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Hi all, Very long time lurker, first time poster. I’ve got my z6 in hands since the beginning of the week, and thought I could share some first impressions. Bought it in kit with 24-70s + ftz + a free XQD card, and a 50 1.8G. There was a good sale in a big French store, and I managed to buy it with almost a 550€ saving (regular price was 3099€ ; xqd reg price = around 180€ ; sale was a lense + a mirrorless = non negligible discount % ; 50€ cashback for the 50 1.8G). Here are some first impressions, after a couple of short hands on tests: PROS: Handling is great, especially the grip. Its feels like a “mirrorless dslr”. It’s build like a tank, and I’ll certainly feel more confident with it in the field, compared to my former fujis Button layout is OK: I can operate with only the right hand (“i” button, menu, iso etc.) The viewfinder is gorgeous, big and bright. Same for the rear lcd screen Touchscreen function seems well implemented, but I need to use it more The AF seems OK for my use, which implies landscape/nature and documentary photography. Manual focusing is really great, both in photo and video Video AF is great with the native 24-70s, but I did not explore it much, so I can’t tell more. It seems less effective with the 50 1.8G adapted with FTZ The dedicated video and photo modes that keep the settings in memory is just perfect ! The 24-70s kit lens is really a bargain! Very sharp, small form factor, convenient etc. For longer lenses, I believe the 300PF, the new 500 and zooms like the sigma 100-400 will pair wonderfully with Z serie cameras. Image quality in video surprised me in a good way. I quickly tweaked the picture profiles, and it appeared to be wonderful, even at high iso. I’m used to fuji gorgeous output right out of the camera, in video mode, but I think this one will be a step above. Really. The IBIS is quite effective, in fact more than I hoped for. With the 50 1.8G adapted, which is supposed to lead to only 3 axis, I manage to obtain a really steady image. Impressive in fact. I watched videos on youtube, with awful funky stuffs, like wobbles, kind of warp effects etc. and people in the comments moaning about how bad the ibis is compared to the sony a7iii. I've tried to replicate this... with success : with the Electronic VR turned on ! With IBIS alone, it's perfect. And I don't know why, but in those videos I saw, they said the Electronic VR was turned off. I don't think so... CONS: The FTZ design is… questionable! The bottom with the tripod screw attachment is longer than the camera body. Thus, making the use of arca swiss plate on the camera with the FTZ attached complicated. A turn around seems to use a Peak Design “micro” plate, which appears to be just well sized. Anyway, I’ll attach my arca plate to the FTZ, and won’t bother much. In video mode, you can’t have both the histogram and the horizon level at the same time. I have to press the “disp” button to bring on the histogram, set my exposure, and press again until the level appears. I hope for a firmware update politic à la fuji ; a dpreview forum member explained that he talked with a Nikon Z development team member, during and event, and they are aware of the fuji successful firmware politic, and will try to offer the same. Fingers crossed! Another firmware-able fix problem (i hope): zebras only work in autofocus mode. If I switch the lens on manual focus, zebras disappear… I need to read the manual more, to check if it is setting relative or not. A lot of people are complaining about hot or white pixels on the sensor on brand new Z cameras. I got that too. An easy fix is to launch the sensor cleaning via the menu, two times in a row. It seems to trigger the pixels mapping stuff. Worked for me! Others are complaining (see the photographylife’s review of the Z7 and dpreview forum) about the coating of the grip peeling where the fingers are, close to the 2 function buttons. From what I understand, it affects people with large hands and long nails. Personally, my fingers don’t even reach this area… so, I hope it’ll be OK ! Video AF with the 50 1.8G attached, as I said before, is not really good. But, it’s a right out of the box test that I did, so maybe if I dive into the menu and the manual, I’ll find a way to make it better. Anyway, as a result, the 50 1.8G is always trying to focus, and seems to fail a lot, which leads to a lot of loud “buzzing” noises. That’s all! Before I choose the Z6, I was shooting with only a fuji X-T2. And, before that, with an X-T1 + a GH4 (and before that… only photography with a Nikon D610). I’ve been shooting with my backup LX100 since the beginning of 2018. Not enough time and a will to spend my energy to learn more about editing, grading etc. leads me to be cameraless for months. I ditched my X-T2 because I was unhappy with the photo output (as a landscape photographer), not very fond of fuji colors (except for video… don’t know why, but love the colours of the video output, but hate the photo files). More important, I ruined a lot of video shots, because of crappy bug at that time (wobbles and “warp” effects due to the image distortion correction etc.). So, as I started again to think of buying a camera, helped a lot with all of your great contributions here, my choices were: a7iii, gh5, bmpcc4k and Z6. Gh5 and bmpcc4k were ruled out as a first “hybrid” camera (maybe next year, as a second cam), as photo is equally important as video to me (for the moment!). Then I choose Z over a7, because I operate mostly in the mountains (I live in the French Alps and spend a lot of time in northern Scandinavia), with cold, snow, bad weather, and I knew, because of my previous Nikon cameras, that Nikon do not disappoints on the “toughness” side. I’ve read too much stories of dead Sony A7’s during trip with similar conditions as what I operate in (and, to be fair, I've read the same with big 5dmiii and Nikon d810). I know, weather sealing is not such a big deal, but, still… a wide bottom opens on the sony would really scare me! And I’m no Chris Burckard, I do not have 200 sony a7 waiting to replace the ones you ruin during an arctic trip! So, here I am with this little Z. Next step is to buy and Atomos ninka V, and some lenses. I’ll read posts from @Geoff CB and @IronFilm, I think I’ll find some great Nikkor lenses ideas Sorry for this long and first post. Hope it’ll help some of you. I’ll be happy to answer questions or try things on the camera if you want. I’ll also share footages. But, for now, I’m taking the camera outside, because it’s sunny and the snow has arrived.

