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Very true. Cameras are really good these days, it really comes down to the user experience and which small niche set of features work best for you. Should you pick up a Lumix because they're cheaper, or a Canon because you own EF lenses? Do you want the overall feature set of the Sonys, or are you trying to mix and match with something else? Those the real considerations these days. I'm working on a show right now that we shot with an R7, S1, GH5, Gopro 7 and the DJI Air 2. Everything looks fine in post, it's just a matter of working out their individual quirks. The S1 is overall the best image, the cleanest and best DR. The R7 and GH5 look about the same DR wise, but the R7's color is a bit nicer. The gopro looks good, but a bit of over sharpened compression mush. The DJI isn't too bad, just some wonky magenta shifts that are a pain to deal with. At the end of the day though, no one would watch the final show and think a specific camera stands out, they would just judge the show to be what's interesting to them or not.

If anyone is interested in Nikon Z6 III's video quality

It depends on the country. If you are doing it in the UK then this is a good resource. https://filmlondon.org.uk/resource/filming-people Germany is a different story though. https://allaboutberlin.com/guides/photography-laws-germany

For you vintage lens fans, here's an oldie but a goodie... I was able to get out over the weekend with my FP and I finally tested the 10bit cDNG mode... hat tip to @BTM_Pix for recommending that mode... feels really solid while saving some storage space... and I brought out the Minolta MC 55mm 1.7. Wide open it's a little glowy, but not bad, but stopped down to 2.8 and I feel it shines...

Just arrived: source

From what I've heard, the M5G isn't so much fully cancelled as it is searching for a new/different sensor. Apparently the sensor that they tried to use before had non-correctable color/profiling issues. https://www.facebook.com/groups/zcame2/posts/1637789306952008/ The person commenting on it in that thread (Yaroslav) runs their service department in the US so I'd take his statements as credible.

The FireWire protocol was incorporated into the Thunderbolt protocol. All you need is an adaptor. (Or adaptors.) What works for me is a good brand (Belkin in my case) 4-pin (tiny camera one) FW to FW800 cable. Then FW800 to Thunderbolt 2 adaptor. From that a TB2 to TB3 adapter into the 2018 MacMini. Works well. Final Cut and QuickTime Player can be used to capture with. (Probably other software too.)

Blurring people faces as I've already seen also in informative pieces (go figure!) or documentary work, is nonsense to my book. Important is to not denigrate someone's image, this is critical.

It is called silent consent or tacit approval. Generally working out everywhere. Mainly for art purposes, excluding ads (not necessarily but when there's a direct profit taken from some personality/image rights usage). Based on personality rights we have about deliberate public exposure. Granted when people are aware to be in a public location. Hidden cameras, in theory, could bring some discussion on that anyway. However, IMHO doesn't exclude it either from the public space anyway. All about the usage of that. I've already used this argument whenever needed. It's all about the way you'll use the footage. Writes a filmmaker with law school/legal career background as far as these legal issues concern too. - EAG

By the by, if it is in the UK then this is handy to keep about your person should the boys in blue try to push their luck/ignorance over what is and isn't legal. https://www.met.police.uk/advice/advice-and-information/ph/photography-advice#:~:text=Freedom to photograph and film,photographing incidents or police personnel.

The first clue that quality has decreased is when you hold any current R body; not even close to the quality of the DSLRs or even my Panasonic S5; so much plastic. The RF 70-200 F2.8 is nice in the way it is compact compared to the EF version, but feels so much more cheaply made due to all of the plastic. I have to admit that RF 70-200 F2.8 lens is sharper than the EF version that I used to use, but for video sharper isn't necessarily better. So basically, you are paying exorbitant prices for lower quality lenses and losing the ability to use the vND adapter....no thanks, my current collection of EF glass is all I need.

