IronFilm

Thank you for the kind words. Although I don't think this is such a narrow/special case for filmmaking, rather it is a pretty normal thought process for DoPs that I've experienced. Choosing a specific DoF for a scene is the more normal approach rather than choosing to shoot everything W.F.O! ("Wide Fvcking Open"!) But for sure, if you're a person who wants to shoot everything W.F.O. then don't buy anything other than full frame cameras, and don't even buy any f1.8 lenses, only buy f1.4 primes! Heck, only buy f1.2 lenses! Nope, even that is not good enough. Only f0.95 lenses for the full frame WFO shooter! ? Nope, I asked you to back up this statement: And my impression is that you haven't. At best your argument has boiled down to: More light hits a bigger sensor. Well d'oh, I'd never disagreed with that! :-) In fact I have even directly addressed that point. It is a bit like arguing an engine is more powerful purely because it has more cubic inches of displacement. Yes indeed displacement does matter, no arguments there, but it only is one factor of many! And all those factors are worth considering, rather than just zeroing in on only one aspect to the exclusion of everything else.

Nope! Not assuming the GH5 and GH5S have comparable noise performance. I'm being bolder than that! ? Am assuming the GH5S has better noise performance. Is that too bold to assume? I think not. Thus if the GH5 has acceptable noise performance for @Shirozina then it is perfectly reasonable for him to assume the same about the GH5S even though he hasn't ever used the GH5S.

Indeed I did cry a little. A big bummer the camera lacks a mic input!

Yup, Nikon waited a long time for this, they're not going to want to screw it up. For everyone on EOSHD we should be glad that Nikon gave 10bit external and didn't cap it at max 8bit in any form like Sony. That doesn't sound like a "Sony clone" to me. Nailed it.

Seems like the new Z6 "fixes" nearly all of those things about the D750

Yes, the price leap from Z6 to Z7 doesn't seem like it is worthwhile for many people just to get a resolution boost if all you care about is video. Unless the Z7 has insanely better video AF with all its extra AF points.

Because he shoots with a GH5, and sees that noise is nothing to worry about with the GH5! Thus it is only logical for him to concluded noise from a GH5S also won't be the big issue you are trying to claim it is. Yup, as I've said a bunch of times, comparing stills vs stills will only barely tell not even half the story.

Nope. What I'm saying is that the image quality is what matters more, than how it got there. Does it matter if the image is created by a thousand or a zillion photons hitting the sensor, if the image we see is the same? So we should instead be talking about the performances of specific cameras rather than hypotheticals of what would happen in some idealized theoritical world where all sensors behave exactly the same. Which of course is not at all what happens! So if you have say a Panasonic GH5S camera shooting with a 25mm lens at f2 & ISO 1600, then if we're wanting to do the same with say the new Nikon FX mirrorless camera, then we must use a 50mm lens at f4 with.... and now here comes the slightly tricky part which people keep on tripping over: 1) stay at ISO 1600 but flood the light with four times more light! Which is tricky indeed do manage that much more light, and to still light the scene in a way which doesn't completely make it look differently 2) boost up to ISO 6400, but if this ends up looking worse (dynamic range / color accuracy / noise / etc) than the GH5S' video at ISO 1600 then you've clearly lost something. 3) a compromise between those two, such as ISO 3200 so you only need to stop down to f2.8 4) stick with the same f2 f stop, but this radically changes DoF and will end up compromising the story/production/1stAC/etc vs your original carefully chosen DoF at the start. 5) some kind of juggling act of tweaking ISO / F stop / lighting all at once, not the same as you had decided on before as best with the GH5S but might be the compromise with this full frame camera which leads to the least worst set of tradeoffs for it. So you can see why those redusers had come and realized that visavision isn't the heavenly world of roses they thought it would be, which should have been obvious if they hadn't been stuck in the "bigger is better" belief many spread.

You're comparing stills. We're discussing filmmaking. Look at video output. As the GH5S shows vs an a7Smk2, the gap has for practical purposes disappeared at a given ISO level.

Just realised that DPR put out a dedicated video just for the 10 year anniversary of the G1: Happy Birthday Panasonic G1, the world's 1st mirrorless! I never used you, but the Panasonic GH1 was my first ever camera I purchased for filmmaking. (after borrowing Sarah's Canon T2i or Tintin's Nikon D90 for a while to be able to do my film school assignments) Then later on got the GX1, a G3, a GF3, and another GH1, and a G6. I certainly loved my Panasonics!