The GH5 is one of those cameras where far more people own one (or more) than are visible from forum posts and YT reviews etc. They are workhorses. Even if no more MFT cameras or lenses are released ever again there will still be many thousands of users making millions of videos per year for the next 5+ years. 4K 10-bit isn't going anywhere soon. There are major networks in the US who still shoot 1080 and broadcast 720, and people watch YT on their phones. My recommendation is to work out exactly what features you require in a camera system, to review your options and then go buy what you need. If you aren't sure about a GH5 vs something newer then that means the GH5 already meets your requirements and so you're just tempted by shiny toys of new cameras. At the end of the day, a camera is a tool to make stuff. Either buy a GH5 and stop worrying about what's around the corner and go make stuff, or keep what you have and stop worrying about what's around the corner and go make stuff. If you're worried about the resale value of the camera then maybe stick with the camera you already own and go buy stocks instead - tech is the worst investment possible

I agree, I have a feeling that these sensors are going straight into the Venice line. And, I agree that we will have a hard time editing them now, but we can keep them for later???? I don’t know... we are constantly looking at gear and comparing, having G.A.S.... and eventually upgrading... May be having one camera like this that will rule them all will stop us from looking, comparing and upgrading... and actually concentrating on content.

I am amazed that you are coming to this conclusion so late, especially after mentioning this "other world" in some of my earlier posts to you (half a year or so ago!). There are unlimited professional productions every day in the whole world, and not even 1% of those people are following, or participate in youtube. Also, when you work on a production, usually have a particular role. It is great to do a lot of things - and I do - but on a regular production (be it a tv show, a film, a corporate, an advertisement), you have to do the thing that you are best, and/or more experienced at. Budgets and timelines are very strict and specific, and there is no time for "education" or even a tiny little mistake. Recently, I have worked with some people that gained "fame" from youtube (and/or wedding videos), and the experience was really bad. They were good enough for their respected trade (youtuber, wedding video), but couldn't handle/understand a normal shooting day with different professionals and specialties. Their advantages? They are coming cheap to the production companies, because they do everything for a couple of thousands of euros (direct, camera, editing, color grading, e.t.c) so a job that usually costs around 8-10.000euros, is coming down to 3-4.000, so the client can get it for 6-8.000, and the production company has a larger profit, and a happier client. In your next quest for knowledge, follow the money, and try to understand how big production companies are gaining, what they do gaining, while most people work for peanuts (well, that is capitalism I guess, but the media business is one of the most profitable in the world, with not a lot of expanses, you do not need raw material to build something, you create money out of thin air!).

I think the new Blackmagic Pocket Cinema Camera 4K goes a long way in keeping the MFT system as a relevant system for filmmakers for the foreseeable future. Maybe not for vloggers, but as far as narrative filmmakers and documentary filmmakers go, it's hard to argue against the BMPCC4K overall IMO.

From same 1/2.3" sensor size (6.17 x 4.55 mm) I'd say 1-stop (f/2.0 vs 2.8) of difference makes the whole (better) deal.

