Django

FWIW as I pointed out in the other thread, DPR just added a bunch of sample pics from Japan, including exterior night scenes at high ISO (up to 25,600) which i find much more interesting then anything from the NYC launch event..

@Mark Romero 2 not really interested either in who's is better. my point is simply that most of these press events including sony aren't really ideal to judge sample pics from. The only things? speak for yourself, some of use would also enjoy better weather sealing, 10-bit, stronger codec, venice color science.. etc Guarantee you gap with newfound MILC competition would seriously narrow if they address these points in the future, which they hopefully will!

you guys seemed to have missed my point.It was about Sony not always doing a particularly great job of staging launch events like it's been implied. surely the guy who thought it was a good idea to place that backlight in that angle got the boot considering the online shitstorm it created heh..

I don't know Sony might be better but their events still have silly setups too imo.. mirrors galore.. harsh backlights exposing nasty grid artifacts..

Interview with the Z engineers: IR Interview: A deeper dive with the Nikon Z7 engineers F/0.95 is just the beginning? Now this was interesting: The amazing f/0.95 aperture of the coming 58mm lens is the starting point for super-aperture lenses, versus an end point! When I mentioned the f/0.95 aperture as a goal for the new mount, Mouri-san said that their goal was actually more ambitious than that, and that the 58/0.95 lens was just a "current point". Also cheaper non-S line lenses will come out.. Current trend of high group/elements lens design is good for charts/performance but often means micro-contrast & 3D pop take a hit which is where lens mojo is imo. Some new Z7 samples from Japan up on dpreview, these 2 high ISO shots were fairly impressive imo for SOOC jpgs: Nikon Nikkor Z 35mm F1.8 S 35 mm, 1/80 sec, f/3.2, ISO 25600 Nikon Nikkor Z 35mm F1.8 S 35 mm, 1/80 sec, f/1.8, ISO 8000

Pretty cool the Z7 & Z6 are made in Japan at the historical Sendai factory. Currently only D5, DF & F6 are still made there. All other Nikon cameras are made in Thailand/China. D850 production/supply shortage hasn't got anything to do with it. The thirst is real!

These rumor sites crack me up. One day it’s expect nothing from Canon until 2019, the next it’s FF mirrorless coming in 2 weeks. This info isn’t even CR1.. My guess is an M50 II to throw a bone to Canon users thinking of switching to Z..

50mm F1.2L & 85mm F1.2L are hallmarks of Canon's lens line-up, especially pro portrait photography. Also let's not forget that on a Super35/APS-C crop sensor/mode F0.95 becomes F1.4 & F1.2 becomes an F1.8 in DoF. They are pretty versatile & unique lenses imo. MFT, CA & breathing are pretty poor though (especially on the 50mm L) and this is where i'd expect Nikon's Z primes to take the lead.

Actually yeah it's more likely BMD adopt ProRes Raw internally then do anything with Atomos.. then again a big part of their marketing is selling you Raw + Resolve and ProResRAW/FCPX could cannibalize that..

Canon, Sony & Panasonic haven't enabled anything. Again Atomos just uses the raw SDI outputs of those cameras (FS700, FS5/7, C300/500, EVA1..) and encodes to ProRes Raw. BMD cams haven't really been supported by Atomos recorders period up till now i suspect as they offer competing recorders, but i could see that changing.

As the name implies "Noct" sub-f1 primes are aimed at extreme low-light situations. Leica developped them during WW2 for night reconnaissance. Today they mostly sell to astro shooters, crop sensor users that are looking for shallow DoF, fast prime collectors etc..

@jonpais The Sony FS5 & FS7 don't do ProRes Raw internally (nor will you even find any mention of it on Sony website). They do output Raw, and AFAIK Atomos exploits that to do the ProRes Raw encoding.

I don't buy A7S3 recording ProRes Raw internally.. for a number of reasons including the fact Sony is a PC/Android hardware company and wouldn't adopt an Apple only format. Doesn't fit the ecosystem..

