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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.

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. 

If you want timecode sync of the Ninja V you can use their AtomX Sync add on module if you are within the wireless timecode ecosystem of products from Timecode Systems like pulse: and UltraSync One.
If Atomos ever actually release it of course.

If you're happy buying secondhand a Sony PMW-F5 sells for similar price to a new EVA1

But yeah if buying new, then an EVA1 is my pick at that price point. With that or take a punt on an UMP G2 (if you can live with the lower low light performance of the UMP)

You forgot my Hasselblad

Anyone else shooting with the Z6?
 
Since at least one guy said my video still was a photo, here's the video footage.

The Nikon Z6 is scheduled to get 12 bit Raw ProRes output to Atomos Ninja recorder. Where did you get your information? You have Nikon with this info and Atomos saying the same-thing. Where do you get that the Z6 might never get Raw? 
 
Here's the video that you claim is a photo. 
 
You must have more to say then that since you thought a video still was actually a photo.
I will check out the 3 hour 1 minute Film Challenge - I didn't know it existed. 

I'm cutting an entire DPRTV episode shot on the S1 with 10 Bit 4:2:0 HLG. Not doing anything overly demanding, but I'm finding it has a really nice, organic look. You can all let me know what you think when it goes up this weekend.

Dude you haven't even used the Z6. So with the amount if junk you keep throwing out your would think that you've at least tried it and put it thur some test.
You throw out feature and specs but ignore color science, image quality and the organic look each camera brings to the table or doesn't bring to the table. You're the junk guy that's always pushing the out of date older camera for cheap while knocking down the newer cameras. You did this with the GH5 and in this thread the Panasonic camcorder and C100.  In two years the Z6 will be older and you'll say for the money go get a Z6. 

That makes sense, because Long GOP 100 Mbps should be better quality than All-I 400 Mbps for a static shot. For example, something like a medium shot of an interview subject has like 75% of the frame is completely static, and will be encoded once per group of pictures, instead once every frame for All-I. That's significantly more of the bitrate that can be allocated to the 25% of the frame that is moving.
There are very few circumstances in which I would choose to record All-I.
I don't see 140 Mbps in The Z6 as a downside.. Even 4:2:2 vs. 4:2:0 makes no visual difference, though it's better for chroma keying. The real advantage of the GH5 is 10 bit. 8 bit falls apart almost immediately, particularly when used with log curves. But despite it's codec fidelity, GH5 footage is not fun to work with so I'd take a Z6 myself. I do wish Nikon had included a 10 bit HEVC codec though.

It's 9 frames, not 9 seconds :). But still too much. Here are a few LUTs with subtly varying curves. We are dealing with 12.3 stops of DR vs 14-15 on Alexa. So alexa rec709 contrast curve is too contrasty for Nikon, of course. Although one of the LUTs is almost same curve. Also Alexa's response in low mids is pretty unique as well. To get a similar response on Z6 you have to rate it at ISO400 (lowest on Z6 is ISO800, just overexpose a stop). But then you loose a stop in the highlights of course, which if exposed correctly come to 6 stops over middle grey on Z6 (versus 7.5 or so on Alexa). Had to tweak the neutrals though, which means they have a bit of a color cast and saturation to them. The work is still in progress. I'll be doing Alexa look library based creative looks as well. 
Z6_alexa_based_LUTS.zip

You make some good points. Some I agree with some I don't.
Photography is not going away (making money at it has already died a slow death). The reason it will still be around is these hybrid cameras are hybrid and will never just go video. To many people want fast AF and EYE AF that Sony is marketing like crazy. So this alone keeps photography alive. 
The Atomos with the Z6 and 12 bit raw is on the table for the guys like me that will use it if and when we need it. The Atomos recorder is the day rate cost of the C200 and you own it. I can get C200 quality out of the Z6 with the Atomos and 10 bit right now.  12 bit Raw ProRes is suppose to be smaller in file size the other raw formats. 
Sony will have a new gimmick with the A7SIII and the market will respond. 
My preferred camera for cost, value and image quality would be the C200. I've used that camera on gigs and it's a great camera. Just not in my price range right now. 

