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decide yourself ) (shot this handheld with xt2)

Imminent.

It must be my limited English skills, but why use "sterile digital look", thus giving a pejorative tint ?! I have always enjoyed your tests, but since you circled back to canon, I feel you are quite negative toward other stuff, including stuff you have tested and liked recently. If I recall, each of those cameras you have tested the last months (quite a lot !) , received a high "score" in your posts : gh5s, xt3, z6... Of course, you compare them to your C200, but every time, when the cameras were in your hands since several days, you were nothing but positively surprise by the quality. I might be wrong, but I wouldn't be surprise if in the next months, you try a panasonic S1, a future A7siii, a Xh2, and jump from one camera to another, the newest erasing the qualities you have found in the previous. I don't want to critic, or sound like and ass, but it's my feeling, reading you on a lot of posts. Concerning the cinematic aspect of the imagery, and the Canon special sauce attached to it, seriously, the only camera that match this so called magic, to me, is the 1DC (5d iii ML raw excluded !). But my tastes and my eyes must be crap ; I'm open to that conclusion ! The image out of a 1Dxii is seriously good, with a "je ne sais quoi" (yeah, the only words I can write without making a mistake ? ), that you may called organic, but not close to the 1DC. In fact, we can argue that Canon got a special mojo, given by the motion cadence or whatever technical stuff, but I've seen a massive amount of shitty video shot with Canon, 5div, 1dxii etc. I have also watch beautiful cinematic footages shot on a GH5, which seems, for some persons, to be the opposite of Canon in cinematic, organic etc. terms. I'm a newbie in video, but not in photo, and I can say that we ear the same from old photo snobs, that describe the Canon mojo as the pinnacle of image quality, thus throwing away everything else. Too bad, nowadays, the majority of photos and videos are ruined by presets sold buy the instagram influencers and luts by youtube stars, so, whatever magic those cameras got, it will be crushed ?

It frustrating really because the cost of making an E-ND is actually quite low. Aputure do a version of their DEC controller of course from EF to MFT or E but there is no pass through for AF which is not as much of an issue for the Pocket 4K as it doesn't do it for any adapted lens anyway but is for other MFT cameras not to mention the Sony ones. There is certainly the space available within an EF to M adapter or a Sigma MC11 EF to E adapter to house one and I'm tempted to pick up a really cheap EF to E adapter to modify and put my own in. When you want a focal reducer involved though then there is just no way to fit one in which brings us back to the front mounted option. You may remember this thread from last year And, well, from today's "Tales From The Lashed Together Protoype Lab" I offer you this that suggests the idea may have been dormant but not forgotten

IMO because it is above understandable for mortal, uninitiated mind. Obviously you have yet to learn most profound true - cinematic image is just that coming from Canon, and although it may have some subsidiary following attributes as "fat" or "natural", all of that is actually misguiding attempt to express something inexpressible that belongs only to especially gifted perception. Personally, after struggling to understand and carefully reading perpetual states - in almost every thread - frome most passionate gurus of that question, I have found logical peace in such formulation: where the specs stops begin cinematic image, exclusive companion of uber-specs Canon.

Sony are probably in the best position to offer an E-ND in hopefully A7S3. They would do such a killing. Part of me still really wants an FS5 for the Auto-ND feature & raw HFS. I feel like that camera might sort of become a hidden treasure as its value starts to plummet in the affordable range.

FCPX coverage coming up (I have it now). This is what I've learned thus far: In FCPX you will want to use the Custom Lut utility built in, rather than a plug-in to apply GHa (beware mLut). Also, for correcting WB, use the temp/tint controls in the Color Wheels in conjunction with the Vectorscope. Avoid the Basic WB eyedropper (more than just WB). The same basic principles and order of operation in Resolve and Premiere apply to FCPX.

