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Because the S1 is the next camera that has similar specs, sensor and image quality. The S1 does have better high-iso performance and the Z6 has the full Nikon glass selection and better AF and AF-F tracking in video. And when 12 bit Raw hits the S1 and Z6 I won't have to pay for the firmware update. I'm also all for the S1 being a great camera. I like the "wish list". I think Sony will make an A-S ?? cine version in the $4,000 range with the feature you've mentioned. Every camera maker should do the same. Give us a $2k and $4K version with pro features at full frame. I don't know if you used the Z6 with IBIS selected in video mode but it has zero jello mode going on. Jello mode is present in the A7III and rampant on the A6500 and other models. This was the biggest reason the Z6 blew me away when you go handheld. Also - the Z6 has 24.5 MP for stills. The R has 30.3 and that's not even anything you'll notice at all. The R also crops in 1080P mode. The next Canon mirrorless should be great.

Of course the Canon EOS R can create compelling content. So can the Z6 and I've defended the Z6 to people have never used it. Calling it a joke is a little harsh. The Z6 being over sharpened is as simple as turning the sharpness sown and it's solved. Not sure why you brought sharpening up because if you shoot flat the sharpening is at zero. If you shoot standard or auto the sharpness is up 2-3 settings? So you can back down any additional sharpening without any change in image quality. Of course cine cameras crop with higher frame rates but go look up which cine cameras do a full sensor readout and which ones don't. The EOS R crops when Nikon and others don't to the extent that the EOS R does. No IBIS also on the R is another reason to ask why? Why Canon? Canon always leaves off features and specs that keep cameras limited and the EOS R is a perfect example of this. I would have loved to get the EOS R and tell me more about why the EOS R is better then the Z6, I'm open to as much info as possible.

The Z cameras do 10 bit external and 12 bit RAW is on it's way. When another mirrorles camera besides the S1 can do 12 bit Raw comes along then I'll agree that the Z lineup is "desperation attempt by them." (Nikon). The EOS - R is a joke for video and the S1 is almost a clone of the Z6. And don't come back with "if" the Z6 get Raw or no one wants Raw. ProRes Raw is no the data hog of other Raw codecs. What would have made the Z6 a breakthrough in your mind ? 4K60FPS pr two card slots? Because we all know the FS7 has two card slots. Nikon has the advantage of all the users that have Nikon glass coming over to the Z line up. Nikon owners are not switching to Canon or Panasonic.

Nikon will get into the crop sensor mirrorless market for sure. With DX lenses and Sony, Fuji and Panasonic in the market it's a no brainer. Not everyone wants full frame and limitations on full frame makes it easier on crop sensor.

But 10 bit 4:2.2 internal or external is still 10 bit. I thought he BMP4K sensor is not the same dimension as the GH5s.

FS7 looks like the front runner right now. Can't beat Sony for a lot of things and this camera can shine in the right hands.

GH5 users think it's equal to a cine camera. How is the GH5 broadcast ready? and the S1? So this means the Z6 is broadcast ready. No the GH5s is not the same sensor as the BMP4K. Size doesn't match up.

I know what they have the guidelines but you didn't answer the question about Atomos and it keeping meta data with the files. You made the statement that Netflix sys no external recorders and they don't say that. EVA seems to be the bottom of Panasonic cine line and the GH5 is not cine no matter what GH5 owners say.

You're speaking for Netflix now and no place does it say internal recording. That means even if you use a Arri out to Atomos the footage is not valid for Netflix. I appreciate the response but it's you're opinion and not Netflix policy. Not in my budget right now. Lol

What's the lifespan of the FS7 before it's replaced? I'm not defending if the Z6 can be approved or not. Does the Atomos not give meta data that shows that files are 10 bit 4:22 X bitrate? That seems odd that the Atomos which we've used with the FS7, would not carry meta data with it's recorded footage. Is this the case?

Budgets change for each production. For the camera under 10K. Atomos footage doesn't make it any different then internal files does it? Does the Atomos provide time-code? For the price the EVA-1 looks very good. Would you pick the EVA-1 over the FS7?

I wasn't being serious just mentioning specs. But no where does it say internal - Capture Requirements: Capture Format RAW (Sony RAW, REDCODE, Arriraw etc.) COMPRESSED (XAVC, ProRes, or other I-Frame capable formats) Minimum of 16-bit Linear or 10-bit Log processing Minimum data-rate of Bitrate of 240 Mbps at 23.98 fps Thanks for the info about the EVA-1. Haha - I see 12 bit Raw only means something if it's on the GH5 or other cameras. Meaning if the GH5 had 12 bit Raw it would be pushed hard on this forum. Doesn't mean what you think. The Sony A9 has a $1,000 price cut. Pullout the red flags. Numbers are down for everyone.

