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From the brief hands on experience that I had with @Andrew Reid's Z9 and Megadap E mount adapter, I was impressed enough to consider it a bit of a turning point in finally purchasing the Z9 (or Z8 or Z9 or Z8). This review is with a broader range of lenses and setups. There are a couple of EF adapters out there and the one I'm looking at is the Meike with the drop in VND system. This is their own test video but it looks usable enough. For M mount (and everything else like M42, C/Y, Manual focus F mount etc that you can adapt to M) I have the original version of the TechArt Pro for E mount and it works well for what it is but has some restrictions. Their version for the Z mount looks to made a lot of steps forward and for the miracle it is performing in terms of bringing AF to manual focus lenses I'd be fine with the performance judging by videos such as this. With regard to the FTZ, I've only seen positive things really other than some slight slow down with TCs but thats par for the course a lot of the time with my experience on some lenses on TCs on the native F mount. I'm not sure there is any performance difference between the FTZ and FTZii but the latter is the one for the Z9 as it doesn't have the protruding foot.

Any takers? https://www.zsystemuser.com/z-mount-lenses/nikkor-lenses/nikon-z-mount-lens-reviews/ Let's also not forget whether 3rd party lenses or those coming from F, Canon and E mount adapters.

I sometimes use time lapses or hyper lapses to help tell the story. I mainly only use hyperlapses with drone work and occasionally timelapses to show a setup, or for dramatic effect such as to show the sky rolling across the horizon. I have a dedicated Canon Rebel T6s that I use just for timelapses, it has incredible battery life with the dual grip handle (over 2,000 images in one timelapse once and it still had over 50% battery life remaining), plus I don't want that high shutter count on one of my more expensive cameras, additionally I like to set up my timelapse camera somewhere and leave it while I go shoot other content so there's the theft concern as well. Lastly, it is blazing hot here in the summer and it has never once overheated during a timelapse so its a great little timelapse camera. Many times I have lugged the timelapse camera with me planning on setting up a quick 15min timelapse to use as the opening or closing for the video and many times it's just a not a good fit, either there's no place I feel is safe enough to leave it while I do other things, or the sky is completely cloudless so it would be a wasted effort, etc. As far as where in the edit I tend to find them the most useful, for me its usually the very beginning opening sequence or the closing i.e. a timelapsed sunset is a nice closing shot especially in places where I cannot use the drone. But without the right conditions (cloudy skies, progressive changes, etc.) timelapses aren't worth the time or effort to me. When editing 60FPS on a 30FPS timeline I do occasionally only slow down say the last few seconds of a longer 5 or 10s clip, just enough to stretch it to the jump point which keeps the rest of the clip real time while getting it to the logical jump point, also sometimes I combine 60FPS with optical flow to drop all the way down to 25% to simulate 120FPS without actually shooting 120FPS if I want truly slow motion; this effect followed by a speedramp can be quite dramatic. I know purists may say optical flow isn't "pure" enough slow motion, but in DR with the right settings it does a really good job depending on the content being slowed down. I decided years ago to stick to 30FPS and 60FPS for all of my work unless the client specified 24FPS, or PAL....for me it eliminates all of the conformance issues and reduces the problems with pans, eliminates the jittery look, etc. etc. I figured out long ago I will never be a Hollywood feature film videographer so the 30FPS delivery framerate looks the best with the least amount of work to me.

Yeah, I thought that camera may have appeared by now to throw a bit more doubt into things but I'm now having intrusive thoughts about the Sony a1. This will be me outside the shop.

Indeed : ) Loved that part you're prone to change your mind "another five or six times", I guess I've already made such part so far in this portion of the road yet! LOL : D Looks promising anyway. The 2nd part of the other tests above-posted is just going online here: I'd still look for more tests exploring all the possible combinations though. Z8 is a completely different beast than the older sister IMO from its intrinsic modular form factor. Apples to oranges :- )

I've actually been wondering on how much we can workaround and circumvent the overheating hassle with something like this: https://www.zitay.net/ZITAY-CS-305-CFexpress-Type-B-to-SSD-Convertor-Card-Reader-Adapter-XQD-CFE-CFX-Replacer-Substitute-Nikon-Z6-Z7-D5-D6-D850-D500-PANASONIC-DC-S1-S1R-Canon-EOS-1DX-MarkIII-R5-C500-MarkII-p779221.html Let alone set it with a more convenient temperature cutout from (auto) standard to high: source

More overheating tests (this time versus Z9).