A few years ago most of the people here owned a Canon dSLR, I shot 2 hours long documentaries with a 60D back then, now, how many from the hundreds participating in this forum own a modern Canon? If you can not see that Canon is loosing, slowly but steady, a market that owned at an absolute percentage a few years ago, then what I can say. 1DX2 doesn't "dominates" a lot other segments. I wish we had real numbers here, but again in my working environment, people are using A7sII and GH5 cameras as productive video tools, while I haven't even seen even one 1D camera, ever. The most popular Canon for video these days (between photo/hybrids) is easily the 80D, and that says a lot about where Canon is today. Imagine how far a competitive Canon could take our whole segment forward. Sony, with all the mistakes they did and all the R&D they did in the backs of paying customers - with all these sub par cameras that offered until recently, did a great job for bringing cheap full frame camera to the masses. Before the RP, you could buy a A7 or A7ii for less than middling m43 cameras. Panasonic brought great video performamce to the masses and created dependable pro video cameras (GH5/s), Samsung did their thing for a few years, Fuji is offering top APS-C performance for less $€£, Nikon is finally playing all their cards when it seemed most likely that they were destined to fold. They all trying to add something up. I respect your opinion and the way you express yourself in this forum, by the way!

I can feel a lens test coming on... I'm only waiting on three more lenses and then I'll do it and share with everyone. I haven't completely worked out how I should do it, any specific advice? I'll shoot RAW stills on my GH5 with each lens at a few apertures - probably wide open, f2.8, and f8. I find that the most useful lens test is at an identical aperture at least a stop from wide-open for any lens as the differences aren't to do with aperture settings or how sharp they are wide open, and f16 is getting into diffraction territory. The goal of the test for me is to compare the look of modern budget lenses vs modern high quality lenses vs vintage lenses to find the aesthetic that works for me, and work out which lenses I want to keep. Lenses: 8/4 SLR Magic 14/2.5 Panasonic (focus-by-wire) 14-42/3.5-5.6 Panasonic (focus-by-wire) 17.5/0.95 Voigtlander 28/2.8 Yashica 35/3.5 Takumar 37/2.8 Mir 40/1.8 Konica Hexanon (x2 - not shown - still in transit) 40/4 Lomo (lens from popular non-ILC Russian pocket film camera) 55/1.8 Takumar 58/2 Helios (x2) 135/2.8 Minolta 135/3.5 Petri (not shown - still in transit) 135/3.5 Takumar 150/4 Takumar 200/4 Takumar 200/3.5 Minolta And yes, I know I'm not winning any Instagram-worthy-photo competitions ???

Maybe because suddenly on every single topic about hybrid mirrorless cameras somebody (from above perspective) referencing exactly "cinematic" image as exclusively default property from manufacturer that takes minor part in cinema (and cinematic-image defining) industry?

No. I fly 100k+ miles a year all over the world with my GH5 and other cameras and I never had that type of issue or heard about this from other travelers. This is a non issue.

... for me interesting because of attempt/goal to touch everyday/transient metaphysics through aesthetic of the most austere hyper realistic images - that then I'd call "pure phenomenological poetry" Brief and full of interesting remarks dialogue between Cuaron (as own dop) and Lubezki https://www.indiewire.com/2018/12/roma-emmanuel-lubezki-alfonso-cuaron-cinematography-1202028167/ E.L. - "It does produce a feeling — hard to describe — the camera becomes almost like a consciousness revisiting the story. The camera knows something the actors do not. It’s very powerful... It feels like the camera and the cinematography are not there to illustrate; they are the film itself." A.C. - "It’s a ghost of the present visiting the past, objectively without getting involved, just observing, not trying to make a judgment or a commentary, that everything there would be just the commentary itself."

I'm not sure how much quality you would be losing with the element in that adapter but I suppose its worth a go for that price. If it doesn't work out, the path would probably be to do the Leitax F mount conversion for them (its reversible) but if you have a few lenses then at €64 per lens the price might begin to stack up. You'd have to check compatibility as well. http://www.leitax.com/Zeiss-Contax-lens-for-Nikon-cameras.html Your other options then would be to get the Metabones C/Y to MFT but its only 0.71x. Or alternatively join the EF club, which would be the lowest cost if you bought a generic one, but again you will be likely be losing some reduction unless you sprung for the Metabones XL etc.

Yeah, but that's kind of cheating because the 8-bit on the C200 is way better than it should be

Definitely and I'm mostly in the same boat. However for those who do need it there's now an option in a very compact cheap package, with a pretty remarkable full frame sensor.

