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So the forum is pretty good at the moment thanks to some spicy discussions, it would be boring if we all agreed all the time, but I also think we should encourage people to come back - big names from before like Mattias Burling , Dave Maze, they are missed. Maybe we could occasionally drop them a note to say so. I can't promote the forum myself, it just looks like I am spamming people with my blog. Maybe that's where you all come in 🙂 Would some of you be willing to post a few links here and there in popular Reddit groups, on DPReview and on social media groups? It would supercharge the place and get us noticed more... Then we'd have some great discussions with new people, and regain some control over the camera community in an independent way, rather than everything being hoovered up by the big US social media giants who are opening supporting a fascist regime at the moment. Never been a better moment to get our independence back from social media. Mark Zuckenberg and those like him are pure evil. The forum way is a better way. It offers everyone here a higher profile and higher involvement. The better our content, the better the discussions, the more people will come... I know a lot of forum posts have to reference other people's talking point or content, so a topic can devolve into lots and lots of URLs to social media, or YouTube video embeds. But rather than have rules around this, which I don't want to do, it would be great if we could encourage people to join who will use the forum a bit like having their own blog - Posting original hands-on opinions and content about cameras and shooting... Our own insight is better than constantly referring to that of others - It would be good for the community. Just some thoughts and open to more ideas too about how to grow this rather nice place that we've got.

I'm tempted to buy a Z6 III with an E-mount adapter for the Sigma 28-45mm F1.8. Would prefer to have a native option.

Thought I'd make a list, and it has ended up being quite big... - That sensor filter stack is amazing, turns a mediocre soft-ish lens wide open into something much better - Separate sensor readout on Z8 for the EVF, it's so effing fast... A real shot getter of an EVF - Z-Mount... It has proved to be the most versatile of all mounts, in the history of the industry - RAW video codecs, post RED-buyout they are clearly on top of the RAW game - Sensor development... Although they're using Sony Semi, these are not off the shelf chips. The Z8/Z9 sensor is superior to even Sony's own flagship full frame sensor (in the a1/a1 II/CineAlta Burano) - Heat management... 8K 60p RAW with not even a vent in the body (Z8, Z9) - IBIS. The Zf takes things to new heights, even better than Panasonic. As good as OM-1, but full frame - Rear screen... 3.2" may not sound a lot but it's appreciably larger than 3.0" on the Sony alpha cameras. - Ergonomics. Once you get used to the Nikon controls and menus they are some of the most intuitive... Really fast to switch between stillls and video mode too... although like all cameras there are still quirks - Affordable lenses... The Nikon 28-75 2.8, 40mm 2.0 SE, and 24-200mm travel zoom are all very high performing optically for the price. They have also allowed Sigma to bring their affordable APS-C range to Z-mount. Now do the same with the full frame ART lenses please Nikon! - Autofocus performance. I think it edges out the other brands overall, or at least level with Sony. Superior to Canon, Fuji and Panasonic. - Autofocus performance via adapters... The AF with Sony FE-mount lenses and Canon EF is excellent (Megadap & Fringer adapters). - Range of video codecs, resolutions and crops... The list is almost never-ending on the Z8 and Z9. Very impressed with that side, now they just need anamorphic & open gate to complete it - Colour science. It's super and the auto white balance system is very intelligent, as it was on their top-end DSLRs like the D5 and D850. The ability to add your own custom Fuji-style picture styles via Nikon Picture Control Utility is cherry on top (copy on from SD card). - Extended oversampling in 4K/60p... Sony a1 pixel bins in this mode and even in 4K/24p. The Z8 is capable of downsampling from 8K/60p, a full pixel readout. - Rolling shutter performance in 8K. Their flagship sensor is just crazy fast and it means you don't miss an obsolete mechanical shutter for photography - Price/performance ratio. I think the full frame Zf is a real sweet deal, Z6 II by far the best video specs and codec in the mid-range and the Nikon Z8 brand new for $3500 is better value for money than the already good value Panasonic S1R Mark II, let alone compared to Canon or Sony. The equivalent specs from Canon (EOS R5 II) and Sony (a1 II) cost $5-6K. It's all a big step from where Nikon were 10 years ago, let's get some perspective... Canon, Sony and Panasonic were far out in front for video and Nikon had only 1" sensors in their mirrorless cameras! The D750 was a decent start at taking video more seriously but only a 1080p DSLR with limited features, no phase-detect AF for video, no IBIS and so on. A much better stills camera than video. The D800 had been a big success in the years earlier, but the 5D Mark II and III took the vast majority of the video attention. D800 was definitely more a photographic success story. This recent progress makes me wonder what Nikon can do with RED. It would be nice to have a Z8 C with REDcode, global shutter and built in e-ND. It would also be nice if they update the Zf with the Z6 III sensor and N-RAW... Zf Mark II anybody?

