Django

Yeah well its funny because I initially had mixed feelings about the Z8 but it has really grown on me, especially the files it produces. Really clean footage, easy to work with. Good DR, snappy AF. All kinds of codec options. High-resolution stills. Basically a workhorse camera. Will get even better when the LoISO update gets implemented.
The R3 has imo the best ergonomics. and the video specs are quite nice too albeit not that flexible with either 6K in RAW only or 4K h26x. And 24MP stills. DR on Canons is also kinda mid, especially with no Clog2. 
The Z8 gives you 45MP stills and 8K, 5K, 4K in RAW. UHD & FHD in ProRes & 8K, UHD & FHD in h26x. Plus 2X crop modes and digital zoom. All for about two thousand less than an R3. It's just much more bang for the buck imo. Plus the Z mount opens up compatibility to my entire various mount lens collection. Tilty screen which I miss. And lockable IBIS which I don't think anyone else is doing. It's almost a no-brainer for me personally. Paired with a Zf for more casual shooting, that would be a sick combo.
The Nikon Z f1.8 primes are also super silent and optimised for video with minimal breathing, compact and fairly priced. So after so much hesitation on where to go next I think I'm pretty set on Nikon after all. 
 

"Global Shutter" kind of feels like a buzzword from Sony marketing doesn't it? And the usual suspects on Youtube sure are running with it.. "FIRST GLOBAL SHUTTER CAMERA" "This Changes EVERYTHING". "ZERO DISTORTION!!!". I mean cmon if you wanted to avoid distortion up until now as a stills shooter you could simply use mechanical shutter. And yeah 99% of cinematographers use CMOS sensor based cameras with minimal RS. 
Again not trying to downplay the tech advancement of this new sensor but it ain't really the game changer revolution it is hyped up to be. The read-out speed sure seems incredible but I personally can't imagine combing through 120fps of RAW images. I'm not even sure pro sporting events shooters have that luxury in their time race with FTP transfers. So who exactly is the A9 target? Wealthy amateurs that shoot birds/golf/tennis? Videographers doing 360 degree rotations at 100mph? Serious question.

Yeah while GS in a FF consumer camera is a nice tech feat, I'm not sure many people will be rushing to "upgrade" to a $6K 24MP/4K h26x camera. Clearly this is a niche action/sports hybrid mainly aimed at still shooters. Sony is smart when it comes to marketing and they put this out just ahead of the Summer Olympics.
But in reality for video shooters if you absolutely need a GS cine cam, the Komodo already exists and does up to 6K with ProRes/REDcode etc. 
And for your average hybrid shooter, I doubt they would really notice the difference with the already fast 8ms RS of the A7S3/FX3. And those have better DR & low-light for half the price. 
Personally, I find the Z8/Z9 are still much better rounded hybrid packages with 8K60p, RAW/ProRes, 45MP. And fast stacked sensor readout speeds that are sufficient for most demanding situations. 
Don't get me wrong, FF GS is a major tech accomplishment and I'm sure there is a market for the A9iii, I just don't think the entire package and price point is going to be that enticing in the already crowded FF segment once the hype does down.

I can imagine wildlife photographers would get a lot of use from it considering that they take a long time to shoot (e.g. waiting in animal blinds etc), they have a long time in post to select the right shots, they aren't under super time deadlines to get images to a publisher, and the difference between a good image and a great one can simply be a matter of perfect timing and if you get it right there's huge rewards.
Obviously this is very different the workflows of sports photographers etc.
This photo and the story behind this shot comes to mind:

https://www.wired.com/2016/01/alan-mcfadyen-kingfisher-dive/
I would imagine that there might be a lot of subjects where having an insane fps on the burst mode would enable you to line things up perfectly in a shot and really elevate it in a significant way.  Street photographers would also benefit, with the decisive moment and all that, but they probably don't need burst modes this crazy fast.
However, having said all that, it's a pretty niche application for an entire camera, so I can't see that being worth designing a camera around.

Mechanical (focal plane) shutter produces some rolling shutter. You can see it e.g. if photographing a propeller plane or helicopter at fast shutter speeds. You can also see it when there is artificial light that flickers, in the past the advice was to use a slow shutter speed to avoid the banding from fluorescent lights; today the lights are often LED based but still there are circumstances where the lights or screens show banding even when photographing with mechanical shutter. The GS eliminates this problem. I would think that photojournalists, sports and music photographers would like it, but it's a pricey camera for sure.
Golf, yes, quite likely there even the fastest rolling shutter would show distortion, and the club swings quite fast so you can get some interesting timings at 120 fps or 240 fps. But those are kind of special applications. I guess specialists who work on these kind of sports with very fast motion would get it.

