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First Nikon Z I'm genuinely excited about. 8K60p / 4K120P. Internal Log, Raw, ProResRaw & ProRes 422 HQ!! No overheating problems and good RS performance. I mean damn could this be the full spec no compromise pro hybrid?! Even the price is a nice surprise. Well done Nikon!

Internal ProRes HQ and internal 12-bit RAW coming in firmware. Nikon is going all out with this for video it seems.

Number of effective pixels: 45.71 million pixels Image sensor: 35.9 x 23.9 mm size CMOS sensor, Nikon FX format Total pixel count: 5.237 million pixels Dust reduction functions: Image sensor cleaning, image dust-off data acquisition (NX-Studio required) : Number of recorded pixels For FX (36 x 24): 8256 x 5504 pixels (size L: 45.4M), 6192 x 4128 pixels (size M: 25.6M), 4128 x 2752 pixels pixel (size S: 11.4M) DX (24x16): 5392x3592 pixels (size L: 19.4M), 4032x2688 pixels (size M: 10.8M), 2688x1792 pixels pixel (size S: 4.8M) At 1:1 (24x24): 5504x5504 pixels (size L: 30.3M), 4128x4128 pixels (size M: 17.0M), 2752x2752 pixels pixels (size S: 7.6M) For 16:9 (36x20): 8256x4640 pixels (size L: 38.3M), 6192x3480 pixels (size M: 21.5M), 4128x2320 pixels (size S: 9.6M) File format (quality mode) NEF(RAW): RAW 14 bit (lossless compression, high efficiency*, high efficiency), size L/M/S selectable (size M/S is 12 bit, fixed to lossless compression) Fixed) JPEG: JPEG-Baseline compliant, compression ratio (approx.): FINE (1/4), NORMAL (1/8), BASIC (1/16), size priority or image quality priority selectable NEF(RAW)+JPEG: Simultaneous recording of RAW and JPEG Picture Control System: Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat, Creative Picture Control (Dream, Morning, Pop, Sunday, Somber, Drama, Silence, Bleach, Melancholic, Pure, Denim, Toy, Blue, Red) Sepia, Blue, Red, Pink, Charcoal, Graphite, Binary, Carbon), all adjustable, custom picture control Custom picture controls can be registered. Storage media: CFexpress card (Type B), XQD card Double-slot: Sequential memory card recording, backup recording, RAW+JPEG split recording, JPEG+JPEG split recording and card-to-card copying Copying between cards possible Supported standards: DCF 2.0, Exif 2.32 Viewfinder: Electronic Viewfinder, 1.27cm/0.5" Quad-VGA OLED, approx. 3.69 million dots, brightness adjustable (auto, manual 16 steps), colour customisable brightness adjustable (auto, manual 16 steps), colour customisable Field of view: approx. 100% up/down, left/right (vs. actual screen) Magnification: approx. 0.8x (with 50mm lens, at ∞, -1.0m-1) Eye point: 23mm from the rearmost point of the eyepiece (at -1.0m-1) Diopter adjustment range: -4 to +3m-1 Eye sensor: Automatic switching between viewfinder display and image monitor display Image monitor: Tiltable 8cm/3.2" TFT LCD monitor (touch panel), approx. 2.1 million dots, 170° viewing angle, approx. 100% field of view, brightness adjustable (11 manual settings) Brightness adjustable (manual 11 steps), colour customisable, horizontal and vertical tilting Shutter type: electronic shutter, with electronic shutter sound, sensor shield Shutter speed: 1/32000 to 30 sec. (steps: 1/3, 1/2, 1, extendable to 900 sec. in shooting mode M), Bulb Time Flash sync shutter speed: 1/250 sec. or slower than 1/200 sec. (guide number decreases for 1/200 to 1/250 sec.). Auto FP High Speed Sync at shutter speeds up to 1/8000 sec. Release modes: single frame, low-speed continuous shooting, high-speed continuous shooting, high-speed continuous shooting, high-speed frame capture shooting, self-timer Shooting Continuous shooting speed: Low-speed continuous shooting: approx. 1~10 frames/sec, High-speed continuous shooting: approx. 10~20 frames/sec, High-speed frame capture (C30): approx. 30 High Speed Frame Capture (C120): approx. 