@kyeyeah I was worried about the slower aperture at first too, especially since, prior to switching completely over to contax, I had a rokinon set of lenses that opened up to t1.5... But surprisingly it has not bothered me at all, I always use it on a speedbooster as well for those extra stops of light. The range is pretty sweet on the gh5, especially combined with the extra tele conversion when needed. @JordanWrightI have had to file down the backs of all of my CZ lenses. There's a tiny little latch for the aperture that sticks out just a tiny bit too far, and was preventing the lens from properly attaching, but it's literally 30 seconds with a dremel tool to file it down just a hair or too, very easy.

Oh yeah don't get me wrong I never claimed Canon was the popular choice for video these days.. it is clear from this forum alone that people have shifted their interests towards Panasonic, Sony, Samsung.. and more recently Fuji & Nikon. If anything Canon seems to always disappoint the video community. I understand why, however as an actual user (one of the few perhaps around here) I try and give out my perspective as to why I've chosen to stick with them. In a nutshell, I guess it could be summed up to the overall ecosystem, the reliability, the ergonomics & the mojo from certain exotic lenses combined with their color science. A fair comparison I think could be Apple (vs Android/PC). A lot of the criticism is similar as well: overpriced, old tech, limited closed system etc.. But in actual use, sum feels greater than parts and that's all i'm really trying to say at those obsessing over charts & specs. One thing is for sure, the competition in the FF mirrorless market is pretty fierce now and it's only going to be beneficial to the consumer. It's no coincidence Sony announced their Dual Pixel-like AF improvements for A73/A9 or that Nikon just unveiled the details of their 12-bit RAW output (I'm hoping they take it a step further and add it internally, now that would really put the pressure on Sony/Pany/Canon).

That's my 35-70mm in the picture so that one definitely works The other ones I have are 28mm f2.8 50mm f1.7 85mm f1.4 135mm f2.8 28-85mm f3.3-f4 I've got no problems with any of them on the Speed Booster Ultra 0.71x or the Aputure DEC Lens Regain. I'm wondering whether there may be issues with other types of focal reducer ?

Their colour grading tools are so limited that some might say you can only use LUTs in FCPX ???

Yep. IMO the XH1 is a vastly underrated camera. I'd still take my XT3 for video, but for stills, I prefer my XH1. The XT2 however is now incredible value, especially for anyone not earning a living from their kit and doesn't need that last nth degree of capability.

No rush! There are higher priorities and hopefully what we learn here will be useful for a long time to come

The Pocket 4k will probably be my next purchase in 2020. The URSA mini 4k is tempting too but its hard to beat the Pocket's size and price point, and image quality for that matter. The FS700 odyssey combo is amazing but I don't think I'd like the ergonomics. There is a thread going on DVXuser about if the FS700 is worth it in 2019, everyone was still happy with theirs and weren't even planning on switching, that says a lot.

About the S1's dynamic range....I have two questions: 1.) What in the Hell is this mystery sensor? Who's tech is in it? Some think it might be an IMX410 (A7-III & Z6) Meanwhile, some are saying its a completely brand new sensor that nobody has ever seen before. There are rumors it's NOT even a back side illuminated chip. Samsung IsoCell?? 2.) Panny might very well calibrate it's video A/D conversion and raw readout to NOT exceed 12stops. Supposedly, this could have been a demand that VariCam managers had placed on these S cameras. You can bet your life that the VariCam group did NOT want a high sensor read clock speed (intentional rolling shutter) and wanted it capped at 12stops. Who knows? We will find out more in the months that follow. On the GH5/GH5-S,...HLG matches VLog-L in dynamic range.

I love this look. BTW, had a little delay as weather, deadlines and more work piled up on me. I'll do my best to shoot our comparison shots this week after work.

I will take a test tomorrow with oled on/off with a color checker and see if I can determine a difference. Will post back in 24hrs.

Yes normal gamma. I also thought the OLED setting only applies to the monitor but it seems to shift saturation in the actual recording to my eye and also to the monitors in FCPX. For the Hue, I had never adjusted it prior to trying to match the two cameras, but found the eterna profile to shift much cooler than the NX1. I’m sure the same could be accomplished with altering the white balance as well. I think the Fuji cameras have comparable white balance to the NX1 but it trends a little cooler. overall I love the match I found. I haven’t tried matching in premiere or davinci yet. I’d use it on a job for work if I had to.