Great idea! @Andrew Reid There are so many cool people I enjoyed to interact with on this forum. So many cool posts. I would love some of the older discussions to be continued and new topics to be explored in the Eoshd spirit we all cherish. We could share more of the cool findings and lens explorations and footage like we have been doing in the past. My Konica 35-100mm F2.8 needs to be showcased or my 16mm lens set which has been in use for the SI2K from Pillefilm in Cologne until they quit business three years ago and so on. Sharing footage has become less pleasant though with all that datamunching these days, especially when it comes to footage with people and family. It's a challenge we are facing. In addition to the fact that vimeo as we know it has practically dissolved. Maybe i should get a dog like gunpowder which people might enjoy to see being filmed, of course only until @Mattias Burling is coming back. Since we are at it, I would love to see @Ed David swinging a Cinealta F3 around again with his Libatique handheld camera skills. Like said, great idea, Andrew. Maybe another 8bit challenge would be lovely too. Ed David putting the internal 8bit Slog of the F3 to a test. I could do the same. Anyone still with a C100 or og C300 around?:)

The thing I don’t get… and mind you, I work as a 1st AC… even if you’re mostly technically minded, and interested primarily in the technical aspects of cameras, there is still a LOT more to that that Gerald doesn’t get into. Especially with these hybrid cameras, what about rigging? Where are the cage reviews? Favorite top handles? Power distribution? Cable management? Back to the S1RII, honestly my main gripe with LUMIX is their slowness to create cameras that are *physically* geared towards filmmaking. I worked pretty hard on my S1H rig, I don’t think it could get better, and it’s still awkward. I’d rather have a Pyxis. But it’s a tool like anything else, and right now, the S1H is a good tool versus the cost of jumping to something else. I don’t want to rig a new hybrid mirrorless again.

Better late than never and it was high time that Panasonic had recognized this.

I have the 35mm f/1.9 as well. Both of ours are probably made by Komine for Vivitar. Does your serial number start with 28XXX? Great lens. I also have the 24mm f/2 and the 28mm f/2 from the same time period both made by Kiron for Vivitar: Series 1 I only have the Bokina and the 135mm f/2.3. I think these will start to be creeping up in price soon due to people finally finding them. : )

This new video from Connor is helpful to me. Nice little rundown of a lot of the main crop modes. He was nice enough to include a link to download all the files so if anyone wants to play, check out the link below. A couple of things if noticed while reviewing footage and doing more research about the S1Rii, the color fidelity really does look good, I’m really liking this sensor so far. Kind of crazy how good the 4.2.0 files look compared to the 4.2.2 and Prores. Also there is mention a few places that the new IBIS is so good that it might be helping to counteract the slower readout speeds. Would be quite the development if that ended up being why the 24ms doesn’t look bad to most people…

I've written that having any camera is "good enough" and video creatives should just go to work and make stuff? That wasn't really possible with the D90. Lord knows I tried. Totally f'ed up a shoot with Stan Lee trying to make that thing work. Ooops.