Just thought I'd mention I've revisited the Z8 with now better understanding of how the camera operates (read the manual beforehand) and of how to work with N-log (using color management bypassing the awful official LUTs) and well I guess all I can say is it is my new favourite camera! 4K ProRes HQ on an SD card edits like butter on my ageing iMac Pro and the IQ gives so much room for grading. Neutral & Flat profiles are also great SOOC profiles and 8K60p is of course top notch and I haven't yet even explored RAW. 
I guess ultimately the switch back to Nikon would be quite effortless as Z mount has smart adapters for my Sony & Canon EF glass and even my Leica M glass. Alongside my old Nikkor AIS, every single lens I own could be supported!
I do have a question for Z8/Z9/Nikon users: does the camera have custom banks like C1/C2/C3 etc where you can have various custom settings like codec/frame rate/resolution settings and recall them quickly?

Yeah while GS in a FF consumer camera is a nice tech feat, I'm not sure many people will be rushing to "upgrade" to a $6K 24MP/4K h26x camera. Clearly this is a niche action/sports hybrid mainly aimed at still shooters. Sony is smart when it comes to marketing and they put this out just ahead of the Summer Olympics.
But in reality for video shooters if you absolutely need a GS cine cam, the Komodo already exists and does up to 6K with ProRes/REDcode etc. 
And for your average hybrid shooter, I doubt they would really notice the difference with the already fast 8ms RS of the A7S3/FX3. And those have better DR & low-light for half the price. 
Personally, I find the Z8/Z9 are still much better rounded hybrid packages with 8K60p, RAW/ProRes, 45MP. And fast stacked sensor readout speeds that are sufficient for most demanding situations. 
Don't get me wrong, FF GS is a major tech accomplishment and I'm sure there is a market for the A9iii, I just don't think the entire package and price point is going to be that enticing in the already crowded FF segment once the hype does down.

Yeah while GS in a FF consumer camera is a nice tech feat, I'm not sure many people will be rushing to "upgrade" to a $6K 24MP/4K h26x camera. Clearly this is a niche action/sports hybrid mainly aimed at still shooters. Sony is smart when it comes to marketing and they put this out just ahead of the Summer Olympics.
But in reality for video shooters if you absolutely need a GS cine cam, the Komodo already exists and does up to 6K with ProRes/REDcode etc. 
And for your average hybrid shooter, I doubt they would really notice the difference with the already fast 8ms RS of the A7S3/FX3. And those have better DR & low-light for half the price. 
Personally, I find the Z8/Z9 are still much better rounded hybrid packages with 8K60p, RAW/ProRes, 45MP. And fast stacked sensor readout speeds that are sufficient for most demanding situations. 
Don't get me wrong, FF GS is a major tech accomplishment and I'm sure there is a market for the A9iii, I just don't think the entire package and price point is going to be that enticing in the already crowded FF segment once the hype does down.

What's a little sus to me is all the "impressive" videos shared in this thread seem to be from LUT vendors. These videos are more ads for grades than the iPhone 15. I mean who knows the time/effort/power grades used to achieve these results. Not to mention the rigs, gimbals, reflectors and what not that are used. Its all fair game but I guess what I'm trying to say is it isn't a realistic look at what you're going to get out of the iPhone 15 SOOC or even using your average grading skills. 
Its like the giant "Shot on iPhone" billboard campaigns you see in major cities with amazing pics:

..yet you know your average iPhone pic never looks as good, they've all been crazy boosted in Photoshop.
In the end it is just another iPhone with similar specs, IQ and caveats as last years model. They added log which is great for grading your footage but nothing really that revolutionary especially if you're not that heavy into grading.

What's a little sus to me is all the "impressive" videos shared in this thread seem to be from LUT vendors. These videos are more ads for grades than the iPhone 15. I mean who knows the time/effort/power grades used to achieve these results. Not to mention the rigs, gimbals, reflectors and what not that are used. Its all fair game but I guess what I'm trying to say is it isn't a realistic look at what you're going to get out of the iPhone 15 SOOC or even using your average grading skills. 
Its like the giant "Shot on iPhone" billboard campaigns you see in major cities with amazing pics:

..yet you know your average iPhone pic never looks as good, they've all been crazy boosted in Photoshop.
In the end it is just another iPhone with similar specs, IQ and caveats as last years model. They added log which is great for grading your footage but nothing really that revolutionary especially if you're not that heavy into grading.

