MrSMW

Well that is pretty decent.
In that case, I might look even harder at the system next year…
The R3 is for my needs the best body currently on the market.
A Nikon Z6iii with additional battery grip is probably going to beat it…maybe…for me and as someone now 50% invested in Nikon, almost certainly where I will be going.
But at the end of every season, I review my needs and Canon could be an option, especially now that Sigma have joined the party, but would need to have brought out a pretty extensive FF line by next Spring.
I think Canon really do need to lighten up on their lens stance though or it will bite them in the arse. If it is not already nibbling…

Actually, what am I blathering about?!
The only time I need the EIS is for tracking the couple, outdoors, once, maybe twice.
Doh. Absolute none issue. I'll simply put it on a function button!
I'd normally be tracking at '42mm' and it will be '58mm'. I'll just increase the distance between myself and the subject by a couple of feet et voila.
Move on, nothing to see here 🤪

Actually, what am I blathering about?!
The only time I need the EIS is for tracking the couple, outdoors, once, maybe twice.
Doh. Absolute none issue. I'll simply put it on a function button!
I'd normally be tracking at '42mm' and it will be '58mm'. I'll just increase the distance between myself and the subject by a couple of feet et voila.
Move on, nothing to see here 🤪

Well if that is the case, it’s maybe a little too extreme even for me…but maybe not…
My 28-70 will become a 58- (classic focal length!) 145mm (a focal length that has probably never existed, but who cares).
Outdoors, no problem.
Indoors, hmm…
The 18-50 crop lens is going to become more like a 37-104mm which might be better.
Or there’s always 6k 30p open gate with just the EIS crop but max 80% slow mo which might work…
I’ll have to play…

I have mine set up really simply using C1, C2, C3...but then I am a simple guy 😜
C1 = 4k 50p, Log, WB 5500, auto ISO (+ 2-5 or 6-9 VND inc. 1/8th mist) IBIS + EIS (my 'outdoor daytime setting)
C2 = 4k 50p, Log, WB 4500, auto ISO (+ 2-5 VND inc. 1/8th mist) IBIS + EIS (my 'indoor daytime setting)
C3 = 4k 50p, Flat, WB 3500, auto ISO (+ 1/8th mist) IBIS + EIS (my 'near to or after dark setting)
For the couple of occasions I briefly stick my S5ii on a tripod which is a couple of times at every job, I do not bother switching off the stabilisation as I'd probably only forget to turn it on again.
The above just works for my run & gun workflow with this unit (Sigma 28-70mm f2.8 glued to it and in S35 mode, equiv to 42-105mm which is a perfect focal length to me) as I do not move in an out of these scenarios, but typically transition from one to another.
The only thing I am not sure of is if enabling the EIS adds a further crop to the 4k 50p 1.5x?
If it does, I might switch to the Sigma 18-50mm f2.8 for my 'C3' setting as the '42mm'+ of the bigger (but still compact) zoom might be a but tight for some of my needs.
Unless anyone knows, I guess I will have to download the firmware and find out for myself...

It’s also an ‘updated’ film noire approach for the 2020’s.
There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art.
The locations, the lighting, the framing, how one frame leads in to another…
My kind of filmmaking.

And the utter lack of it has me admiring Ripley on Netflix right now.
I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production.
Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great.
Sorry it’s not a Joker II comment 😛

It’s also an ‘updated’ film noire approach for the 2020’s.
There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art.
The locations, the lighting, the framing, how one frame leads in to another…
My kind of filmmaking.