More Nikon fuel to the fire. In case you are interested how S5ii, GH6, GH7 and Z6iii look on one timeline, here’s a video from footage we shot last year. About first 2/3rd of the video is shot with S5ii and GH6, and the rest with Z6iii and GH7. Edited and color corrected in Resolve UHD 2020 ST.2084 (PQ) 1,000 nit timeline on a M3 Macbook Pro with P3 ST 2084 display preset. Exported to H.265 80Mbps with HDR10+ metadata embedded. Resolve color space transform: GH6, GH7, S5ii: input color space Panasonic Vlog or with Lumasweet LUTs Z6iii: Color space transform from Rec2020 NLog to Rec2020 ST.2084 Camera codecs and resolutions: GH6 and GH7: 5.8k25p open gate, 5.7k50p and 4k100p S5ii: 6k25p open gate, also with Sirui Saturn 1.6x in 2.40:1 AR, 4k50p Z6iii: 6k50p and 4k100p NRaw, 5.4k50p and 4k100p H.265 NLog Lenses: GH6: Olympus 75mm F1.8, 25mm F1.8, 20mm F2 GH7: same than GH6 and Nocticron 42.5mm F1.2 S5ii: S Pro 50mm F1.4, 100mm F2.8, Sigma 35mm F2, Sirui Saturn 1.6x 75mm T2.9 Z6iii: S 50mm F1.2, 85mm F1.8, 40mm F2 The video is shot in various lighting conditions on different locations through the 4 seasons, while S5ii IBIS, AF and Estabilization firmware updates were also tested when they were released. AF was used on some of the clips with S5ii and GH7 and almost on all clips with Z6iii. And last, it’s mainly a bouldering video. In bouldering you try to climb up a specific spot of rock. The more difficult the boulder is for you the more you have to try and fail, until you may succeed. As a bonus you get to enjoy nature, what views and joys it has to offer, and capture those memories too.

I want them to make a FX3 killer with low noise 5k sensor, 120fps, active cooling, and RED codec/log. But they won't. They're much smaller a company than Sony, and have to spend the limited R&D budget on upgrading the current line up. And they have to ramp up their glass business too; they have much work to do: filling the gaps in still lenses, and develop cine lenses (they got curiosity from cinema community, now they need their attention).

Yeah I heard them say they are TRYING to make it affordable for the consumer, "NOT JUST RENTAL HOUSES" so that for me was disheartening. That sounds like $10k minimum to me if they even have to say a line like that. Honestly for how close image will probably be to the 100ii it would make more sense for me to just wait and pick up a used 100ii and rig it up. The second generation Eterna will probably be a beast of a camera if they can get those read speeds quicker and incorporate the next level of tech that's coming.

Pixel to pixel mode should show the same resolution as the FX3, just in MFT gate. @Walter H Penalty regarding noise could be okay, since the S1RII has very good noise performance. It's a 6K60p full frame camera with the 4K120p mode of a GH7 as a give away. I know the GH7 does it oversampled. Then it's a Sony 4K120 FX30 thrown in for free.:) I would love to see the 28mm Vivitar in action.:) @Ninpo33 It looks like a Vivitar I lens in body design and sturdiness, doesn't it? Iirc from my ebay tours some years ago, it looks just as cool. Is the 135mm as nice as the 90mm? Have you shot with the 90mm? cheers

Would die long ago if marketplace wasn't added to the platform. Zuck is idiot, but his team is clever at resurrection of zombie services. Reddit is another example of how people get used to live in terrible places. Its ocean of high value information/experiences/stories, but it needs high mental capacity to explore. Its cascading comment section is unbearable. Garbage/bot volume is insanely high. We need more smaller, neat, well administered forums; and less public squares.

Which is interesting when in the video linked just above the S1Rii's 4K/120 looked much worse than the FX3's when punched in. Now I've seen some very nice 4K/120 from the S1Rii so it's a bummer that these reviewers are not clearly stating what modes he is filming in beyond VLOG. We've read that by changing to pixel-to-pixel mode in 4K/120 maintains PDAF. Will there be other image quality impacts/improvements as well? I'm not conflating fast readout wiht image quality necessarily. Just noting things.