Lol that does look very similar in concept/look. I'd still say the Nikon DP did pretty awesome job considering he shot everything internally with an unknown pre-production cam, 3 lenses and a quick turnaround (he said he was still shooting stuff the day he had to submit). For what it's worth the video you linked says in the description is was shot with 5 different cameras including an FS5 via Shogun (so probably raw) and super8 film..

I saw in a video that the front F2 button is by default assigned to toggle the multi-purpose lens ring. Hopefully the top display will have an icon showing what it's currently assigned to or it could get confusing i agree. I also hope a linear manual focus mode will be implemented like in latest Fuji update. The 58mm Noct.. yeah that's a statement piece, it's Nikon saying we can make as fast/good glass as Leica/Zeiss etc.. I'll admit the lens roadmap is a little weird.. No F1.4 lenses (only a 50mm F1.2). Kinda strange for a new large mount touted as a light beacon. I think Nikon are being careful here not to overlap too much with their own current AF-S lens line-up that they probably intend on also cross- selling to Z users.

^ well aware of all that.. fact remains 5D3 was a staple in the video world.. and imo had a much much bigger impact than GH2 outside the walls of forums. thanks for sharing that Danyyyel, some really nice footage in that video, especially considering it's the Z7, 1080p and was all shot internally with the S lenses!

damn still zero footage from this cam?! NAB feels like 6 months ago lol.. i sure hope for those on pre-order this isn't going turn into another Ursa mini situation where the cam came out like a year after being announced..

i wouldn't go BM 4K VA for Z6. It's long in the tooth, dim screen.. go Ninja V it's optimized for NLog & Z bodies.

There will be a DX mode in the Z6/Z7 just like on every current Nikon FF DSLR..

pretty boring promo but at around 20mn the director of that music video shares his thoughts on autofocus, adapting vintage lenses & shooting straight to card.. at around 36mn some new handheld Z7 footage with the kit lens. an interesting AF/MF setup observation at 45mn, followed by mention of almost identical battery life to D850 for video & stepless aperture control on the multifunction S series lens rings.

Welcome to the internet

@jonpais. And just before you start getting too upset, I never said anything about the A7III nor did I state Sony wasn't improving their color science, quite the opposite actually since I linked the FS5's new Venice color science which is a huge step in the right direction (Sony may not have Alexa color science but Venice is their closest thing), everyone is hoping A7SIII will also have this new color science.

I'm sorry but saying color science is BS is being truly ignorant. Color science is of course a genuine topic when it comes to cameras and image output in general.. Now wether you prefer A to B that is being subjective, however it's no secret Sony have struggled and are the most controversial when it comes to it. It is why Andrew developped EOSHD Pro Color for Sony Cameras: https://www.eoshd.com/pro-color/ And why Sony themselves made a big deal this year by adding Venice color science to the FS5 and calling it Mark II: Sony Introduces FS5 II with 4K HDR, 120fps RAW and New Color Science Designed to meet the requirements of today’s content creators, the FS5 II features an all-new look with a refined picture tone to capture natural highlights, subtle, alluring and well rendered facial tones and a softer tonal look, for capturing lifelike portrayals. Using the accumulated expertise of Sony’s digital cinematography camera VENICE, the FS5 II promises a fresh and vivid look while still retaining plenty of creative options in post-production, as a result of its high performance 4K Super 35 Exmor® CMOS sensor.

@anonim well it's Z7 footage and only 2 shots are in 10-bit.. using standard profile.. at the poorly lit nikon event. that being said i find the color info difference with the internal 8-bit footage quite clear. @noone hey i've been using my nikon glass on sony's & fujis with adapters for years.. it works. i'd just assume/hope it would work even better with the Z+FTZ.

..except on Nikon bodies you can manually enter the AIS lens info from a list and access full metering, iTTL, exif data etc.. it's kind of a big deal imo especially for post. Anyways, AIS lenses are only a fraction of overall Nikkor legacy.. and not the only reason why the Z series would appeal to me personally. the color science, ergonomics, build/weather resistance, video AF implementation, 10-bit out etc all tick my boxes..