120 frames/sec. Self-timer: Activation time: 2, 5, 10, 20 seconds; Number of frames: 1 to 9; Continuous shooting interval: 0.5, 1, 2, 3 seconds Metering system: TTL metering with image sensor Metering Mode Multi-pattern metering Center-weighted metering: Standard (equivalent to ø12mm), Small (equivalent to ø8mm), Changeable to average over the entire image, approx. 75% center-weighted Spot metering: Measures approx. 4mm diameter, and the metering position moves in conjunction with the focus point. Highlight-weighted metering Metering range: -3 to 17EV *ISO100, f/2.0 lens, room temperature 20°C Shooting mode: P: Program auto (program shift possible), S: Shutter priority auto, A: Aperture priority auto, M: Manual Exposure compensation: Range: ±5 stops, Compensation step: 1/3, 1/2 step changeable AE lock: Brightness value lock system ISO sensitivity: ISO64~25600 (step range: 1/3, 1/2 step), approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO64, approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO25600 Auto sensitivity control is available for ISO25600 with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO102400). Active D-Lighting: Auto, More 2, More 1, More, Standard, Less, None Multiple exposures: additive, additive average, comparative light composite, comparative dark composite Other functions: HDR composite, still image flicker reduction Autofocus system: Hybrid AF (phase detection AF/contrast AF), with AF auxiliary light Detection range: -6.5 to 19EV (-8.5 to 19EV when Starlight View is enabled) *Still image mode, single AF Servo (AF-S), ISO100, f/1.2 lens When using a lens, room temperature 20°C Lens servo: - Autofocus: Single AF Servo (AF-S) or Continuous AF Servo (AF-C), Full-time AF (AF-F) (motion mode only), Predictive Focus AF-F) (motion mode only), with predictive focus drive Manual focus (M): focus aid available Manual focus (M): Focus aid available ・Focus point: 493 points *Still image mode, image range FX, single point AF AF area mode: Pinpoint AF (still image mode only), Single Point AF, Dynamic AF (S, M, L, still image mode only), Wide Area AF (S, L) Area AF (S, L), Auto Area AF, 3D-Tracking (still image mode only), Target Tracking (movie mode only) Focus lock: Press the centre of the sub selector or press the shutter button halfway when single AF servo (AF-S) is selected. In-body image stabilisation: 5-axis image sensor shift compensation In-lens image stabilisation: Lens shift method (when VR lens is used) Flash TTL flash control: i-TTL-BL (Multi-pattern, Center-weighted or Highlight-weighted), Standard i-TTL (Spot) Standard i-TTL (spot metering) available Flash modes: First Curtain Synchro, Slow Synchro, Second Curtain Synchro, Red-eye Reduction, Red-eye Reduction Slow Synchro, Flash Off Exposure compensation: -3 to +1 stops, 1/3 and 1/2 steps available Ready light: Lights up when the battery is fully charged when using a speedlight (sold separately), blinks when warning of underexposure due to full flash Accessory shoe: Hot shoe (ISO 518) with synchro contacts, communication contacts and safety lock mechanism (lock hole) Nikon Creative Lighting System: i-TTL, radio-controlled Advanced Wireless Lighting, light-controlled Advanced Wireless Lighting Lighting, Modeling Flash, FV Lock, Flash Color Temperature Information Transmission, Auto FP High Speed Synchro, Unified Flash Control White Balance: Auto (3 types), Natural Light Auto, Sunny, Cloudy, Sunny Shade, Bulb, Fluorescent (3 types), Flash, Color Temperature Setting (2500K~10000K), Preset Manual (2500K~10000K), Preset manual (6 settings can be registered), All settings can be fine-tuned. Bracketing: AE and Flash Bracketing, AE Bracketing, Flash Bracketing, White Balance Bracketing, Active D-Lighting Bracketing Active D-Lighting bracketing Movie function Metering: TTL metering with image sensor Metering mode: Multi-pattern metering, Center-weighted metering, Highlight-weighted metering Number of recorded pixels/frame rate: 7680 x 4320 (8K UHD): 30p/25p/24p, 3840 x 2160 (4K UHD): 120p/100p/60p/50p/30p/25p/24p 1920×1080:120p/100p/60p/50p/30p/25p/24p*120p:119.88fps, 100p:100fps, 60p:59.94fps, 50p:50fps, 