Which again is why I think/hope/prefer the S1Hii would not be a DSLR form-factor. People want "game changing" attributes and internal ND and fast readouts to for 8K 60P open-gate, etc. Have a body that provides the space to properly cool, to be rigged out in a streamlined way, that has the features of multi-channel, 32-bit float built-in rather than added on. Now if 8K is the limiter, I'd much prefer to skip it and have a 30mp sensor, focus on excellent open-gate 6K. If a slightly larger body could facilitate the better cooling required and for the electronics for 32-bit audio and internal electronic ND, sure, I'd be into it as a larger DSLR with all of the still capability and better low-light. But for a video-centric camera, why not go to a box?

I pre-ordered the 42mm at $5K, and the 95mm at $6K. Expensive, but probably the best money I’ve spent on gear. There really is no shortcut to good glass. Most likely the Eterna will be out of my reach though. I’m honestly hoping we see a Pyxis Pro from BMD with that RGBW sensor.

Same here for those f/2... Totally agree, but you're still able to find them for $100 :- )

When considering the big picture perspective of Nikon's history, let's not forget: Nikon D90 => the first ever DSLR with video capabilities. Nikon D500 => the first ever (non-cine) DSLR with 4K video capabilities. Nikon D5200 => a banger of a FHD DSLR for a low low price: https://www.eoshd.com/review/nikon-d5200-review/ https://www.eoshd.com/news/nikon-d5200-vs-canon-5d-mark-iii/ https://www.eoshd.com/news/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ "refocus" 😉 Yes, seeing Nikon level AF coming to the future RED cameras will be nice.

Lacks NDs, maybe if it had that then I'd call the FX30 "2025's C100". Perhaps it's more accurate to call the C70 "today's C100"? Either that or the FX6 itself. (although I'd say the FX6 is closer to today's C300mk1 than a C100) Maybe the FX30 is more like "today's Canon 60D" (the FX30 today is only a couple of hundred dollars more expensive than the inflation adjusted release price of the 60D was)

Still need to upload those files... I did a quick test of the Voigtlander 40mm F1.2 and 35mm F1.2 today, Leica M mount versions on the Canon EOS R5, Sony a7r III and Nikon Z8. This is to see exactly how different the optical performance is on each filter stack in the 40+ megapixel range. So along with the N-RAW and N-LOG files I'll try and get that turned into a blog post soon too.

Wonder how many of them are still there?

In fact, same here : ) And seems 6K 50p or 60p can be an interesting route to justify it ; ) I second what you say, mate, so it's under my radar these days... This customary specs list is always a pain for lacking what FF and crop (thinking about those new anamorphic AF releases, OK I confess! LOL ; ) is, respectively, from there: EDIT -- OK, here is then: source As Andrew has defended, that massive ProRes bitrate is a source of concern no doubt... I wonder (and following their video tradition and customer care) if not possible to overcome it along next firmware updates?

@Emanuel RS in 6K/4K 60p full frame is around 15.5ms, so pretty good and not an issue for most scenarios. I am not fond of the 22ms in 24p 8k/4k, especially not the latter. What I could take away from the online footage is a lush creamyness of textures which I really like, high resolution without oversharpening.

