Super8

Now that's a funny post.  Since it was directed at me I'll respond.  RED came down to our side now with it's $6K Komodo, so the game has changed.  
I am a happy hybrid shooter and love that gear.   I had a moment watching that Komodo footage and seeing the price.   All most of us want is reliable gears that produces a great image.
And as far as global shutter, you can spell it out ya know, global shutter is really not out in the wild at all.   Go find global shutter footage we can look at and review. 
All of this goes back to cine cameras and how heavy they get when rigged up.  IBIS was never a thought on a cine rig for various reasons.  Cine already figured our how to get the shots they needed.  Massive jibs, car jibs, Arri skeleton steady cam suits, etc, etc.  It's a big market in the cine world.  No wonder they don't want IBIS.  Now global shutter is a different thing isn't it?  It's technology roots go back to film with it's full sensor readout process. 
I'm not selling my hybrid gear because I will still use it. 
Next question is will or can the Komodo be Netflix approved.  

Sure we can compare settings.   A few other love the camera and have no issue with Z6's AF.  

With download ready R3D files 
 

So 4 hour record limit now if you record externally to the Atomos -   Nice!

I much prefer not having IBIS in a camera. It actively turns me away from  a purchase. If i'm going to shoot handheld, its because I want the shot to be handheld and have the associated movement.
On to the Komodo. It's actually a camera that somewhat tempts me. To me the main selling point of this camera is the GS. Motion on the camera looks great. I also like the form factor, It would be cool to have a EVF that makes use of the top monitor. It looks very well built too. Red IQ isn't much of an upgrade on the competition. Red DR is very similar to cameras like the S1H & P6K, just measured differently. Colour science is very subjective but in a properly colour managed workflow it doesn't matter to much. The main things that turn me off the camera are: the slow boot time, menus and UI no 6K 50p. I think the RF mount was a good choice, it seems a lot of the competition don't have access to the mount. If I had a Komodo, I'd have my fingers crossed that the Zeiss release the Loxia lineup in RF mount.  

The new C300 has 16 stops of dynamic range, to go with that raw internal, so I think it will hold its place with the folks that it is targeted at. I thought the R5 sounded too good to be true as a hybrid shooter, but it ended up living up to the hype for me. Yeah I know, overheat gate - but that does not affect me as I only shoot in bursts for video and when I need longer I can do regular 4K or 4K HQ unlimited to an Atomos Ninja. But if this new camera has killer DR it would be awesome to pair with an R5, especially with no need to buy new lenses or batteries. If its similar quality video and just longer record times with no overheating, I will stick to the R5 as again I can just record as long as I want in HQ 4K with an atomos or bursts internal. 

Congrats Jarred!
E : -)

I'm impressed with this footage.  Global shutter? Now that's awesome.
What does everyone think?  Is this going to be affordable ?
 

I don't like what the Aivascope Anamorphic adapter does to this footage.
 

GS is not the same as IBIS.
Global shutter is a complete scan of the sensor where a rolling shutter is a partial scan of the sensor.  
Rolling Shutter affects all movement in my opinion.  We film and live in a 3D parallax world. 
I use a Ronin S because IBIS can only do so much. 
 
 

I'm impressed with this footage.  Global shutter? Now that's awesome.
What does everyone think?  Is this going to be affordable ?
 

This is the opposite of what RED has done with the Komodo.   This is the lowest priced RED ever produced. 
 
 

I don't like what the Aivascope Anamorphic adapter does to this footage.
 

I
Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with  G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere). 

I would add that global shutter is a different creative tool that this camera enables. No matter how small rolling shutter is, you feel it. Seeing this clips made me remind some Jonas Mekas's footage where shake was part of the equation and never a problem. With rolling shutter, his movies would get you sick for sure.

Color, aliasing free, motion cadence, smoothness. incredible. That's where the money is atm. 4K , 6k, 8k are worthless without those.

Might be planning to get one next year with my friend, we got a punch of Canon batteries (it share the same battery as c100), many ef lens, got RF VND adapter and Cfast cards so not going to cost us much except getting the sdi monitor. 

I thought I hit reply to Andrew's comment.  My bad.

Thanks for the Nikon videos and comments.   I don't think you're hijacking this thread at all and your post contain good information. 
Maybe you'll help people understand choices or systems they thought were DOA or systems they thought they had to live with.  
I am very happy Sony pushed media storage options, 4K60p, 120Kp and RAW external recording. 
You produced beautiful work my friend.  Did you record internal or external for the video above? 
 
 
 

My bad. I thought they were for the Z-mount.
 
 
 

Nikon never really upgraded items through firmware either. 
They already paid one for Pro Res RAW.   It kinda defeats the purpose of getting the Pro Res RAW license.
The market in 2020 is dictating 4K60P.  Nikon didn't follow the market with 4K 10bit external.   I don't follow your logic about Nikon's decision making process.   2018 said they were thinking differently.

My bad. I thought they were for the Z-mount.
 
 
 

Well, one of the reason I like z-mount is that theoretically it's the only mount you could adapt any lens to. I mean it's the shortest flange distance of 16mm, and the widest diameter (55mm). Techart already has a sony e to z adapter that works. And Even Canon RF and Panasonic L mount could be adapted.

You are 100% correct.  The Z6 is much better than what's portrayed on YouTube.  People on the EOS don't know what they're missing.  It's all marketing.  This is what I hate about Sony marketing.  It's to the point that it's false and hyped up.  It's great for the Sony side but it takes down a company like Nikon.  That's the dishonest part.  Have people lie about the Z6 camera so it has a poor reputation.
Nikon pushed the limits of video quality that we expected, no reason they won't do it again.

Is that your footage?  Good work if so.
My prediction for Nikon is 4K60p 10bit internal.   120p external and full sensor readout RAW external.    They already have great AF in photo's and video.  They already have great color science and great glass.