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2/3 right here:

Yeah while GS in a FF consumer camera is a nice tech feat, I'm not sure many people will be rushing to "upgrade" to a $6K 24MP/4K h26x camera. Clearly this is a niche action/sports hybrid mainly aimed at still shooters. Sony is smart when it comes to marketing and they put this out just ahead of the Summer Olympics. But in reality for video shooters if you absolutely need a GS cine cam, the Komodo already exists and does up to 6K with ProRes/REDcode etc. And for your average hybrid shooter, I doubt they would really notice the difference with the already fast 8ms RS of the A7S3/FX3. And those have better DR & low-light for half the price. Personally, I find the Z8/Z9 are still much better rounded hybrid packages with 8K60p, RAW/ProRes, 45MP. And fast stacked sensor readout speeds that are sufficient for most demanding situations. Don't get me wrong, FF GS is a major tech accomplishment and I'm sure there is a market for the A9iii, I just don't think the entire package and price point is going to be that enticing in the already crowded FF segment once the hype does down.

Yeah well its funny because I initially had mixed feelings about the Z8 but it has really grown on me, especially the files it produces. Really clean footage, easy to work with. Good DR, snappy AF. All kinds of codec options. High-resolution stills. Basically a workhorse camera. Will get even better when the LoISO update gets implemented. The R3 has imo the best ergonomics. and the video specs are quite nice too albeit not that flexible with either 6K in RAW only or 4K h26x. And 24MP stills. DR on Canons is also kinda mid, especially with no Clog2. The Z8 gives you 45MP stills and 8K, 5K, 4K in RAW. UHD & FHD in ProRes & 8K, UHD & FHD in h26x. Plus 2X crop modes and digital zoom. All for about two thousand less than an R3. It's just much more bang for the buck imo. Plus the Z mount opens up compatibility to my entire various mount lens collection. Tilty screen which I miss. And lockable IBIS which I don't think anyone else is doing. It's almost a no-brainer for me personally. Paired with a Zf for more casual shooting, that would be a sick combo. The Nikon Z f1.8 primes are also super silent and optimised for video with minimal breathing, compact and fairly priced. So after so much hesitation on where to go next I think I'm pretty set on Nikon after all.

Exciting! Been waiting for a global shutter hybrid for years. Would love to have no rolling shutter and an unlimited flash sync speed. Now I just have to wait about five more years until it's available at a price point I can afford, and from Panasonic 😄

It is just being announced live by Sony. At only 24mp there will be no 8k. It will be interesting to see the video specs. https://m.dpreview.com/news/7271416294/sony-announces-a9-iii-world-s-first-full-frame-global-shutter-camera

Testing at night in 4K 60P:

GS is useful for more than whip pans. I'm not sure why people always jump to that. (And to avoid nitpicking, I am fully aware that for most of the stuff, really low RS (<5ms) is functionally as good as GS) - Shooting handheld in general unless you're as steady as a tripod (with 20+ms of RS, the jello is almost always noticeable) - Shooting fast-moving subjects, especially from the side (trains, cars, etc) - Mounting the camera to a car (improved with gimbal for RS, but still noticeable) Not how you shoot? Cool, but that doesn't mean it's not how others shoot.

I can imagine wildlife photographers would get a lot of use from it considering that they take a long time to shoot (e.g. waiting in animal blinds etc), they have a long time in post to select the right shots, they aren't under super time deadlines to get images to a publisher, and the difference between a good image and a great one can simply be a matter of perfect timing and if you get it right there's huge rewards. Obviously this is very different the workflows of sports photographers etc. This photo and the story behind this shot comes to mind: https://www.wired.com/2016/01/alan-mcfadyen-kingfisher-dive/ I would imagine that there might be a lot of subjects where having an insane fps on the burst mode would enable you to line things up perfectly in a shot and really elevate it in a significant way. Street photographers would also benefit, with the decisive moment and all that, but they probably don't need burst modes this crazy fast. However, having said all that, it's a pretty niche application for an entire camera, so I can't see that being worth designing a camera around.

It doesn't quite work like that. If you shoot a sequence at 120 fps & 1/240s with the GS camera, and compare the results after processing (by taking the images and processing them to reduce noise) to native RS camera at 24 fps, 1/48s, then the latter will still have more dynamic range (unless an ND filter was needed to get the slow shutter speed in too bright light). Phone cameras get away with a lot of stuff, including somehow merging the images even in the presence of moving parts in the image by algorithms only because the images are viewed as a tiny part of the human visual field so the imperfect guesses by the AI don't bother us as much as they would if they were shown on large screens. The images often look unnatural and fake to those who are experienced in looking at actual photographs, though.