Man, do we meet? When? ; ) Tomorrow I will meet some Polish EOSHD user I crossed my life with over these same pages. He will be with his Fuji and I will be with my FX30 and some vintage glass, that is, if I will locally find an adapter till tomorrow... I am done with Amazon's local courier (CTT Express failed their delivery for today!). Any pics from those setups BTW? PS: Andrew could organise a meeting for those users interested to test my spoken English skills! LOL ;- )

I got the Vivitar 1 alteration of the Bokina. I'd call it the steelhammer version. It is so robust and tough. Mine has a ca 1/3" × 1/4" × 1/4" chunk of steel chipped off miraculously by a former owner, maybe in a steelhammer manner. It still operates like a charm. This lens is crazy regarding built. What a beasty lens. I have only used it once or twice many years ago. I must change that. Which Viv I lenses do you have? @Ninpo33We could do a Vivitar cinema verité piece or any kind of video and share it here. I got the Bokina and a Vivitar 35mm 1.9, which I wouldnt consider in the same league as the Bokina. I'm pretty sure the 35mm is not a lens from the I series. The 28mm F2 looks beautiful. Must be a pleasure to hold and use. It's a shame I left that gem collecting dust. As it comes to my mind, I even have a converter for it, changing it into a 60 or 65mm lens. This lens is a good reason for some solid tripod fun! Back to topic. If the S1RII has a creamy look like a C500II with absence of oversharpening, it could be a tempting prospect of Gas. Better not.:)

Yeah that's fine. Don't bore me with it though.

I am typing you right now from Portugal for family reasons but Rome is where I mostly intend and like to be as much as possible : ) UK (from London to Belfast) is my official residence and Malta will follow at same time for soon, very likely. With a few productions a bit spread all over EU and East Europe to include Moscow and Kyiv as well all ex-YU as supplier from 2005 until the beginning of the current war. Brazil for this last decade. U.S. (NJ and Florida) where I run two warehouses of gear and film business altogether. Asia is one of my preferred markets (Japan and China but not only ; ) and I've also produced a couple of feature films in NZ. I prep some feature to come soon I hope in Australia, a country that I fairly appreciate to work with : ) I've never lived there but I have assets distributed in one of the most reliable locations this market is, without mention I love Aussies! :- )

@Jahleh I didn’t think there would be a very noticeable difference. On a 4K Sony OLED TV in HDR those Nikon shots just look like a whole other level. Whole video looks great, but is amped up to 11 with the Nikon. The highlight roll off and color gives the image a larger than life feeling. Watch Jimmy Chen slowly come to the Nikon side for his upcoming docs with Alex Hanold.

If Blazer come in L mount that would be really nice One downside when using anamorphic desqueeze in Sony, you lose both AF and IBIS. But on Panasonic you still get AF and Anamorphic specific IBIS I m not a fan of that hex bokeh from the 40mm either, luckliy they fixed it with the 20mm which shows oval bokeh.

I don't hate Gerald or think he's a bad person, I'm just bummed at what he has become. He genuinely seems pretty miserable doing this stuff, and the more he shares about himself (the comments about why he doesn't create anything were really illuminating) the more I wonder why he is even into cameras to begin with. If you aren't inspired to actually use these things to create art or entertainment, then what are you even doing? Those comments in particular brought me back to a comment he made in his previous video last year, where he bragged about being brought on these press trips to exotic places and filming nothing. Say what you want about those trips and whether they are ethical or not, how are you not inspired to photograph or film the sights and sounds of these exotic locations and the elaborate sets these marketing folks have created for you if you're even remotely into cameras? Surely your interest in cameras has to go beyond what you film in your basement and the tests you run on them... right?

Exactly. He has almost 500K followers, he is part of the problem, he helped create it and now he is playing the virgin. It sounds to me like a butcher lecturing on veganism. This is the second whining he has done in a few months and both times it was because of a Lumix review. At this point I don't think it's a casual thing. Yet if you read the comments to his whining, everyone agrees with him. Maybe all the loser haters are here.