Seems so and and to also grade pretty well: Another comparison: This is even more conclusive:

It's kind of a funny thing because I get mixed feedback about how much the different world's are aware of each other. I can push the point here with people who don't seem to have worked in the industry and not get anywhere, or also have strange feedback from people here who don't seem to understand that you can get cinematic footage without using a grey-card to manually WB or set manual exposure with histograms or false colour, and even if my gopro could do that it wouldn't be practical to do that for every shot when I'm swimming in a lake underneath a waterfall! The guys over at LGG assured me that they were aware of how compromised the real-world shooting conditions are for one-person operations or low-budget productions, especially if there's travel or uncontrolled situations involved, so I think it's an awareness thing and that will range from person to person. Personally, my journey with film started about 20 years ago when I got involved in film through my sister who went to film school and I helped her co-produce a few short films, as well as helping on set and in post with my home recording studio I had for making my own music. I did a producers course, we got a couple of film grants and did the local festival circuit for a few years before she moved away and I let it go. It was only a year or so ago that I swapped over from photos to video for family and travel adventures and I started editing video myself and started learning the specific skills that I didn't have. A few people have been confused by me talking about how a film set is run when on the other hand I look like an amateur moving from photos to video. We all have our own combination of experience and skills. At least we don't have the constant barrage of new people coming in and asking the same questions (that are answered really clearly in the manual) over and over again like they do on the BM Resolve forums!

IMO, not really if it looks like Sony footage. I don't care how many Ks are in it.

What it doesn't address is carrying another expensive disposable device for people that live on their phones. I just don't see many teenagers carrying this to do something their phone already accomplishes. There are apps that will do exactly what you're talking about with video for instant sharing, and no need for the Osmo, since everyone will still have to carry a phone. Like I said, cool what they're doing, just not sure who its aimed at. Chris

This is because they are doing something that they shouldn't There's nothing wrong with the skintones of this camera, if you use the proper settings and profiles. I'n enjoying the dynamic range also.

Have fun with that in post. Personally I’ll be happy with 12 bit Raw in downsampled 4K 24p. I doubt this sensor will see the light of day in a hybrid.

I think he misses the point at the end. Neither of the cameras he mentions are FF with 10 bit output. Iirc only the Nikon Z can currently do FF 10 bit out? Personally, I’m liking the output from the Z more than the competition right now. That might change. The new Panasonic and Fuji offerings look compelling. I wonder if Sony will sit this one out? I don’t think they’ll have a choice but to answer.

https://***URL not allowed***/swit-cm55-affordable-lutenabled-55-monitor/ Looks really promising!

100% agree. The camera is a tool, the artist is the behind the camera. I have been out shooting with my EOS 500D. I plan on practicing my Mlogs and such on my other cameras until I get my act down then use something better for the final product which most people will watch on youtube in 480p ?. That said, it just seems like the Pannasonic S1 looks like a FF GH6 regarding rumored specs. So where will a MFT GH6 fit in?? All in all I dont really care about the camera body, its the lens system thats most important to me. My eye and the cameras eye are the most important parts of the equation. I'm willing to spend two or three times more on the lens than the camera. But I do love those wide angle shots of the mountains and a FF does that better. But I have to hike there and a MFT does that better. Its all about finding the best compromise.

The GH5 is getting on a bit now but is still delivering top notch image quality due to it's internal ( and external at 60p) 4k 4.2.2 10 bit codec. If you can't get excellent footage with this then your problems is not with the camera. Add to this the superb IBS and general ergonomic usability other manufacturers are still playing catchup. If anyone is worried about getting stuck in an M43 lens system then just get a speedbooster and use APS-C/ s35 or full frame glass. A BMPCC4k is a cheap addition to any GH5 based system as it adds RAW, 60p internal and low light capability but it's not IMO a replacement.