That is true right now (well, at least it is for many people). And thus I feel this is a perfectly reasonable statement to make. To recommend to someone the GH5S as their "best" choice (but then to make a small side note: but keep an eye out for the BMPCC4K! But only if you have patience to wait) Heh, I'm willing to give it is "raw". Sometimes what is/isn't raw can be a bit loose with the terminology.

NIIIIIIIIIIIIIICE!!!!!!!!!

Anybody know how it is getting Timecode into the body? And is the HDMI port full size?

I've tried! Explained it so many times already in this thread! And many other threads too over the years. Sigh. The number of photons which hit the sensor are irrelevant compared to the core question of what is done with them. Or in other words, how does each level of ISO perform? Or in other words, if two cameras look the same at 1600 ISO, then how many photons hit their sensor to achieve that result doesn't really matter as much as the fact that they both are looking the same at 1600 ISO. Edit: how weird I got those "email protected" notes in the quote! That wasn't me, the software forum did it. Sooooooo.......... full frame is better for outdoors, and MFT is better for indoors? ? :-P ? ? Sure, there are those who value extreme shallow depth of field above all else, this was especially popular in the early days after the 5Dmk2 as it was such an extremely unique look for many indies back then. But I'd hope we've moved on since those olden days. And are not simply striving to shoot with the most extremist minimalistic depth of field that we can physically achieve! Rather we are thoughtfully choosing the right depth of field for the shoot/story/crew/production.

Guess it is a good alternative for slow motions nerds, no 4K 60fps but has 120fps HD Good news for us, the cheaper one is better at video!

WHOA!!! Whoa. E-X-C-I-T-E-D I got so keen on the GH5S when it was the first ever to get timecode support: http://ironfilm.co.nz/leaked-the-specs-of-the-panasonic-gh5s-finally-we-get-the-first-stills-camera-with-timecode-i-o/ But then the GH5S disappointed me: https://www.eoshd.com/comments/topic/26493-panasonic-gh5s-timecode-might-be-majorly-flawed/ Hope Nikon doesn't disappointment me like the Panasonic GH5S did!

Prove it. I'm basing this on logic/science/experience. So please write a rebuttal point by point for everything you're disagreeing with. Two minutes ago people were complaining about how MFT sensors are not as good in lowlight.... now people are saying they're too good and it needs tonnes of ND? (reminds me of people with the a7S when it came out with its high base ISO in slog) You just can never win with some people! :-P

I want a Zed 7! ?

For all the naysayers I have this: FF mirrorless with 10bit external! That is something which NOBODY in the world is doing! And normally to get FF 10bit you must spend over US$30K to buy the likes of the Canon C700 FF as your cheapest ever option. Until that is the Kinefinity Mavo LF which got announced the pricing yesterday of US$12K for the brain. But this Nikon with a recorder would be much cheaper! And what perfect perfect timing by Atomos to have brought out their compact and affordable Ninja V!

EXACTLY! When your restriction is your DoF that you must work with, and not your lens (and indeed in a practical aspect, for many people it is this way round. Although sure... some might reply back with how they're exception in that it is the MFT lenses which confine them....) then as your sensor size goes up you must either boost up your lighting levels (which means more time and costs! Thus the complaints from the vistavision shooters on reduser when they discovered this obvious fact) or boost up your ISO levels (which either means you lose an lowlight advantage the large sensor maybe possibly had, or even worse... you are left with worse image quality!).

Oh FFS! Back to being forced to use that external recorder....

The math nerd in me wishes they'd called it "N" as their logo instead so we could have a fun debate as to if Zero is in the set of Natural Numbers or not. Ah well, missed opportunity by Nikon.

I am surprised nobody has yet tried something wild an innovative like a camera grip which you can screw onto either side of the camera body, so you can choose which side depending on what is more comfortable for you.

Sadly the Ninja Star only does 1080, while the Z6 outputs 4K I think the Ninja Star might maybe even have been discontinued? Hopefully Atomos brings out a Ninja Star 4K! Otherwise the Ninja V is a good pairing here. With its compact 5" screen. Exactly!

Remember the Canon 24-105mm f4 sucks because the tele end is a lot darker than the wide end None the less, it is still a very popular lens! Because of its wide range for a mid length FF zoom lens.