Yeah I agree with the above, no matter these improvements at the end of the day it is still a smartphone with all its caveats. No way does it actually compete with rigged mirrorless or cine cams with quality glass, filters etc in actual use. So many limitations.
I tested the iPhone 15 Pro myself the other day at the Apple store, shot some log footage and then airdropped it to my iPhone to test it out in Resolve. The result was rather sub-par, mushy IQ with lots of noise. I'm assuming this is mainly due to the indoor light conditions and the camera app shooting at high ISO. Notice how all the examples in this thread are shot outside in perfect bright daylight conditions. Shoot indoors with average lighting or on a dim day/evening and the IQ falls apart. That to me has always been the real downer with tiny sensor cameras. They need perfect lighting. And no ProRes/Log can fix that. At which point you may as well let the iPhone do its computational magic and fix the image!

Yeah I agree with the above, no matter these improvements at the end of the day it is still a smartphone with all its caveats. No way does it actually compete with rigged mirrorless or cine cams with quality glass, filters etc in actual use. So many limitations.
I tested the iPhone 15 Pro myself the other day at the Apple store, shot some log footage and then airdropped it to my iPhone to test it out in Resolve. The result was rather sub-par, mushy IQ with lots of noise. I'm assuming this is mainly due to the indoor light conditions and the camera app shooting at high ISO. Notice how all the examples in this thread are shot outside in perfect bright daylight conditions. Shoot indoors with average lighting or on a dim day/evening and the IQ falls apart. That to me has always been the real downer with tiny sensor cameras. They need perfect lighting. And no ProRes/Log can fix that. At which point you may as well let the iPhone do its computational magic and fix the image!

Don't forget the Pocket/BMCC6K cameras all have gyro data that result in solid stabilisation capabilities when used in tandem with Davinci. I've been pretty impressed with that "surprise" feature launched about a year ago. And now with FF 6K open gate, the crop applied shouldn't even be that noticeable. 
All the footage so far is test footage from early access users so it makes sense it is all shot & delivered in full sensor highest resolution 3:2 open gate. Its kind of the stand out feature of this new camera too so not surprised one bit they are putting that forward. I know I'd pretty much be shooting 3:2 open gate exclusively with such a camera for all the reframing capabilities it allows.

6K Open Gate handheld :
FF BRAW looking great in this footage!

6K Open Gate handheld :
FF BRAW looking great in this footage!

I think the price is very steep for the target demo. Especially in Europe. I just can't imagine your average vlogger dropping that kinda coin on a camera targeted at amateurs/beginners.
That being said the camera has some pretty solid specs/features. They didn't gimp it as much as I thought they would.
In fact, in quite a few ways it actually surpasses the A7S3 with next-gen AF, focus compensation and even LUT support.
And it retains ALL-I 10-bit Slog3. 
I assume an A7S4 is just around the corner.
The body of course is of the cheaper kind. And no EVF, no mechanical shutter. Micro HDMI etc.
The IBIS is also the more basic A7C one, not the same as in A7 series.
And the biggest con, no active/passive cooling. 
I've just seen some tests and the camera overheated in 30mn using XAVC-I. 
This totally kills it imo for most types of shooting.

Z9 FW4.0 has a ISO200 mode (Lo 2.0) that dramatically cleans up noise in N-Log:
Not sure why Z8 hasn't yet received this update (among other features)..

EF-L lenses have their own look, I like the primes personally. Never liked the 24-105, massive barrel distortion and not a fan of slow lenses on medium wide focal lengths. 24-70mm f2.8 is usually my jam when it comes to zooms, and the RF24-70mm f2.8 does not disappoint aside from being big & heavy. And that is a concern, lenses keep getting bigger and bodies smaller. At least Canon has the R3 which is super light despite its mini sport-DSLR like body. And again that's where the RF70-200mm f4 comes in clutch. And yeah some older EF lenses too when it comes to weight/size ratio. 
The nicest combo I've experienced was Nikkor AI-S glass on Z8, and I can only imagine on the new Zf. Also awesome to see that old glass resolve in glorious 8K when it didn't impress me so much in mushy FHD during D750 days. Same can be said for EF on R5/R5C..
 