30p:29.97fps 25p:25fps, 24p:23.976fps File format: MOV, MP4 Video compression: Apple ProRes 422 HQ (10bit), H.265/HEVC (8bit/10bit), H.264/AVC (8bit) Audio recording method: Linear PCM (when the video file format is MOV), AAC (when the video file format is MP4) Recording device: Built-in stereo microphone, external microphone can be used, microphone sensitivity can be set, attenuator function Exposure compensation: Range: ±3 stops, Compensation steps: 1/3 and 1/2 steps ISO sensitivity (recommended exposure index) M: ISO 64 to 25600 (step range: 1/3 or 1 step), with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO 102400) increments to ISO 25600. Automatic sensitivity control (ISO64 to Hi2.0), upper limit of sensitivity control can be set. P, S, A: Automatic sensitivity control (ISO64 to Hi2.0), upper limit sensitivity can be set. Other functions: Time-lapse movie, Electronic image stabilization, Timecode, Movie Log (N-Log), HDR (HLG) movie Active D-Lighting: More, More, Standard, Less, None Playback functions: Single frame playback, Thumbnails (approx. 4, 9, 72 segments), Enlarged playback, Trimming during enlarged playback, Movie playback, Histogram display, Highlight Histogram display, highlight display, shooting information display, location information display, automatic rotation of shot image to vertical position, rating, voice memo input/playback, IPTC preset attachment/display IPTC presets can be attached and displayed. USB: Type-C terminal (SuperSpeed USB) (connection to a standard USB port is recommended) HDMI output: HDMI terminal (Type A) External microphone input: Stereo mini-jack (3.5 mm diameter), plug-in power microphone Headphone output: Stereo mini-jack (3.5mm diameter) 10-pin terminal: Available (can be used with optional remote cord MC-30A/MC-36A) Wired LAN: RJ-45 connector IEEE802.3ab(1000BASE-T)/IEEE802.3u(100BASE-TX)/IEEE802.3(10BASE-T), Data transfer rate(standard value): 1000/100/10Mbps (auto-recognition), Port: 1000BASE-T/100BASE-TX/10BASE-T dual-use port (AUTO-MDIX) Wi-Fi Compliant standard: IEEE802.11b/g/n/a/ac Frequency range (centre frequency): 2412~2472MHz(13ch), 5180~5700MHz Output (EIRP): -2.4GHz: 8.4dBm, -5GHz: 9.0dBm Authentication method: Open system, WPA2-PSK, WPA3-SAE Bluetooth Communication method: Bluetooth standard Ver.5.0 Frequency range (centre frequency): Bluetooth: 2402~2480MHz, Bluetooth Low Energy: 2402~2480MHz Output (EIRP): Bluetooth: 2.9dBm, Bluetooth Low Energy: 1.4dBm Communication distance (line-of-sight): Approx. 10m (when there is no radio interference). Communication distance may be affected by obstructions and radio wave conditions. Supported satellites: GPS satellites (USA), GLONASS satellites (Russia), Quasi-Zenith Satellite MICHIBIKI (Japan) Information: Latitude, Longitude, Altitude, UTC (Coordinated Universal Time) Time adjustment: Date and time information acquired by the location information function can be used to adjust the camera's date and time. Logging: NMEA format compliant Logging interval: 15, 30 seconds, 1, 2, 5 minutes Logging time: 6, 12, 24 hours Log deletion: possible Battery: Li-ion rechargeable battery EN-EL18d Instead of EN-EL18d, EN-EL18c/EN-EL18b/EN-EL18a/EN-EL18 can be used. However, the number of frames that can be shot (battery life) is lower than when using the EN-EL18d. However, the number of frames that can be shot (battery life) is reduced compared to when using EN-EL18d. Charging using the EH-7P AC adapter is only possible when using EN-EL18d/EN-EL18c/EN-EL18b. only when using the EN-EL18d/EN-EL18c/EN-EL18b. Main body charging AC adapter: Main body charging AC adapter EH-7P AC adapter: AC adapter EH-6d (used in combination with power connector EP-6a) (sold separately) Dimensions (W x H x D): approx. 149 x 149.5 x 90.5 mm Weight: approx. 1340g (including battery and memory card, excluding body cap and accessory shoe), approx. 1160g (body only) Temperature: -10°C to 40°C (-4°F to 104°F) Humidity: 85% or less (non-condensing)