I can guarantee you the pros that invest in a 1DX2 DGAF about DXO sensor ranking. A7R2 is a high MP landscape camera. Apple & oranges. Canon's strength imo is in their top glass, ecosystem, ergonomics, color science, reliability etc. They develop everything in-house which means a slower camera refresh rate than the competition (who all buy their sensors from sony and outsource various parts). But 1DX2 is still the only FF camera that shoots DCI 4K60p (albeit at APS-H) and was the first hybrid to do no crop FF FHD 120fps (beating Sony to the punch). Even if the Pro R model were to recycle 1DX2 sensor/specs it would still be a pretty solid release even for 2019 standards. Canon however have heavily hinted towards a new sensor (as well as confirmed IBIS) so I expect the pro model to well surpass 1DX2.. EOS R / RP were clearly rushed and had to recycle 5D4/6D2 sensor tech. I expect Pro R model out by 2020 alongside 1DX3 just in time for Tokyo Olympics.

Thank you so much @kaylee for the kind words! I def got more energy to make more now And I'm going to use "art practice" from now on, haha. Great to hear you feel better! I've managed to make people do quite a few spit takes. Today I told my fiancée that just like I've got a face only a mother could love, my humour is the kind which only can make a partner laugh . She got a bit upset and said: "So you think I have bad sense of humour?" and I replied: "No, you just got bad taste in men". She almost fell out of the chair laughing xD

Somehow, I think this thread is missing the point. Personally, I think that any camera company that brings out a FF mirrorless (or DSLR) for US$1399 has a whole lot of room for excuses that its functionality is crippled relative to higher end products. (and, lets face it, the EOS-RP isnt even aimed at the typical demographic of a forum like this (or even say DPReview.)) The REAL question is whether Canon can actually come out with a 'high end camera' with specs that are competitive with its competitors - or whether there is a REAL 'Grand Canyon sized gulf' in technologies here between Canon and the others. Personally, I simply dont believe that Canon can come out with a competitive high end product because its technology is so far behind (and falling further and further back.) The reason I say this is because Canon hasnt brought out a single competitive high end ILC in the last 5 years... Take a look at their flagships EOS-M5 7D mkii 5D mkiv (5DSR) EOS-R And while some 'might' consider these cameras competitive from a 'video' perspective (due to color science and DPAF) they certainly dont come close to being competitive from a stills perspective. I suspect Canon's strategy is simply to dominate the low end of ILCs through low prices, economies of scale, fully depreciated and low R&D - then leave its major competitors to fight over the high end.

Yeah https://www.nikonusa.com/en/nikon-products/product/power-packs/ep-5a-power-supply-connector.html https://www.nikonusa.com/en/nikon-products/product-archive/power-adapters/eh-5a-ac-adapter.html But you can probably get like a Andoer / third party more traditional plug one... https://www.aliexpress.com/store/product/Andoer-EP-5A-DC-Coupler-Power-Connector-EN-EL14-Dummy-Battery-Adapter-4-0-17mm-DC/234552_32823367950.html -- https://www.aliexpress.com/item/EP-5C-4-0mm-1-7mm-EP5C-EP-5C-DC-Coupler-EN-EL20-EN-EL20-dummy/32819120166.html

I have the W-04 and I've found it to be very reliable. I have used it for video a lot less so than stills but when I was testing it the transfer speed has pretty much been as described by Toshiba so a 100mb file would be about 30-45 seconds. I can't really comment on other people's experience as there are obviously quite a few variables involved with people's setups but if I take what people said about the eye-fi cards and extrapolate that (i.e. lots of people just couldn't get it to work at all but I found it generally OK within reason) then it doesn't surprise me necessarily that there would be issues reported but I would venture they are as likely to be infrastructure related rather than the card itself. One factor that can also interfere of course is over conservative power saving settings on the camera putting it to sleep during long transfers. What I can say though with certainty is that the FlashAir is leaps ahead of the EyeFi cards on every level. The tinkering aspect is a godsend for specific customisations (or custom applications in my case) but is absolutely optional and the system works fine as is with the native app.