I watched the video and it was, as I expected, a lot of him whining about things where he was accurately called out. He made some wishy-washy comments about how he talked about the RS early and often because of this and that, but I'd be willing to bet that if I had the attention span to go back and rewatch his video on any Sony camera with high RS (at least equal to the S1R II, and probably in 4K because... Sony), it'd probably be mentioned only briefly and about 3/4 the way through an otherwise glowing video. He also threw in digs about overheating which is completely nonsensical, but he said would be a deal-breaker for him. Fair enough, of course, but overheating after more than 1 hour in the camera's most taxing mode and not at all in most modes is just not a big thing for most people. Poor battery life? Sure, that's somewhat valid, but easily solved by... buying a couple more batteries or just plugging the damn thing in, either to mains or a v-mount... or to a USB PD power bank for that matter. He also completely misrepresents the comments people make about him not being a filmmaker. It's totally fine for him to make an objective video where he talks about the specs of a camera. One doesn't have to be a filmmaker for that. On the other hand, the attention he pays to minutia and how much he harps on various things that are not that important to a filmmaker are relevant to the discussion. Any of his preferences/suggestions come from the point of view of a person who leaves a studio permanently set up and, for the most part, stands by a desk and talks into a stationary camera. I'm not a wedding videographer and as such, if someone came to me asking for the best gear to use if they wanted to get into it, I'd probably refer them to MrSMW and/or some local friends who do that instead of posing as the expert. I'm not a commercial filmmaker either - so if someone wanted advice on the best stuff for corporate talking heads videos and the current fashion trends related to it, I'd send them off to a friend who does that stuff. Even for the things I do shoot, if people ask me for info on the camera to buy, the answers have a lot of "well, it depends," "opinions vary," and "basically every mirrorless or cine camera released in the last 5 years will probably work just fine for you." After all... they're all pretty damn good now. If only that guy had released the Fran, I could have at least one camera to tell people not to buy. Maybe the Bosma 8K sucks? I remember seeing that it's actually for sale in some places, but I've never heard of anybody actually using one.

@Emanuel I also love my FX-30. It just came back from 2 months in the camera hospital (a whole other story) but I just love that thing. A beautiful sensor and lovely ergonomics. And so relatively cheap! The C100 of its days.

Exactly…!!! Whether he likes it or not, he’s become a YouTube personality everyone trusts and goes to for “scientific results” and there are a lot of people that misconstrue his results. With the S1Rii all he had to do was say something like, “rolling shutter isn’t great, about the same as the other LUMIX cameras, turning DRE off will help a lot. This is a common trait of high res sensors like the A7RV and the SL3 so 8k readout speeds will be slow” A line like that would have literally saved so many stupid comments and made this thing much less of an issue. He’s trying to blame LUMIX fan boys for people complaining when he really needs to check his ego and learn how to take constructive criticism.

Even a Viltrox lens looks good thanks to her!

Mine is more like this: But came with less vegetables.

That was my thinking in September of last year. I picked up one of these: https://www.amazon.com/dp/B09PN5RR9D?ref_=ppx_hzsearch_conn_dt_b_fed_asin_title_1&th=1 Good, solid cart - the little extend-o-platform on the bottom makes it great for tripods and light stands and the enclosed top is great for throwing in a bunch of cameras/bags. The big sturdy tires are nice for things like rolling over rough terrain/curbs/etc.

One of these is getting delivered today. $450 on amazon. I’ve been searching for a lower-tier production cart with the right balance of features, weight, payload, and price. I hope this fits the bill.

Yes. I got my fold up off Amazon for under €70 and it has been one of the best purchases of my career for sure. Instead of 3-4 trips from vehicle to venue, it’s been a single one each way.

I agree the X-S20, X-M5, X-T5 all contenders for value champ. If you look at just full frame cameras under $1000 then it gets less complicated. APS-C and crop sensor cameras have always been plentiful bargains. There's a lot of them to choose from.

I have my two C70s dialed in so precisely to my needs that even after ~5 years, I can't imagine replacing them. One of them is built up for handheld operation, and the other is stripped down for travel. So, I really don't need anything else at this point. That being said, an updated version of the Canon EF-S 17-55mm f2.8 in RF mount would be a no-brainer for me. They could even use the same glass from the older version and just update the AF.

@Andrew ReidLooking forward to your experiences and impressions of the footage.

