mtol

1927 doesn't really apply here. I'm a solo operator doing run and gun doc work, and I want the most unobtrusive and functional gear I can afford in 2025. I'm curious what peoples' mirrorless rigs look like where XLR input is a priority outside of the Sony and Panasonic systems.

I've thought about this and it is appealing on some level, but having to power multiple devices is still a drawback for me. Still, I do wonder how people are rigging up other systems - other than Sony / Panasonic - for run and gun sound, with the Tascam XLR shoe adapters seeming like a less than ideal setup.

Is there an audio solution for the Nikon Z6III that lets me input XLR audio (not to mention record in 32 bit)? Without this, they're not really comparable cameras for my use case. Given though that this thread is about pricing, I'm frustrated obviously that the price is so high - but like my S1 and my S1H, I'll pick my S1II up once it hits 50% of MSRP on the used market, which seems to happen pretty fast for S bodies. It is frustrating that the tarriff premium seems slapped on EU and Canadian customers as well.

Also from CineD "So here I am, happily setting up the camera for ProRes HQ, C4K, 4:2:2, 2.40:1 (4096×1728) internal recording, and what I noticed while looking at some family test footage is that the material looks a bit “lifeless”. I mean, it is beautiful and crisp, but much too “digital”. A short call with my dear colleague Gunther, who conducted our lab test, and I was able to confirm that what I see visually is also evident in our lab test. After a short discussion, we agreed that this camera is truly suffering from extensive noise reduction implementation in ProRes internal recording mode. This is why I switched to ProRes RAW (HQ) in this test." I'm mostly interested in the H265 and H264 codecs to keep files sizes reasonable on documentary projects. I hope these are not overly detailed too.

I want one if the video isn't overly sharp in the details. I will wait and see though. I expect sales will not be super high, but being already set up with L-bodies this is a compelling camera.

I would tend to disagree with a lot of users here. The price seems outrageous for what you get, but I do think a more compact S1 style image with lower rolling shutter and a body recording 32bit audio would basically check all the boxes I could think of needing. I don't need to chase other features. I do worry about over-sharpening though, as was the case with the s5II.

Picked up a Contax Zeiss 85mm 1.4, my first 85mm, and I cannot believe I have neglected this focal length for so long. Absolutely loving it so far.

I have some experience with the 15 1.7 and while its sharp and tiny with nice color rendition I think it's best as a kind of point and shoot lens for the system. It's nice enough but I wouldn't use it for serious video work - it lacks good manual controls and character. No comment on the Sigma, but my highest recommendations for the Voigtlander 17.5mm f0.95 if you're looking in that focal range. Tons of character wide open, tack sharp stopped down, incredible ergonomics and manual control.

As a Canadian I have always envied US prices! I think that has changed!

"Blackmagic PYXIS 12K Camera Price Increased by 32% to $6,595 in the USA Due to Tariffs" via CineD Full article: https://www.cined.com/blackmagic-pyxis-12k-camera-price-increased-by-32-to-6595-in-the-usa-due-to-tariffs/ "It has only been two days since the announcement of the very promising cinema camera Blackmagic PYXIS 12K. The initially announced price of $4,995 for the US market is now corrected on the manufacturer’s website and shows $6,595, which is a 32% increase caused by the new reciprocal tariffs imposed on imported products in the USA."

I have a friend who still shoots GH5 professionally and his clients are happy. Really the GH5 represents insane value these days.

There is something to be said about how my S1 still comfortably covers all my needs 7 years later...

Can anyone recommend a lens tech in Montreal or Toronto Canada? For a Contax Zeiss 35 1.4 with an aperture issue and loose barrel.

What's the issue with adapter performance? I have the Sigma MC21 and Fotodiox Vizelux EF-L and I haven't had any real issues with either.

Also a previous wave of cinematic experimentation. Turns out its been done.