You can see the pricing here: https://www.lensrentals.com/rent/nikon-z6 It is a pretty expensive rental, but, that's because it is brand new. I usually don't splurge and rent the 'latest & greatest', and I always buy used or refurbished equipment, but, I was hoping that the Z6 might be the hybrid camera that does a great job at both stills and video, so, I was anxious to handle one. Reviews are useful, but, the best way to know if a camera will work for you is to have it in your hands. I have a D750 that I use for my daughter's swim meets. I need a FF sensor since some of the pools are not very well lit, and I need a minimum SS of 1/800 to freeze the swimmer's motion. Before I got the (used) D750, I tried using my u43 gear for swim meets, but, it was just too noisy. I could get some OK shots if I slowed the shutter speeds down to 1/200 - 1/320, but then the swimmer's arms and legs were always blurred (but sometimes the swim caps were sharp). A couple years ago I rented a d750 and 70-200/f4 for a league champs swim meet, and was amazed at how mu ch better the results were than with my GH3. Almost every shot was fine. BUT....it is impossible to take useful video with the D750. So, at the next championship meet, I rented a Sony a7r2 and Sony's 70-200/f4. It was nice to be able to take good video with the a7r2, but, what a let down as far as performance! It was SLOW AS MOLASSES! I missed way too many action shots because the camera was buffering and not ready to shoot. This especially happened if I took a video clip and then wanted to take some stills. So, after that experience renting the D750 and then the a7r2, I watched e-bay for months till I got a great deal on a D750. Since then, I have slowly acquired some nice (used) Nikkor glass. I now own the 70-200/2.8 G VR II, and the 300/f4 PF and they work really well for swim meets. I was hoping that the Z6 would be able to do as well as the D750 in stills, and also give me great video, in one camera. I've not done a lot of testing with it yet, just one day. The video looks quite good, BUT, the AF-C for stills is a huge letdown. In my opinion, based on some testing I did today, the Z6 will not satisfy my use case of action photography (swimming). The AF-C is just very poor. Hopefully, in a year or two Nikon will release a mirrorless camera with great AF-C, or at least one that is as good as the D750, but, right now... Sorry to ramble on, but, those are my first impressions. I'm quite disappointed by the continuous AF on the Z6. For a simple AF-C test using [dynamic area AF], I tried to take a sequence of shots of license plates on passing cars on a residential 25 mph road. I got very poor results from the Z6. With my D750, I get almost 100% in focus (except for when the cars are VERY close). With the Z6, the in focus rate was more like 15-25%. I tried different AF-C modes like [Wide Area S] and [Wide Area L] and got similar results as with [dynamic area AF]. Very poor rate of shots in focus. So, I don't think I would trust the Z6 for action photography? Apparently that is the same reaction from Gordon at Camerlabs (but his review was of the z7, I was hoping the z6 would have better AF-C) https://www.cameralabs.com/nikon-z7-review/ As an aside, for AF-S the Z6 did fine, but NOT AF-C.

Yes. But, "ever" is a really long time.

Sites and resources: The first place to look for Resolve info is the 1000+ page manual, which is excellent. It answers most questions if you're learning Resolve. BM forums for Resolve: https://forum.blackmagicdesign.com/viewforum.php?f=21 There are people there who use Resolve all day every day, as well as newbies asking the same questions over and over.. a great resource. LiftGammaGain.com forums are the best place to find professional colourists.. https://www.liftgammagain.com/forum/index.php LGG sub-forums of particular interest are: Colour: https://www.liftgammagain.com/forum/index.php?forums/color.9/ Looks: https://www.liftgammagain.com/forum/index.php?forums/looks.49/ Resolve: https://www.liftgammagain.com/forum/index.php?forums/resolve.36/ Lowepost is some excellent free articles and good (but not very busy) forums: https://lowepost.com Intermediate Codecs comparison table (very useful reference for proxies etc) https://blog.frame.io/2017/02/13/50-intermediate-codecs-compared/ PostPerspective is about post-production and has some interesting colour articles: https://postperspective.com PremiumBeat has some interesting articles: https://www.premiumbeat.com/blog/ MixingLight is a paid site but has some free resources worth checking out: https://mixinglight.com LUTcalc is a plugin that generates LUTs for converting between colour spaces and gammas, and although in Resolve I'd recommend using the Colour Space Transform OFX plugin over a lut (the plugin doesn't clip data like LUTs do) this LUT generator has a few colour spaces that the Resolve plugin doesn't have, eg, GoPro, so it has its uses: https://cameramanben.github.io/LUTCalc/LUTCalc/index.html

All I want is Phase Detect AF for video 4k on a MFT body. Olympus makes great glass and has amazing IBIS and color science. Would love to use one of their cams for 4k video....but I want good AF!!!

I used this book and though a bit dated I’m terms of software, the concepts easily translated to FCPx’s newer color correction tools. Lots of fundamentals and more importantly the why in addition to the how. I haven’t seen a tutorial video that’s better than this book. I used the included source footage and downloaded lots of test footage, like the Blackmagic P4K stuff, for extra practice. Good luck. Chris https://www.amazon.com/Art-Technique-Digital-Color-Correction-ebook/dp/B00B3SITHE/ref=mp_s_a_1_1?ie=UTF8&qid=1541643928&sr=8-1&pi=AC_SX236_SY340_QL65&keywords=color+correction+hullfish&dpPl=1&dpID=51I5US-LKLL&ref=plSrch