Periods that were literally measured in days in the case of a few particularly damp Test matches that I covered. Would have had time to submit the images as watercolours.

Press Text Translated via Google: As Panasonic Japan had launched a special 20th anniversary website: http://panasonic.jp/dc/20th_anniversary/column.html

who would have thought the first still camera maker that introduce internal Prores HQ and Prores RAW will be the same company everybody were saying "not serious about video", and not those companies that have been in Cinema camera business for decades.

How's this: https://www.mpb.com/en-us/used-equipment/used-photo-and-video/used-lenses/used-canon-fit-lenses/tamron-sp-70-200mm-f-2-8-di-vc-usd-g2-canon-ef-fit/sku-1219845/ New: https://www.bhphotovideo.com/c/product/1317271-REG/tamron_afa025c_700_sp_70_200mm_f_2_8_di.html

Much better than expected all round. Probably a bit overkill even. But ProRes and that insanely fast sensor with very little overheating even in 8K makes it unique. I am impressed. They are saying the sensor rolling shutter is as fast as a mechanical one.

This is a really good point.

One benefit of refurbished cameras over even NEW cameras is that they have had someone from the offical repair center go over the cameras thoroughly. When a new camera comes off the production line, they are going to give it a quick diagnostic test, maybe take a few frames with it, and that's about it. When you buy refurbished, it means someone has really taken the time to look into the camera. (At leas more so than when it rolled off the assembly line.) Back in my Nikon aps-c days about 6 years ago, I would buy refurbished from Cametta cameras (RIP). I was always happy with how the gear worked. (Bought two bodies and a couple of lenses form them). They used to have a lot of officially refurbished Nikon gear and it carried the same Nikon refurbished warranty. I also bought my Nikon D750 straight from Nikon Refurbished for about $1,400 or so when they were selling new around $1,800 and it worked fine. Nikon DID have some shutter recall programs where they replacing shutter boxes on ALL Nikon D750 cameras, whether they were having shutter problems or not. And they were perfectly happy to do the shutter replacement on my D750. BTW: I think Sigma has a good warranty / service on used lenses. I bought an old Sigma 10-20 used and it didn't have LiveView AF capabilities since the lens was made before Nikon had implemented LiveView (contrast-detect) AF. They said that even though I had bought it off of craislist, to send it in and they would update the firmware to get it to work with Nikon LiveView.

There's no crop in 11MP 120fps stills mode. The sensor is 2x2 binned for 120fps readout (same method for 4K 120fps video)

The pixels all look terrible, but you can capture so many of them per frame, with so many frames per second, from such a small size and in such a convenient way! All you can eat gravel is still eating gravel.

