IronFilm

With that budget then you can't buy a wireless lav. As the cheapest ultra low low budget wireless I'd strongly recommend is the Sony UWP-D11 And thus you'll have to go cabled..... which will really really suck. It will make everything more complicated and more risky, especially when dealing with non-actors. For myself I use an Aputure A.Lav with my Panasonic G6 for my quick and dirty YT vlogs, I'd suggest you go with something semi decent ish like that which is dirt cheap so you don't spend too much money on it and you can save up faster for a couple of Sony UWP-D11 kits.

Only when you're comparing 8bit vs 8bit internal

With a few filters screwed onto the front of the 43-86mm? (I own that lens! ha) Then Vaseline smeared over the front for good measure. Then netting stretched over it.

https://***URL removed***/articles/8063289145/nikon-z6-video-footage-outshines-z7-simialr-to-a7-iii Without any deep dive into the 10bit Z log output from the Z6 then can't possibly call the Z6 video footage to be "similar" to the a7 mk3 when the Sony 8bit video falls so far short of the Nikon in that area.

That was a blown up storm in a teacup. People have gone and measured it. The Terra 4K has no more monitor lag than is typical for many other cameras. Sometimes I think other people just are looking for reasons to dump on Kinefinity, because they're the new little guy to pick on. You say that like it is a bad thing! It isn't.

And I thought US$350 for a secondhand Zoom F4 I've been seeing on eBay was crazy cheap. I imagine the deal means the F4n is in the works. Hope that means a firmware update with the F4n goodies is also coming for the F4 a few months after the F4n is released... I want automix / advanced hybrid limiters / better headphone preamp on my F4 with the F8 v5 style firmware update!!

The one I linked too before?? http://www.eyemore.ai/ That one?

So? This has happened multiple times with BMD camera releases as well. The pocket 4K is nearer to a hybrid camera with stills stripped out. While the Terra cameras are more like a RED or ARRI Mini Different markets, different capabilities. Kinefinity is praised too for their color science, some believing it is the closest to Arri outside Arri themselves.

"We're wide open" "Anybody can add this to their camera or NLE" Straight from the horse's mouth! I deeply hope this means that now Z Cam / Kinefinity / etc add braw support in their cameras. *Maaaybe* even others like Panasonic and Sony will. Plus of course hopefully MAGIC Vegas Pro / Adobe Premiere / Final Cut (but I bet Apple will resist this) / HitFilm Pro / etc will add support too. This could be the next industry wide standard, like ProRes is.

They're even both MFT, truly a match made in heaven! Would help too with the Eyemore S1 not living up to its low light claims. Lee is wrong, they do still have a website which is up: http://www.eyemore.ai/ So much promise! So much fail.

Shot on a Panasonic GH5! ? Still a top dog workhorse.

Yeah the 24-105mm f4 is one of the most popular workhorse lenses there is for Canon shooters. (and even with its flaw of dimming quite a lot at 105mm) Hopefully Nikon brings its Nikon 24-120mm F4 F mount lens to Z mount in the near future.

Yeah there was a demo day in New Zealand on Friday as well, but I couldn't go to it because I was working on Friday ?

I kinda agree with you, and I kinda disagree with you. As we can look at the BMD vs Kinefinity life cycles for quite a lot further back than just the current generation of cameras. Because they've both been making cameras for a while now. And it does seem like a pattern of Kinefinity releasing a camera, then BMD leap frogging them with a product. However.... don't stop there, but play it forward another step. And you see Kinefinity bring out a product which then springs back and beats BMD. And so on and so on this loop plays out. (with BMD/Kinefinity each releasing products) Thus I'll not at all be surprised if in six months time BMD announces a new camera which looks like it might be able to match up against the Kinefinity Mavo LF but at a lower price? However then it takes another six more months before the BMD product ships and gets it major kinds ironed out. And what has happened during those twelve months? Two things: 1) Mavo LF owners have had a whole year of working and shooting with the Mavo LF, earning money with it and pushing themselves further ahead creatively and professionally 2) Kinefinity has been keeping busy working on their next camera which they then announce, which is better than anything BMD has ever made And so the cycle carries again and again into the future! Another alternative way to look at it is like this: Neither company is "better" than the other. Instead they've taken two different philosophies as to how to make a camera, and cater to two different market niches. Just like RED and ARRI have their points of difference. Kinefinity has taken a compact (smaller even than the smallest RED build) and power efficient (thus you can use BP-U30 batteries!) approach with a modular design (like RED). A very different philosophy to BMD's URSA series of cameras.

Except for the sub $2K Nikon Z6! ? Kinda joking though.... as of course it can't do raw. But you're still able to get 10bit 4K!

Kinefinity must have really loved your earlier coverage! ?

I bet we won't see 10bit in a mirrorless from Sony within the next six months, got to protect their FS5/FS7/Venice!

Any progress since 2017 in discovering if there is a hidden unlimited recording mode for the Panasonic G85?

They have the Panasonic 14mm f2.5, but yes I agree, I wish they had more pancakes!

Or the Kinefinity Mavo LF! ? (which is around US$12K I think? Much cheaper! But still way way way more than a Nikon Z6 + Atomos Ninja V)

Hmmmm.... at those prices a Panasonic 25mm f1.7 would be the same price (or even cheaper!) but would give you AF And a chinese 85mm f1.8 F mount lens + focal reducer would be cheaper than the 50mm f1.1 but be nearly as fast and would give you greater versatility for the future. Would need to wait for reviews first, before simply leaping straight onto it purely because of their prices.

Maintains? The Z7 increases video quality over the D850.... Unless I missed the firmware update where the D850 got 10bit output?

Plus MFT has the potential to go smaller if they want. For instance there is the extremely tiny GX850, it doesn't have all the features of a GH5, but the GX850 + 20mm f1.7 + 8mm f4 is a super ultra compact street photography mini kit that no other camera system can match in such a small footprint. Not just compact bodies, but compact lenses too. Consider a Panasonic G9 + Panasonic 100-400mm f/4-6.3 vs Nikon D500 + Nikon 200-500mm f5.6 The Panasonic is much lighter weight! And cheaper. And has a zoom which is both significantly wider, and a bit more reach too. And of course the comparison is even worse for the larger sensors if we go further up in size from DX to FX or MF. I think that is exactly arndmartin's point? That MFT has improved and improved to the point it is now "as good" as top flight (and still relevant ish for even today's pros in 2018, there are plenty of pro photographers around the world who are still using their D3S bodies on a regular basis) full frame bodies of the past. So now that MFT sensors no longer suffer from that performance penalty of the past, because they've "caught up", do we really need to keep on pushing for bigger and bigger sensors?

Kipon makes a Medium Format Focal Reducer. A massively cheaper and easier approach to simulate the "Arri 65 look".

Arguably Nikon & Pentax are supporting 3 (or even 4) each. Nikon: DX / FX / Z Pentax: 645 Digital / FF K / APS-C K Mount