What are you talking about? I own the Z6 and the X-T3 and while I prefer the Eterna profile for video, the Z6 has incredible colors, much better than any Sony I’ve ever used and owned. And stop bitching all over the thread about the “crushed blacks” on the Z6 - use flat profile or me Reid’s z-log or dial it in using Nikons own software and I can promise you the DR is at least as good as in the d750, which I also used to own. That said the z6 unfortunately lacks some incredibly useful features when it comes to video, but good color or wide DR, it has it in spades.

It's been established Slog across miriness cameras are not the same. Nikon has it's flat profile that you can shoot with so I not sure why you mention if you don't have S log? The Atomos fills then gap that you're referring to and I've almost dialed in the setting on the Z6 that gets the flat profile that I want. 
Like you mentioned and I said earlier you can recover almost anything on the Z6 and the latitude is wide. So unless you screw up your setting or are just winging it you have room to work.
The FS7 mkII is awesome and is a workhorse for sure. It's also massive after it's rigged out and the Z6 and BMP4K has closed the gap a little. When Sony replaces the FS7 mkII it will be great day for the rest of us. 

Look at section 7.
https://wolfcrow.com/important-quirks-and-features-of-the-nikon-z6-for-cinematography/
Just add a link in your post. Some open all the way up, some are just a link. Most open from Vimeo, YouTube.

I'd like to share one or two clips, but I'm reluctant as I'm still learning how to properly use resolve and grade. I'm still working on my skills and, once I will be comfortable, I'll post here  flat/before  and an after clips. But what I can say is  that the flat footage is quite neutral, and with only minor tweaks like curves, saturation etc. I really find the image to sing. And that's come from someone who likes what he sees from Canon, Sony, Panasonic, Fuji, BMD...

I've always preferred Nikon for stills (over Canon), and I find all the attributes that make me like Nikon imagery in the Z6 video files. I've also owned Fuji for years, but, for my tastes, I personally prefer more my stills output with the Z6, than with my XT1, XE2 and XT2. I'm mostly a landscape/documentary photographer for what it worth.
Once again, you can read on forums, for example,  that Panasonic colors are not at Canon's level, and a people complain about that. But, I often watch beautiful GH5 stuffs that literally destroy a large part of the things I watch on Canon...  Coming back to the Z6, I maintain what I think concerning the ratio of filmmakers/amateur-first-time-videographer in the available videos at the moment. Yesterday, I was searching for fresh Z6 footage on youtube, and I mostly came across strange framerate videos, awful grading, copy/paste styles or luts that are not adapted etc. applied to lots of Z6 clips.  It really do not praise in favor of the quality of the camera. I do hope that the next firmware will bring more experienced persons to use the camera, and give us a larger amount of great videos to watch.

Just a question :  prores raw is, at the moment, not editable on PC. Do you guys think that it may be possible one day ? I'm eager to try prores raw recording with the Z6, but not ready to ditch all my computer gear to switch to apple (no money for that). Thank you !

The Z6 is already ahead of were the A7SIII was going to be with XQD cards, 10 bit 4K30fps and 12 bit RAW that's coming soon for the Z6. The Z6 also already outputs at a higher mbps then any other A7??? camera. The Z6 will also be able to output at higher mbps in the future with Atomos and it already has better color then any Sony camera. The A7SII claim to fame was lowlight performance and the Z6 already is great in that department. The Z6 also has better IBIS then any other A7??? camera. So if you take the mark that the Z6 is already at the A7SIII has a lot of ground to cover just to be equal to the Z6 (and Lumix S1) that the only thing the A7SIII will be able to do is up FPS to 60 at 4K and then it probably won't be at 10 bit anyway. Why do you think the A7SIII hasn't been announced yet?

You can change and grade out the dark look. Why is this a concern? You raise the shadows up.

Nikon has nothing bigger to protect, as Pany ,Sony and Canon !
 
same as Fuji did...XT3 witn 4k 60p 10bit FLOG internally