One recent example

I used to use PW remotes for my remote camera, now in most cases I just start video recording and select the image after from the video, is much quicker to find the right moment in Resolve that culling many images. The big advantage for me no more miss fires, buffer full and so on. Also the fact that now camera are fully silent is a big plus too in some environment that I place the remote

Spec are now public, seems a really impressive camera and priced quite aggressively at 5500$. I'm not a Nikon user but I'm very happy to see Nikon bring such camera to the market. To me at least at spec level it seems a much better camera that the R3 form 500$ less especially once they get Raw video and 8K 60 but even without it is still a better camera on paper.

Nokishita published the full spec sheet. It is a monster, a D3 and F5 moment. Records Prores HQ N-log internal as well. I wonder if the 4K will be a perfect downsampling of the full sensor though. Oh, and as previously reported - NO mechanical shutter.

Indeed! Yes, those are the places where I get most of my used gear. I know they'll meticulously check everything over, grade it accordingly and if I'm unhappy with it I can return it, no questions asked. To me that's worth paying a little extra than buying it from someone I don't know on eBay or Facebook.

e-bay, local auction site, fb local buy/sell group & marketplace.. My most recent score is Eos R with RF 24-105L kit for $1650 on ebay, I can pretty much resell for nice profit 🤑

I buy used whenever I can: cameras, lenses, microphones, cars, clothes. Mainly to do my part to reduce waste. I sell or give away anything I've upgraded away from, unless it's absolutely unsalvageable. So a nice perk is that often I don't lose much value. In fact, with 2 out of the 3 cameras I've sold, I actually profited from it! In both cases I bought and sold on ebay, which is what I almost always use.

I basically bought all of my camera and lenses used, with the exception of my first dslr (a Canon 550D) and the Pocket 4K I placed a Preorder for, right after it was announced. I don´t need all my gear to look brand new or to be the latest and greatest. For example, I just got a Sony a7rii as an alternative to my 5Diii. I bought the 5Diii for 580€ and the a7rii for 700€ via ebay/a photography forum. But refurbished could be a great option as well. Depends on what you´re looking for and how big your budget is.

This looks like exciting stuff. I got the latest iMac and I have to say that for a 4k fcpx WITHOUT transcoding anything (and mine only has 8gb of RAM), it works great. Screen is great too. Apple's going to clean up with these as they hit the market with chip shortages that Apple seems to control more than the competition, bitcoin graphic card madness, and lack of intelligence from Intel (or at least a competing product with the same ballpark of performance per watt ratio). It's a perfect storm.

I think I prefer the look of Sigma fp footage over the S1 but they seem like they couldn’t be much more different given they’re both L mount and have similar sensors. S1 V Log dynamic range is outstanding imo and might as well be Alexa-level. The HEVC 6K codec is robust. At base ISO (640) there’s +6 stops of highlight dynamic range (dynamic range over 18% gray) to Arri’s +7.3. Whereas at base 100 ISO I think the fp has about +2.5 stops of highlight dynamic range and 8 bit raw doesn't let you dig too deep into the shadows either. It also has more aliasing. And no IBIS or EVF. But where the S1 falls short imo is in color and texture, where the fp seems to excel. I’m not saying the S1 is terrible here, but the color isn’t as nice to me subjectively and the HEVC codec smooths out the noise. So to me the fp is the ideal A cam for someone (not me) and the S1 is the ideal B cam or low budget production cam for almost anyone. It’s technically on par with Venice or Alexa except for the skew imo and is wildly versatile. (At least with Resolve's highlight algorithm enabled, I think the P4K and P6K are almost on par with an Alexa technically, too, and have nice color and texture to the image. But ergonomically I worry they aren’t so hot. FX3 seems nice and maybe the best deal out there but somewhat expensive.) I have found this to be true in post, too. The bigger the job, the better the resources, the easier it usually is. But one-man-band stuff can pay better I guess, and affords more flexibility I suppose.

The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking.

Noice. I bet it will replace gopro for cinewhoops.