verified in teardown that the A7SIII/FX3/FX6 sensor is a 48MP quad bayer sensor binned down to 12MP. That's how it achieves such class leading read out speeds without being stacked. I didn't know/think about dual gain ability though. We have seen ALEV inspired dual gain sensors in the C300/C70 DGO sensor as well as GH6 so that is trickling down. And of course RED Komodo has global shutter 6K sensor for very attractive price.

Cool that makes sense but even still if the footage gets reduced below 3.5K for VFX and delivery, as you say its still a downres from high resolution which benefits the IQ. So its not all going to waste..

It's tricky, actually Sony is what everyone uses in my media circle. I have an FS7 with some nice E-mount Zeiss glass so one or two Sony bodies would be the logical direction to go. But I find them so boring, so utilitarian. I hate the on-screen display info, hardly any exposure tools, for photography its plain awful compare to CaNikon, terrible ergonomics, no top display or anything. They are small and light though that's a plus, sorta. CaNikon have the photography DNA with great ergonomics and now very impressive if not better video specs than Sony. I was a Nikon shooter for many years, still have some vintage Nikkor glass just gathering dust. The new Z lenses look great too with no breathing. And with the latest FW the Z8/Z9 sure has a lot of nice tricks up its sleeve. Like that 2X Hi-Res Zoom which sounds amazing for a prime shooter like myself. WFM. And a whole bunch of recording options from ProRes, RAW, to h265. It's very tempting but I need to see how the camera and files work in real life as it would be quite a big system switch for me too. So yeah long story short, yes you're right R3 is a more logical choice than Z9 considering my not so extensive but beloved EF-L lenses. But still I wanna try out Z8/Z9, who knows maybe they'll blow me away just like D750 made me switch from Canon 5D almost a decade ago!

I also can't make my mind up in between multiple camera systems for future consideration. I was kinda set on Sony: FX30 + A7SIII. or even FX30 + ZV-E1. But there are advantages/disadvantages of multiple bodies. If I went Nikon it would probably be a single Z9.. just because the price is so close to Z8 but then I'd be very tempted by its direct rival: R3. Better AF, more log options, easier RAW files, no odd H265 quirks.. and of course a lens system I'm already invested in. I can't wait to actually test out a Z8 to see for myself what the fuss is about.

..well to each his own but Greig Fraiser is obviously a fan if not a pioneer of the higher resolution, being the first filmmaker to shoot an entire movie on the Alexa65 in glorious 6.5K for Rogue One and I don't think it gets much more CG-heavy than Star Wars. Here's what he had to say about that: "The images are sharper and have more resolution, and those things are an advantage, but for me it is about the depth of the image -- there is a three-dimensionality to it. Often the beauty came from the texture; we found that the camera excelled when we were filming something with texture; it really enhanced the quality of picture." https://www.arri.com/news-en/greig-fraser-on-rogue-one-a-star-wars-story-

That's what I'm saying the price is so similar that I'd much rather lean towards a Z9. Yes modularity is one thing, but as you pointed out earlier once you do attach the grip the Z8 becomes bulkier (and uglier) than the Z9: ..and considering the very average battery life, you'd probably have the grip on most of the time anyways. The Z8 sensor dust cover is nice though.

Sony cine cams were definitely used which is why I assumed Venice: (True Love was the films working title)

Gerald just posted a thorough Z8 review with a lot of overheat results among other things. He reveals some mega aggressive NR and very strange artefacts using the h265 codec in 4K. Apparently there is a new V2 LUT for N-log with a smoother curve. This camera does tick many boxes for me and there is something about the IQ I find lovely. But its true that considering you can now find Z9's for maybe 300€ more, that take care of the battery life and overheat issues.. I don't see much of a reason to go for the Z8 if I was going down that path!

I know he said a while ago that he was about to shoot the entire thing on the FX3, but I kinda have severe doubts about that, especially after watching the trailer. Like why would you pick an FX3 on something of that budget? Maybe for some complimentary shots to a Venice.. but the whole thing? nah. All those VFX shots would be better suited in 6K on the Venice. He praised the FX3's sensor for its (12800) high ISO so maybe for some of the low-light scenes FX3/FX6. But again the A-cam is surely Venice for all sorts of obvious reasons.

Not really talking of sneaking in but there are places like churches, cathedrals, museums here in Europe where walking in like you stepped out of the Terminator set just isn't an option no matter who your client is. Certain countries while running & gunning may also require discretion or extra permits. Obviously a whole different thing if your covering Coachella! It's actually great you bring up geography/terrain because I feel that's really the key difference of your lens setup and preference vs others like mine. I live and work in Paris, France. Corporate, art, retail, fashion & music. Venues/locations are usually quite small. I work in tight spaces most of the time, I also like to blend in and move around so the more light/discrete the better. That's I guess why primes and wide to medium zooms work for me. No real need for big tele. That said I will be doing a couple music fests this summer, two weddings etc so your input and @MrSMW is definitely valuable even if we may have different preferences! Lots for me to dissect in both of your posts and I haven't yet read all in this thread. Good stuff folks keep it coming!

ok I don't think it was 100% clear to me or OP that you strictly meant stills. Yeah removing the mech shutter seems to be a growing trend which I think is a tad premature at this point. RS is still a thing and I personally like the haptic feedback. Other than that I don't see what could be worse on Z8/Z9 IQ-wise as it has the exact same resolution, ISO sensitivity, RAW specs and DR than Z7ii. Come to think of it its actually kind of a mystery what a Z7iii would now be. I guess a higher MP stills like Sony A7RV but still regular fps performance and maybe 6K max 10-bit no RAW or something.

Oh for sure although generally speaking one could argue that an inconspicuous compact rangefinder setup like this.. just might grant you closer access in certain situations than coming in loaded like this: Not really an option I know as a wedding photog but sometimes less is more! 😉