Not a complaint just answered a future comment of yours about going with out of date out of spec gear. Here are the answers: Which camera to go with that meets Netflix standards? I would buy this camera and what is shot or budgeted doesn't matter in regards to what's recommended. I would like to know what everyone thinks is the best camera out side of Arri or RED. Lights and everything else would be rented. Part of making the best cine camera should also include being Netflix qualified. If it qualifies that means it can be rented out. Heck if the Z6 ups it's data rate it could be approved by Netflix. The EVA-1 could be the camera or FS7 but I'm not sure the FS7 works for me, it looks great at times but other times not as solid. Does anyone know what cameras might be getting upgrades or new models in 2019?

Any camera used with that POV would have done the job. How many films were filmed this way? The fisheye from the lens is more of an issue and shouldn't have been used in my opinion

They filmed this in 2018 and many other cameras other then Arri and this is not the first mud hole sequence ever filmed. They also had funding. https://www.kisskissbankbank.com/fr/projects/11-11-18-le-long-metrage

Also the rates on renting cameras are not that high either. The had the budget for make-up and wardrobe and pull focus.

Do you know the difference between screen wobble / warp and handheld movement? The later is not the issue. That micro BM sensor can't keep up. Have you actually produced anything like this or multiple shooting days? or are you hired shooter? You don't sacrifice camera and introduce screen warp because you want to save a little money. That's what you don't do or you wasted everyones time. This was done to show off the micro-BM camera and that camera did a well as it could. Just don't kid yourself to think it was the camera of choice when no other camera was considered.

I love the look of the BMPCC but that film was shot with the micro-camera. . I get the feeling of being in the pit but you have the fisheye effect with the lens selection and wobble screen take you out of the moment. That's why productions like this are filmed with cine cameras. Do you really think with all that cost spent on the set, actors, etc that they couldn't afford a better camera set up? They used that camera to prove what it could do.

Everything about that was great. Except the lens and screen wobble. Why would they waste all this production on that camera? I understand they want to prove want that camera can do but it wasn't the camera for the job with the perspective issues and not using camera stabilization. Great footage.

EVA or BM URSA Mini 4.6K are the ones on my list. P4K is great but no way I'm going with a camera that "might be" approved by Netflix. Why buy any of the older cameras you push when they don't meet spec? Netflix - Camera Requirements Resolution Requirements: Camera must have a true 4K UHD sensor (equal to or greater than 3840 photosites wide). Capture Requirements: Capture Format RAW (Sony RAW, REDCODE, Arriraw etc.) COMPRESSED (XAVC, ProRes, or other I-Frame capable formats) Minimum of 16-bit Linear or 10-bit Log processing Minimum data-rate of Bitrate of 240 Mbps at 23.98 fps Capture Transfer Function S-Log3, Log-C, V-Log, Log3G10, etc. Capture Color Space S-Gamut3.cine, RED Wide Gamut RGB, Alexa Wide Gamut, etc. No looks or color corrections should be baked into the original camera files. Files must maintain all metadata (i.e. Tape Name, Timecode, Frame Rate, ISO, WB, etc.).

What Netflix approved camera would you guys recommend? The Panasonic au-eva1 checks all the boxes. It's not talked a lot today and got beat up when it was released.

With the GH5 / 4 it's older tech in those bodies and they had to cut corners somewhere. I don't think it's the HDMI cable because Atomos core runs through those cables. Cables deliver information. The S1 is an upgrade over the Gh5 so it should be fine.

Nikon Z6 and Atomos Ninja V in ProRes Raw They show Passages at the end. It's from a livestream so not the original files but good info.

Digital images are JPEG, PNG or GIF's in the digital world. Mac screen captures are PNG and a JPEG from Nikon cameras will have metadata showing the camera, date, etc. I'm trying to see your point and that it wasn't based on quality of the JPEG vs expected video quality. FCPX lets you save out an image from the timeline. And I'm sure Resolve let's you do the same.

You also can't talk trash about a video still that you called out to be a photo taken from the camera. All I know is 12-bit Raw is coming for the Z6 and when it does I'll be posting in the Raw camera section. At that point no more Gh5 talk. Lol.