Long since killed 4/3 for me.
Well compared with the G9 and OM-1 anyway.
S5ii vs G9 in the same body? Other than the longest of lenses, or unless you were heavily invested in a huge range of 4/3 glass, why would you?
And the OM-1, I love it for its build and handling and even how it looks, but if I had to pick just one to work with, photo, video or hybrid, again, for me at least, it’s a no-brainer, S5ii.
The teeny tiny bodies and lenses, for discrete use, fair enough but for work, nah.
I still don’t much care for it for stills though which is why I have moved to Nikon for that.
Same sensor in the Zf and Z6ii and I prefer both, in different ways, for stills and the result I am getting out of them is  near identical (as in as good or better but not quantifiably) but the Nikon user experience is better.
The Zf is the snappier but less ergonomically good than the S5ii but the  Z6ii with or without battery grip is nicer to use than the Lumix.
What I want is the guts of the Zf in the Z6ii body and that will probably be the Z6iii within the next couple of months.
If so, I am done and will have the perfect pair for my work; the S5ii for video and Z6iii for stills because I will trade the Zf and Z6ii for a single Z6iii.
If I had to rate them for use case, I’d say that the S5ii is more like a 65% video focused MILC and the Z6iii the opposite and around 35% video.
The Zf somewhere more like 50% because it’s highly capable for both video and stills but it’s issue is always going to be it is not a great lens platform and is really only suitable for small primes. I currently have the Tamron 28-75mm f2.8 on it and the results are great and it’s not an ergonomic nightmare, but a DSLR style body is much better to work with.
But back on the S5ii, it was already my first choice for video (alongside the S1H which I prefer actually in EVERY regard except AF and that is why I had to make the S5ii my primary and not the S1H) and there were only two things I held against it:
1. The shutter button sound and feel. Tinny and not great next to the S1H and that killed it for me for stills use. Moving to Nikon solved that.
2. I use it with a Smallrig cage, side handle and Rode Micro. Try that on a gimbal 🤪 The latest firmware upgrade takes it from being ‘OK’ without a gimbal to ‘absolutely perfect for my needs without a gimbal’.
What else is there in this class right now?
Sony A7iv? Arguably better for stills but not as good for video.
Nikon Z6ii? Equal for stills but not as good for video.
Canon R6ii? Some will prefer its full frame 4k 60p but otherwise I don’t think it’s quite as complete a camera as the S5ii. And if you were already in the system, no reason to change. 
The Z6iii will be the next interesting one I am sure, at least equalling the S5ii for video and stills but taking the overall experience to the next level. I think…
 

It’s not just because the B&W makes it ‘arty’.
The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series.
The acting is great.
The cinematography IMO is superb.
I have zero criticisms of it and that is rare for me.

And the utter lack of it has me admiring Ripley on Netflix right now.
I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production.
Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great.
Sorry it’s not a Joker II comment 😛

It’s not just because the B&W makes it ‘arty’.
The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series.
The acting is great.
The cinematography IMO is superb.
I have zero criticisms of it and that is rare for me.

Yep, every time I invest in one, it ends up being too much for my use case.
Too much cost, battery charging, transport, set up, storage etc. Just a PITA.
No longer and never again!

My prediction is:
1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line...
2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently.
3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop.
Summary:
Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve.
I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... 
The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard.
Nothing else makes any sense to me.
But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

My prediction is:
1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line...
2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently.
3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop.
Summary:
Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve.
I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... 
The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard.
Nothing else makes any sense to me.
But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

My prediction is:
1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line...
2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently.
3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop.
Summary:
Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve.
I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... 
The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard.
Nothing else makes any sense to me.
But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

I think it would be a much easier task to develop into this market rather than try and tackle head on the established ‘Hollywood’ industry.
Pretentions of serious filmmaking?
Then have someone use your new Nikon NX3’s on the sequel to ‘The Creator’, but otherwise, gifting 100 units to 100 Kool Kids for their YouTubes is extremely cost effective marketing.