I love me the Contax Zeiss lenses. Had a set of f/2.8s already (representing the Distagons are the 25, 28mm and 35mm. Then there’s the Tessar 45mm (which kinda is a pancake lens). For a bit more reach the Sonnar 85mm and 135mm), except for the 50mm which is a Planar f/1.4. Just a few days ago I've gotten a super mint and boxed condition 28mm f/2 'Hollywood' in to really bring the Contax Zeiss-theme home. A bit harder is completing a Summicron-R set, of which I only have the Leica Summicron-R 35 and 50mm f/2 E55 ('Leica' badged, but can be found cheaper as Leitz, Leitz Canada or Leitz-Wetzlar editions). Of course you can go the opposite direction with e.g. a set of Pentax Takumars, Canon FDs or Nikon Ai(-s). Or what a lot of us here love as well, Russian Zenit primes... think: HELIOS, JUPITER, INDUSTAR, MIR & TAIR ones. So much love for vintage lenses. Built like tanks back in the day and so full of character. And... might be more interesting to buy an oldschool 50mm for under a hundo than one of the new ones that costs you a kidney. There's still great stuff to read up on: https://www.vintagelensesforvideo.com/ , I implore you to check it out! E.g. not the sharpest, but look at that mojo...

I've had a hands on with the S1 and S1R and there is a lot to like about them. The viewfinder is amazing, menus are well laid out, button and dial layout is fairly sensible (though I wish the playback button was on the right hand side of the body). However the ergonomics of a camera is something that's very subjective. Being that I have small hands after being out shooting with the camera for around 30 minutes it became painful to hold as the grip was too large (for me). Also the body cap is really tricky to take off the camera as it's really thin and hard to get a grip on it and that's with my deft pickpocket sized fingers! Thankfully I rarely ever really interact with body caps once a lens has made it's way onto the body, but it is still an ergonomics issue. By the same token I know people with larger hands have problems with the size and shape of the Sony cameras, which I find the most comfortable to use if the full frame options. It's great that there is choice on the market but it really irks me when people say the ergonomics of camera x are better than y when it's really subjective and personal to each individual. I wish Panasonic all the best as I think they've put together a pretty decent overall package.

I know man got mine with a grip/batteries for $640 usd, that's downsampled 6k video! The A6300 sells for a similar price too.

I'm on a diet so I'm not stockpiling anything at the moment ! The current situation is that with 41 days left we absolutely still don't know what is going to happen so we can't decide on anything. All we know for certain is that the cliff edge is there in 41 days time and the UK will be careering over it but all that remains to be seen is how hard we hit the ground. The worst case scenario is the 'no deal' where we leave without any form of continuity or transition arrangement with the EU and even the best case scenario of where we do have some form of deal will be infinitely worse than the current deal that we have with them. Because the Prime Minister can't get her deal through, due in part to it being pretty poor but also in part because of the lunatics in her own party who want to capitalise on the chaos of just crashing out, then the default position in law is no deal. Its really hard to express just how bad that it is. But when your own government is issuing statements that they are stockpiling body bags and other essential medicines and can't rule out deaths and having to instigate martial law when you ARE NOT IN AN ACTUAL FUCKING WAR then you know its not exactly what people voted for. Although, bizarrely, under some mass delusion there are many, many people claiming that no deal is what they actually voted for. Whatever happens, things just will never be the same again and the fact is that we have sleep walked into this because for 20+ years our national newspapers have been conditioning people to be anti EU by splashing front page headlines of bare faced lies about EU laws. Here is a list of them https://tompride.wordpress.com/2017/12/05/see-20-years-of-fake-news-about-eu-by-uk-press-vote-for-your-favourite-here/ When you just pick a few out at random such as "Church bells silenced by fear of EU law", "EU forcing cows to wear nappies", "EU to ban zipper trousers" or "English Channel to be renamed Anglo French Pond" you'd be forgiven for thinking it was some kind of satire or published by conspiracy theory obsessed fringe publications. But they're real. All of them. And all from our national newspapers. Because no one actually got a grip of them and said "now come on lads, this is absolute shite and well you know it" it just carried on and carried on and when it goes unchallenged it must be true, right ? Which then brings us on to the anti-immigration agenda they were able to keep promoting. That is just ONE national tabloid. But if you think they were acting in isolation, you'd be mistaken because they were all at it, with varying degrees of success in trying to mask the inherent racism in the message. The official Leave campaign thought nothing of pushing an anti-immigration message based around a single country. You can fill in the blanks yourself about why they chose that particular country. The official Leave campaign has been fined by the Electoral Commission for illegal spending and reported to the Police for criminal charges which you would imagine would've been enough for the result of the referendum to be declared void yet for some unknown reason the Police have had the file for several months and not pursued it. Weird, eh? I just can't see how, as a country, you can come back from this sort of insidious shit and the divisions its created for many, many years. Currently, I can't foresee a reason for me to stick around on the Island to wait for that to happen.