I saw that too, but I have yet to see a good video DR test, we were always told CLOG2 wasn't included in the other camera bodies because they didn't have enough DR for it, then Canon says the R5II has 16 stops of DR and they included CLOG2. Of course it doesn't really have 16 stops of usable DR, but I have to believe that for video it has some sort of DR improvement or the reason CLOG2 was missing from the R5 and R5C was just a lie all along. I personally will never use that feature; I am used to assigning expand AF to the half press of the shutter button and eye AF to the back button and together that is all I ever use. When I want to target a single subject, I use expand AF to pick the subject then while half pressing the shutter I press the back button eye AF then release the half press of the shutter, the eye AF will track the chosen subject after that until I am ready to take the picture. Eye control AF feels too much like AWB, Auto ISO, and other automatic features. Too much control is handed over to the camera nearly guaranteeing it will let you down at the worst possible moment. Also, I am pretty sure having that feature on will drain the batteries faster. I still only own a single RF lens....the RF 70-200 F2.8 and the only reason I got it was for photography. This leads me to something which is one of the biggest selling points for me for the Canon ecosystem....the ability to put the vND filter behind the lens if you use EF glass. So not only are you saving immensely vs the RF lenses, you also get a fantastic vND for video. The vND never leaves the lens mount for me for hybrid shooting. If you shoot a lot of handheld that is probably a dealbreaker for the R5C, it certainly was a dealbreaker for me. I shoot my first project with the R5II next week, so I will be able to get a good look at how CLOG2 looks compared to CLOG3 but the online video tests show highlight rolloff is much improved and the colors look more natural as you mentioned. Another big plus for me vs the R7 is the dual native ISO, with the R5II it was moved to 4000ISO which is where the Panasonic S5 had its second native ISO.....IMO the most useful second native ISO location possible.

The replacement for my stolen DX100 was the NV-MX500, another 3-CCD camcorder ( picture from an Ebay listing ).

As a low-key hybrid wedding shooter, that’s a mainstay for me as folks act differently if they become aware the focus is on them. Sometimes they do something that works as part of the whole, but mostly I just want to observe the candid. Top down, rear LCD, limited or zero eye contact. Not because I’m a social freak or wannabe hipster, but because it gets the result I want. I tried the viewfinder the other day and can’t go back now despite having cut my teeth back in the day as a film photographer in the 90’s and early 2000’s.

You could collaborate with someone who's good at storytelling. Team up with a writer, they do the story, you do the camera work. Just sayin'...

Between the GH6 and the E2-S6, I'd say that the main considerations would be that the E2-S6 has a bigger S35 sensor. You can swap mounts on the E2-S6, but you can also adapt just about anything that can be purchased as a first-party mount for E2-S6 to Micro 4/3 anyway. The GH6 will be easier to use handheld (has IBIS), but the E2-S6 may be more suitable for rough usage (like mounting on a vehicle on a bumpy road) due to the lack of IBIS. If you won't already be using an external monitor, the E2-S6 will also cost a bit more since the 1" internal screen, while it has an option to show a preview, nobody is going to claim that's usable. You may also consider what happens if either camera breaks - will you be able to get service on either one in your country? One other camera to consider, if you are able to find one in your local market, would be the Fuji X-S20. It costs less than the others and also supports open gate at 6K.

It just seems odd to me that people judge cameras or lenses by the resolution / sharpness. If you're interested in making quality finished edits, looking at 100% crops from a 6K sensor is about as relevant as an article discussing the shape and size and edge profile of the ridges in the rubber of the hand-grip. It's just disconnected from reality.

None of them are sharp enough to make inane subject matter into thrilling content. I guess the engineers just need to work harder... maybe next year?

Funnily enough this EXACT one was sitting staring at me from a Berlin flea market table today for 40 euros. So of course I couldn't resist and have yet another 90s Mini Dv camera to play with. Must have been one of the smaller 3 chip cameras of the era? It's nice and compact. The later one in 2005 I used to have is the Panasonic GS400. That was the peak of the Panasonic prosumer MiniDV cams for me. Very nice screen and lens on that, and it's 3CCD.

IF I was you, I would wait a little bit until a CineD lab test. As shown with the Z9 test, between synthetic benchmark and real life latitude test, the result can be very different. Same for the Sony Burano which with the Z9 scored poorly in the imatest test, were for Nikon about the highest Sony based sensor camera with 8 to 9 stop (Even better than the Sony Venice 2), and The Burano, which with its 10 stops latitude, is the first camera to equal the original Arri Alev sensor.

I was in Lapland 2 weeks ago and I'm now in Alaska. If you don't have them yet buy a great pair of glows with inner glows so you can take out the first layer without exposing your bare skin to the helmets. Filming yourself -> Insta360 One X3 Filming others -> Gopro Hero 12 or Insta360 Ace Pro