Indeed. I did not put that very well...
What I meant was that as someone invested in Nikon bodies and adapted Tamron E Mount lenses, I could easily go either way, ie, all in on Sony or Nikon.
At this point in time, ie, 2024, I'm not planning on it however.
My season has already started up and 3 jobs in, my conclusion so far is that I have zero reason (or desire) to switch from L Mount for my video needs as it just works, with my S1H now set up as a static 'camcorder' and my S5ii on run & gun.
The Zf is a beaut and so is the Z6ii with battery grip, both for stills.
The only thing re. the latter set up is I much prefer the ergos of the Z6ii with battery grip, but ideally with the capability of the Zf...
I would also prefer to only have one unit in the stills role and not two.
As soon as the Z6iii appears, I think it's a done deal for me.
The rumors (ha, if you can trust them) are 6k but obviously no mention other than some very recent speculation and hype over RED raw, but I'd take it at launch or firmware update or even never as this for me, at least initially, would be a photo-centric camera.
6k raw has more appeal to me than 8k for sure, just as the smaller/lighter Z6 format (even with grip) for me trumps Z9. But we shall see...

That’s what I suspect also.
Not that I was ever invested or even interested in RED.
But I do hope we see the tech become part of Nikon hybrid ASAP and they bring out their own cinema line a la FX3 and FX30 mold.
I could go any way right now (as in next year) and that is currently Nikon for stills and Lumix for video, but really want it all with one brand for a variety of reasons.
Fortunately, because E Mount adapts almost natively to Z Mount, Nikon and Sony have the highest level of cross compatibility in the hybrid game right now.
I’m interested in raw but would rather dip my toe than go all in so if the RED raw became available to certain existing bodies by firmware such as the Z9…
Well I am already strongly considering trading 2 ‘lesser’ Nikon Z bodies for a single Z9 and if…if….RED raw came to Z6iii, it would probably be a done deal for me and I’d be all in on Nikon bodies and E Mount glass.

That’s what I suspect also.
Not that I was ever invested or even interested in RED.
But I do hope we see the tech become part of Nikon hybrid ASAP and they bring out their own cinema line a la FX3 and FX30 mold.
I could go any way right now (as in next year) and that is currently Nikon for stills and Lumix for video, but really want it all with one brand for a variety of reasons.
Fortunately, because E Mount adapts almost natively to Z Mount, Nikon and Sony have the highest level of cross compatibility in the hybrid game right now.
I’m interested in raw but would rather dip my toe than go all in so if the RED raw became available to certain existing bodies by firmware such as the Z9…
Well I am already strongly considering trading 2 ‘lesser’ Nikon Z bodies for a single Z9 and if…if….RED raw came to Z6iii, it would probably be a done deal for me and I’d be all in on Nikon bodies and E Mount glass.

As we always say, the camera, especially these days, is the least important part of the equation.
Big camera has always equalled big production, but that is more about perceived industry ‘standards’.
It all gets rigged out anyway so the size of these tiny cameras gets hidden.

As we always say, the camera, especially these days, is the least important part of the equation.
Big camera has always equalled big production, but that is more about perceived industry ‘standards’.
It all gets rigged out anyway so the size of these tiny cameras gets hidden.

There is no such rule either way.

I wouldn’t even be slightly concerned about any such minor discrepancies.
Yes, there is getting it right in camera, ie, technique (including lighting) and there is bound to be some fiddling in post to ‘equalise’ the output between any combo of bodies and lenses etc.
Just bring some drone footage into the mix and there’s something else to ‘equalize’.
I’d be far more concerned with how the tools feel to work with; weight, ergos etc.
Sony, Nikon, Lumix, Canon…it’s not difficult to match it, never mind keeping it in brand.
Unless you tell folks or ask, no one ever knows what you shot it on.
And outside of nerds like us, no one cares!

My mileage has not varied from this.
I think once, max twice in about the same time period so for me, extended warranties would have cost 10x if not 20x as much.
Otherwise I do try and purchase used if I can, but only from dealers ie, not places like eBay. Unless it’s some older ‘vintage’ lens type stuff when OK, I have taken a punt.
MPB is the only real place in Europe for used (mainstream) kit.