Interesting full article from those usual guys... with endless customary technical stuff about the new coming kid on the block: https://www.newsshooter.com/2023/05/10/nikon-z8-announced/

A very cool feature I'd missed that came with the 3.0 Z9 FW is this "Hi-Res Zoom" which is basically what I assume is the equivalent to Sony's clear image zoom tech but with oversampled 8K to work with and zoom control can be set to lens control/focus ring. This is really sweet for prime lens shooters like myself, effectively doubling the focal range. Great way to make use of that extra resolution.

OK, so its not something that will find a natural home here as a talking point and it is bound to be at what will euphemistically be termed "a premium price" but it might actually have some relevance as an indicator of another camera release in the not too distant future. We are all aware of the relationship between Leica and Panasonic goes beyond (and behind) the L mount and the internals in terms of the sensor and processor spec of the Q2 and the S1R are "quite similar". It wouldn't be beyond the bounds of credibility then to take a steer from the specs of the Q3 in terms of what a mark 2 version of the S1R might be when it arrives and considering the Q2 and S1R were released within a few weeks of each other then this might be sooner rather than later. The Q3 is officially announced on the 23rd of May but, as expected these days, the full spec has now been leaked and the general headline for stills shooters at least is the bump in resolution from 47 MP to 62 MP, the tilt screen and the persistence with Hybrid AF. It is the video spec that surprised me though : C8K (17:9): 8192 x 4320 8K (16:9): 7680 x 4320 C4K (17:9): 4096 x 2160 4K (16:9): 3840 x 2160 Full HD (16:9): 1920 x 1080 No further information regarding the codecs that will be available (and knowing Leica it might well turn out to be limited to 256 colours, 15fps and be in FLV format 🙂 ) but that spec would be interesting in a new S1R. There is no news on price but I'd be surprised if it is less than €5.5-6K. There has always been something about the Q series that has had me about to irrationally buy one several times so I'm certainly mad enough to buy one of these but, unfortunately, poor enough these days not to be able to afford to.

Would love to see a new Video Quality Chart. Maybe one with best character then one with best sensor etc. Last one was in 2015 I think?

Not yet (looked), promised in June.

It's a travel camera, with kit lens: At night: In the morning:

Well I'm very happy to see Nikon is finally back with an extremely solid flagship. Its system/mount certainly deserves it. The irony is that it sort of took Z8 to redeploy the light on Nikon, despite it being a repackaged Z9 that's been out for 2y! But it is certainly those smart adapters that are the real game changer for someone like me with multiple lens systems that isn't sure where to go next.. I still have some reserves (specs aren't everything) but GAS is high so again I need to test out a Z8/Z9 ASAP.. Also don't forget in DX mode with one push the 20-40 turns into a 30-60, and that with Hi-Res Zoom function it becomes a 40-80mm via lens ring control. How cool is that?

It is very important to know your place and understand your concept completely, in the pro world. That is number one. I recently did a documentary series with young directors (one director each 25minutes episodes), almost all of them did more than 5 hours interviews! that was too much for the project, the concept behind it, and the budget. As of the technical stuff. When I was doing such work I always shot 50p (more is just too much) and used whatever technique I considered appropriate. A few timelapses and hyperlapses were good transition tricks also. Speedramp also. Whatever..

the rear screen is easily one of the best things about the z8. wish every youtuber asking for flip out screens would just fuck off.

It's one of the reasons I like Sony's stance on the FX3/FX6/a7sIII etc sensor being "only" 4k. It has about the same pixel pitch as the ALEV III sensor. I hope they do another version of these cameras that unleashes the sensor's rumored dual gain ability, if it really is 8k being binned to 4k. I would really like to see cameras in the affordable price range focusing on higher dynamic range and reduced rolling shutter or having a global shutter. We still haven't quite seen that breakthrough where we are getting a true 13 stops to match the original Alexa in a camera in the sub-10k market.