Just thought I'd mention I've revisited the Z8 with now better understanding of how the camera operates (read the manual beforehand) and of how to work with N-log (using color management bypassing the awful official LUTs) and well I guess all I can say is it is my new favourite camera! 4K ProRes HQ on an SD card edits like butter on my ageing iMac Pro and the IQ gives so much room for grading. Neutral & Flat profiles are also great SOOC profiles and 8K60p is of course top notch and I haven't yet even explored RAW. I guess ultimately the switch back to Nikon would be quite effortless as Z mount has smart adapters for my Sony & Canon EF glass and even my Leica M glass. Alongside my old Nikkor AIS, every single lens I own could be supported! I do have a question for Z8/Z9/Nikon users: does the camera have custom banks like C1/C2/C3 etc where you can have various custom settings like codec/frame rate/resolution settings and recall them quickly?

Mechanical (focal plane) shutter produces some rolling shutter. You can see it e.g. if photographing a propeller plane or helicopter at fast shutter speeds. You can also see it when there is artificial light that flickers, in the past the advice was to use a slow shutter speed to avoid the banding from fluorescent lights; today the lights are often LED based but still there are circumstances where the lights or screens show banding even when photographing with mechanical shutter. The GS eliminates this problem. I would think that photojournalists, sports and music photographers would like it, but it's a pricey camera for sure. Golf, yes, quite likely there even the fastest rolling shutter would show distortion, and the club swings quite fast so you can get some interesting timings at 120 fps or 240 fps. But those are kind of special applications. I guess specialists who work on these kind of sports with very fast motion would get it.

"Global Shutter" kind of feels like a buzzword from Sony marketing doesn't it? And the usual suspects on Youtube sure are running with it.. "FIRST GLOBAL SHUTTER CAMERA" "This Changes EVERYTHING". "ZERO DISTORTION!!!". I mean cmon if you wanted to avoid distortion up until now as a stills shooter you could simply use mechanical shutter. And yeah 99% of cinematographers use CMOS sensor based cameras with minimal RS. Again not trying to downplay the tech advancement of this new sensor but it ain't really the game changer revolution it is hyped up to be. The read-out speed sure seems incredible but I personally can't imagine combing through 120fps of RAW images. I'm not even sure pro sporting events shooters have that luxury in their time race with FTP transfers. So who exactly is the A9 target? Wealthy amateurs that shoot birds/golf/tennis? Videographers doing 360 degree rotations at 100mph? Serious question.

The Venice 6K is a certified Hollywood A-cam and I don't think it should be compared with the Burano, as the latter only offers X-OCN LT. That is a significant downgrade from the RAW and X-OCN options on the Venice cameras. My hope is that if they do bring out a Burano 6K, it will have X-OCN XT and ST because of the lower resolution and the fact that the Venice 6K is a much older design. In scenes with a lot of movement or change, X-OCN will scale resolution, especially when it comes to the LT compression. That is how Sony's X-OCN avoids artifacts. This means that Burano's 8K X-OCN LT will not be a true 8K image in all scenarios.

The way to fix any dynamic range shortcoming with global shutter is to use multiple frame HDR RAW like a phone. 120fps at full resolution is easily enough to enable 6 or 7 frames, merged into one, without a noticeable hit in terms of shutter lag, or processing time

It's gonna be a personal preference thing in the end. You'll get cleaner high ISO performance on the Sony. The Canon has internal RAW vs you need with an Atomos or the unit to do it with the Sony. The Sony can't do full sensor 4k 60p. You have more lens options with E-mount. The canon is easier to mount on a gimbal. If your only gripe with the FX6 is the mount then you can get a locking EF mount that has bottom support, making it bullet proof. Of course that isn't an option with emount. Although I feel emount lenses don't really need a locking mount as they are pretty light. You'll love Sony E-NDs. The FX6 is pretty amazing for fast paced stuff. It barely weighs anything yet the body is big enough where it isn't awkward to rig up. E-ND's are out of this world nice to have.

If any new FF Panny is coming within the next 2-4 months then surely it will not. Unless their relationship has changed? But unlikely I’d have thought because if Sony are holding back for their cinema line, they are not going to allow the likes of any new S1 line to eat their lunch.

Famous Sony footnotes kicks again: Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Almost all major prosumer Sony cameras overheat I guess. Maybe the ones where the node size is too large, that lacks a heatsinks, or fan or some other issues. Sony doesn't care for overheating. This one shoots 120fps at 24MP, but for only 1.5-1.6 seconds or something. Guess that means that their RAM isn't really huge. Also, it could probably be used to cook in the winters during shoots 😁

If you're gonna shittify the footage this much to achive the "film" look (which is not a criticism, I actually like doing that sort of thing myself) then you don't really have to worry about what camera it's shot on. As long as the source footage isn't a mess you'll be fine.

Camera Conspiracies will address that in new video.

The quality of posts in this thread is not necessarily equivalent to the quatity. Dropping youtube videos without any lovely written expression of soul, heart or mind is kinda wordless and to me worthless for a forum. But maybe that is just because of the shiny new product. Older tech ist dicussed with much more love and passion.

I struggle to see these digital medium format cameras as anything but pure stills cameras with occasional video use. Hasselblad didn’t even bother with the video side with the X2D. Or forgot. Money no object, still my dream stills camera.