How do you like the Century Optics Anamorphic adapter? I’m looking for a simple Anamorphic set up for my 5D3 and it seems like the SLR Magic and Century options are the simplest... other than an Iscorama 36 or 54 but they’re way out of my price range. Btw, which Zeiss 25mm did you use here?

Actually... maybe it will be able to record to dng... I thought I remembered hearing it was for ProRes Raw... but I could be ProRes Wrong.

Thanks for these wise words ! All I can say is that I'm really satisfied with my z6, as it is, although conscious and irritared by some quirks (like every camera eh ?). At first, I wanted to later buy a bmpcc4k, or even a 5d iii + ml for the raw capabilitie and more cinematic/narrative stuff. If adding a ninja v with the future firmware update will bring me close or not too far from to the 2 aforementioned cameras, in terms of imagery, I'll be more than happy. In that case, the ninja v would only be added for specific shots, more planned, with more stuff around, thus the "bulk" generated being completely invisible.

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production. Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

Reading all of these traveling with gear airport horror stories is making my palms sweaty. I recently got TSA pre check as I'll be flying out for a few gigs soon. But this stuff still makes feel stressed. Best I can do is travel as light as possible and hope to not get seperated or hear the dreaded "AYE WHOS BAG IS THIS!"

At the risk of sounding like a shill for Toshiba again, the simple solution for this (and many other things!) is to use one of their FlashAir SD cards in the camera. Their app then runs on an internet connected smart phone or tablet and allows you to browse and copy the images/video off the card and share them straight onto your social media accounts. Crucially, as it operates independently of the camera, this can be done in the background without effecting the operation of it. So you can carry on shooting whilst someone else is operating the app to view, select and copy from the SD card. With the files then on the smartphone/tablet they can of course then be edited if required before transmission to social media. If you setup a public social media account(s) for the event then guests can simply link or copy the posts to their own account. Alternatively, the card can also be setup to ftp directly to a cloud account where guests can access the videos or locally to a wirelessly accessible hard drive.

After getting used to bezelless smartphones, my only complaint would be that the frame around the screen is unnecessary large. They can justify it for a recorder, but for a monitor-only I wish they could make it smaller.

In my searches for vintage lenses to make my GH5 more organic looking I came upon the Contax Zeiss lenses, and then yesterday I found this video... It's basically the dream team of organic classic aesthetic - Contax Zeiss primes, BMPCC, Metabones SB, Tiffen Variable ND. Personally I think one of the lenses is a bit soft for my tastes, but overall it isn't bad. [Edit: actually I think the softness is a combination of missing focus and stopping down too much, so not the lenses]. I've seen better BMPCC videos (lots of talented people used that camera) but overall it should be positively dripping with the look we're chasing. Thoughts?

Hey! I'm back again with another BTS look at lighting. This time with a scene from a short film I shot a while back. I hope we can get as good a discussion as we got going with the last post, so if you have any questions at all - just ask away and let's start a conversation! Link to the lighting breakdown

A friend once told me they purposely leave a bottle of water in their bag, so their gear gets taken to one side and held away from public until he gets through the scanner. Then the security go through his bag, throw away the water and off he goes...

After taking numerous cameras from numerous manufacturers through numerous different airports, I'm going to venture my anecdotal experience of the only risk to your gear going through the scanner being someone "accidentally" picking your bag up at the other end if you yourself don't get through the metal detector fast enough. There are also some airports (Manchester in the UK for example is a bastard for this) where they make their own rules up about what electronics have to be separated out and make you take all of your electronic items out to go through the machine separately which means you can have a ton of very expensive gear sat there on very public display on the end of the conveyor while you are waiting in a queue behind half a dozen idiots who've left coins in their pockets .

? Nikon Z is underrated... It has a lot more to offer & curios about the coming firmware update and other z's like z5 or 9... Imagine the shitstorm if Nikon had 4K crop!

Pretty interesting that so many thought a cheap entry level camera would be more featured than the more expensive mid tier.