 

I guess everyone has their own requirements when it comes to lens designs. Personally, I have never carried a lens in my pocket, not even a pancake so that is not something high on my list. However, storage in my camera bag is always somewhat of a puzzle so shorter/compact is always welcome. I also value discretion which is why 70-200mm are usually not my thing. Plus compact lenses pair better with mirrorless cameras. So the RF 70-200mm f4 speaks to me. I know for others, weight is the major concern and it wins there too. 
Others do prefer fixed length mainly for proof reasons and that's valid although the RF-L extension zooms are weather sealed.
Overall I think the RF 70-200mm F4 is a win. Maybe not to everybody but plenty of reviews out there give it praise and some even consider it their favourite lens:
 

I guess everyone has their own requirements when it comes to lens designs. Personally, I have never carried a lens in my pocket, not even a pancake so that is not something high on my list. However, storage in my camera bag is always somewhat of a puzzle so shorter/compact is always welcome. I also value discretion which is why 70-200mm are usually not my thing. Plus compact lenses pair better with mirrorless cameras. So the RF 70-200mm f4 speaks to me. I know for others, weight is the major concern and it wins there too. 
Others do prefer fixed length mainly for proof reasons and that's valid although the RF-L extension zooms are weather sealed.
Overall I think the RF 70-200mm F4 is a win. Maybe not to everybody but plenty of reviews out there give it praise and some even consider it their favourite lens:
 

Yeah when the first rumours of this project being shot on an FX3 came out that was my initial reaction, that this was more of a marketing promo angle. But after reading that article it seems like the directors ethos for this was to see how far down he could go "leaning on a new wave of affordable, lightweight filmmaking technology — Edwards stripped everything down to its essentials to inject more spontaneity and creative freedom into a process that felt needlessly rigid."
Doesn't seem like it was so much a budget choice but more likely compact lightweight oriented. and while the FX6/FX9 aren't huge, once they get rigged up with V-mount, follow-focus, monitor, cine lens, matte box, wireless transmitters etc.. they aren't really super handheld anymore. I mean here is the FX3 fully rigged up and its not exactly compact at that point:

Also a no for me. Micro pancake lenses on a 1 inch sensor simply can't rival with S35/FF + nice glass. 
The DoF on an iPhone makes it look like everything was shot at f11. Don't even get me started on "cinematic mode".
Then you have the handling/ergonomics. Dials, buttons, aperture rings etc are essential to me.
I don't even know how you'd go about putting things like ND's on an iPhone or quality audio.
Now for social media or vertical B-roll sure it sounds nice. 
My biggest gripe I guess is that you have to buy an iPhone 15 Pro to have log. You know they could give you log in other models including older models. If anything pros would prefer to disable all the image processing. 
 

Also a no for me. Micro pancake lenses on a 1 inch sensor simply can't rival with S35/FF + nice glass. 
The DoF on an iPhone makes it look like everything was shot at f11. Don't even get me started on "cinematic mode".
Then you have the handling/ergonomics. Dials, buttons, aperture rings etc are essential to me.
I don't even know how you'd go about putting things like ND's on an iPhone or quality audio.
Now for social media or vertical B-roll sure it sounds nice. 
My biggest gripe I guess is that you have to buy an iPhone 15 Pro to have log. You know they could give you log in other models including older models. If anything pros would prefer to disable all the image processing. 
 

Also a no for me. Micro pancake lenses on a 1 inch sensor simply can't rival with S35/FF + nice glass. 
The DoF on an iPhone makes it look like everything was shot at f11. Don't even get me started on "cinematic mode".
Then you have the handling/ergonomics. Dials, buttons, aperture rings etc are essential to me.
I don't even know how you'd go about putting things like ND's on an iPhone or quality audio.
Now for social media or vertical B-roll sure it sounds nice. 
My biggest gripe I guess is that you have to buy an iPhone 15 Pro to have log. You know they could give you log in other models including older models. If anything pros would prefer to disable all the image processing. 
 

Sony's Cinetone-S is not the only OOC pseudo-cinema look. This camera has a dozen.
This camera also has a real built-in ND filter, cinema aspect-ratio LCD guidelines, external mic jack, manual control of audio, wind protector attachments and a cage available. No IBIS-distorting stabilization, just like real cinema cameras. LCD red border tally for live recording.
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