Oh, absolutely. I just want people to know that super hi res footage isn't a requirement for vfx. It's definitely good pixels over more pixels (Steve Yedlin's mantra, I guess). 4k+ is definitely becoming more popular with vfx shots, but I continue to see work in the region of 2k-3.5k on the most cg-heavy projects because otherwise the work is just too expensive unless it's for an IMAX sequence that can budget for it. Netflix is an outlier here.

Seems like it's the same reason that everyone else thinks more resolution is better... We've been shooting moving images for over a century and most of that time it was genuinely below the optimum resolution/sharpness, and now we have achieved it, very few people are smart enough to realise that we've arrived and we need to move on and focus on something else. Plus, you know, brands do marketing for a reason - it works.... and if your product doesn't fulfil an existing need then job #1 is to create the need.

Sony Cinema Line FX30 (ILME-FX30) - Firmware Version 2.0 Tascam DR-44WL - Firmware 2.14.0132 Built-in stereo microphones are ideal for surround sound. In most cases, you can no longer put simple cannon mics to record your surroundings. The FX30 has a lot of good features)

Sony cine cams were definitely used which is why I assumed Venice: (True Love was the films working title)

Gerald just posted a thorough Z8 review with a lot of overheat results among other things. He reveals some mega aggressive NR and very strange artefacts using the h265 codec in 4K. Apparently there is a new V2 LUT for N-log with a smoother curve. This camera does tick many boxes for me and there is something about the IQ I find lovely. But its true that considering you can now find Z9's for maybe 300€ more, that take care of the battery life and overheat issues.. I don't see much of a reason to go for the Z8 if I was going down that path!

Thinking about this a little further, this won't change much at all. The problem with CGI people is that they're fake.......... but so are a vast number of influencers so no change there. The other problem with AI-generated scripts is that AI tends to "hallucinate" and be factually incorrect as well as potentially getting into the realms of bigotry.......... but so are a vast number of influencers so no change there either. TBH this is true of lots of traditional media too. Keeping Up With the Real-Life Leave-It-To-Beavers of Beverly Hills Who Wants A Wife was actually more typical of TV rather than an exception. It was blogging and then vlogging that actually started the trend of being authentic - TV and film never did it.

Looks like according to the info from the link above-posted, you cannot if the 2nd one is restricted only to provide power.

I guess you've added the answer into your own post ; ) For some reason 8K50/60p either on R5C or now with Nikon's is something to not ignore : ) You cannot call it a hybrid unless you have finally a hybrid, isn't it? ;- )

Still on overheating issues, looks like they recommend an external battery for long period recordings: I wonder on that performance versus R5C though...

Hope not much confirmed further later on because... ...that's really such 'da' release TBH : ) Extra info here. https://cameradecision.com/top-cameras-with-Stacked-Sensor

Greetings colleagues! This is my tests. I have been using the camera since December 2022. Until recently I used Canon R5 and R5C as my main ones. But I left the project and now I'm trying to decide whether to stay on Sony. Tests primarily shot for myself.

The MC-N10 remote grip allows operation of the zoom (and a host of other functions) to be controlled off camera too. Its not cheap but it adds a lot for video shooters, particularly for gimbal use.

Seems a really good camera, probably the best hybrid at the moment. It makes A1, Z9 and R3 look overpriced compared to this. Really good that Nikon is aggressive with the price/features pushing Canon and Sony. Only odd thing that apparently it cannot record video on both cards...and personally I don't like the screen as is a pita on gimbals...

Well dang. I just ordered a 17-35 2.8 F-mount lens...but maybe I should cancel and go with this and a cheap samyang ultrawide...this adapter is very affordable.

Z8 does make R5 look dated, Canon and Sony better have stacked sensor for their next cam at this price range with 45mp+ sensor.

Here is a third test video I shot with the ZV E1, kit lens, and internal mics at 4K 60p in the sun at 70 degrees F:

Really? I don't find any workaround ridiculous unless to the manufacturer, I do agree. Who exactly? The link please? I wonder how much will overheat when recording 4K 120fps...