The deal is done, thank you Foto Meyer Berlin. Sold some stuff, as I realised I didn't need it anyway as the Z8 does it all, pretty much. Z8 has been out about a year already, which is crazy. Still I think 3099 given it's still current is quite generous. Like many of you guys I was waiting to see what Panasonic would come up with after so long. But the S1R Mark II is not for me and S1H Mark II remains missing. I won't pay $3.5K / 500 euros more than the used Z8 for a cost-cut S5 body, no top LCD, worse AF, worse rolling shutter, and a worse mount. Also the S1R II internal RAW codec bitrates are too massive, ProRes RAW only, no 700Mbit custom RAW format like Canon/Nikon are offering with Canon RAW Lite and N-RAW. Although hey, at least Panasonic has internal RAW unlike Sony! Z-mount is equal or better than L-mount for many reasons, primarily: Megadap Sony E mount adapter opens up the entire Sony range of which there is a lot plus allows Sigma full frame lenses in by the back door. Lovely 35mm F2 is small and perfect for Z8. Also the Techart Leica M autofocus adapter is IMHO a must have, and this ain't available in L-mount. Plus Sigma APS-C lenses are in Native Z mount anyway so when I need to go for a very small zoon, 18-50mm F2.8 fits the bill perfectly and the Z8 has enough resolution in Super 35 mode to do it justice. I could not wait another 12 months to 7 years for a Panasonic flagship. S1H Mark II might be really nice... who knows. They're not communicating. Panasonic did not even so much as email me about the S1R Mark II. But the main reason I am out of the Panasonic ecosystem is that the competition is both cheaper and better.

Yeah I was so set on a Z9 but after doing some tests I got very frustrated with N-log. Exposing it right, grading it. Such a struggle I ended up using the baked profiles like flat or neutral. Maybe I didn’t find the right workflow but log footage was all over the place with often very little latitude. Call me biased but Clog is just so effortless to work with in comparison. N-log really killed my GAS for switching to Nikon..

I think I have answered it myself... The compression in H.265 is the result of bad tests. They are using the MP4 mode which has extremely low bitrates. In MOV we have 8K H.265 10bit 422 at 400Mbit, similar to the Sony a1's 500Mbit 8K mode post firmware update. This I have experience of and it was a match for N-RAW as far as the lack of compression, great shadow detail and a fine noise texture goes. There's also a Prores 422 HQ 700Mbit/s mode in 4K/24p, so a reasonable step up from 400Mbit. Remember however that H.265 long GOP at 400Mbit is equiv. to H.264 at 800Mbit so if you see a ton of macro blocking in that I'll be surprised! The ProRes codec has the advantage of being ALL-I though. According to Newsshooter where you can see the full breakdown of bitrates, 4K in H265 MOV is 190Mbit, so equivalent to 380 H.264. https://www.newsshooter.com/2023/05/10/nikon-z8-announced/ Aside from the wide range of bitrates... I like the fact it has no crop in 4K/120p plus the option of DX and 2.3x crop. The 2.3x crop is nice for Super 16mm lenses. Plus the high-res Zoom option for pretty much any crop factor between 1 and 2.3 One last thought, it seems Nikon did agree with the Canon 70d that the right place for the stills/movie mode is under your right hand.

There is a 700Mbit/s mode in NRAW at 4K 24p which could be good half-way house between too much compression and the huge file sizes of the 8K NRAW and Prores modes. This is among the smallest file size for RAW shooting on any camera, alongside C-RAW Lite 6K on the EOS R3. I have seen this test which shows the compression in the red channel with H.265. What's a bit frustrating is the lack of info about what bitrate was selected and so on... I assume it was graded from LOG. According to Slashcam the H.265 bitrates in MP4 are tiny. https://www.slashcam.de/artikel/Test/Nikon-Z8-in-der-Praxis--Die-bessere-Z9-fuer-Video--8K-RAW-50p-Bolide-mit-Feinschliffbedarf--alles-.html# Will certainly see some compression in MP4. But what about the H.265 MOV mode?