Geoff CB

Z6 viewfinder is miles ahead of the A7III. I've owned both and while the A7III is okay your constantly aware your looking at a screen. There is a slight delay in the Z6 when recording video that is very annoying however. The S1 viewfinder I would say is about the same in my brief trying of it. S1 has significantly better specs, but also expensive lenses as does the Nikon. One thing to consider for future work. The Sony, Panasonic, and Canon cameras have or will have cinema cameras that you will be able to use their lenses on. I love my Z6 despite it's quirks, but I'll never be able to use their glass on a native high end cinema body. This is a factor if you want to choose a system.

You can get N-log out of anything that takes HDMI so yes it will work. I've found the 1080p to be excellent on the camera, I should test what the n-log gets me at 1080p though.

Some frame grabs from a promo I'm working on for a local inn. Fruit was captured in portrait, outdoor greeting in FLAT.

Heavier and doesn't have a method to lock the HDMI. It does have better screen and Cinema DCI format support.

In general I have found that audiences notice differences in color far more than differences of the background blur or object separation.

Agreed. My SmallHD Focus has served me incredibly well and I haven't seen a better locking HDMI solution than the one it employs.

Adorama seems to have dropped the price of it's used gear by a large margin. FS5's and URSA Pro cams are significantly cheaper on there than other sites. Adorama seems to have dropped the price of it's used gear by a large margin. FS5's and URSA Pro cams are significantly cheaper on there than other sites.

Yeah and the sensor has such a high readout speed there really is no reason this thing shouldn't have at least 4K 60p

Currently I have 2 lens sets. 24-70 G and 70-200 G Lenses to go with my Z6, probably going to grab a 16-35 or 14-28 at some point to finish it out. Prime set of Voigtlanders SL 20, 28, 40, and 90. All have a matching look. Zooms for coverage, primes for art. Haven't decided where to go next for my glass, it's a toss up between 2 sets I'm looking at. VOigtlander E mount Low Light: 21mm 1.4, 40mm 1.2, 110mm 2.5 Nikon Creamy Dream Set: Nikon 28mm 1.4, 58mm 1.4, and 105mm 1.4 lenses Agreed, the UMP G2 ticks all the boxes except the mount/sensor combo. I would probably go for a nikon 17-55 2.8, but like you said older optical design. How do you like the FS5? I'm thinking of picking one up now that they are so cheap and like you said they can be used with speedboosters. Tempted to get one of them and upgrade to the FX9 down the line. E-mount is such a better mount than Canon EF. Hoping Blackmagic's next camera joins the L-mount alliance and is full frame.

Honestly what I watch the most is The Great British Bake Off. Every season multiple times. Favorite dramatic series I've seen this year is Chernobyl. That is absolutely incredible.

I've posted about them several times on this forum, but I have a full set of Voightlander SL lenses. 20mm 3.5, 28mm 2.8, 40mm f2, and 90mm 3.5. I've shot a entire short film on them. I had the 58mm 1.4 but never used it because the rendering on it was very different than the rest. This was shot entirely with them on an NX1: Shot with the 40mm on a D750 Some recent stills: 40mm 40mm 20mm 28mm

Yes it is connected to the bottom of the Smallrig Cage. Only thing missing from photo is a microphone or wireless lav receiver on the shoe mount. As a side note I really wish there was a hole for the monfrotto arm on the right side of the cage so I could swap sides if I need to.

Here's a quick one of my current setup. Nikon Z6, Smallrig cage, and Monfrotto arm with a SmallHD Focus monitor. Recently got the Monfrotto arm and I love it, very sturdy and easy to adjust.

The FS5 can only output 8bit 4:2:2. Don't know about the FS7.

Yeah I don't think 6K will ever be a delivery standard. It's ideal for better 4K delivery. 4K or 8K as delivery standards will be the norm. I'm still mostly delivering in 1080p so 4K acquisition would be plenty for me. It's interesting that I've seen some arguments against getting the new Sony FX9 is that it's not future proof because it's only 4k internally.

Really wish Tamron would get these on the Z mount.

Put in for a preorder. Getting N-LOG out of my Z6 and the preamps on the 7" will be hopefully great. Also have about 4 terabytes worth of SD cards so I love that this records to them.

Yeah the best part of this camera is the pushing down of other camera prices. Used FS5 is now going for $1900, you can get a refurbished one from Adorama for $2100. Which if you get a recorder is a beast of a camera. Might pull the trigger on a FS5 mark II when the FX6 comes out, I want that electronic ND

I don't like anamorphic that much at very long or wide focal lengths. So any project I shot anamorphic would be planned out and shooting only that focal length, my favorite focal length and squeeze. I know that is weird

On a gimbal that he has to carry for extended periods???

A Full Arri Lighting and grip Kit with a van to transport it, and a full time assistant grip. Sony FX9 Sony 16-35, 24-70, 70-200 Voigtlander 21mm 1.4, 40mm f1.2, 65mm f2, 110mm 2.5 Angenieux EZ Zoom set A 40mm Zeiss Master Anamorphic That's about it

You can repeat it all you like, doesn't make you correct. Google has "NIght Signt" in their phones. It takes multiple images in a row, analyses them to reduce noise and sharpen them into a detailed final image. It's fantastic tech and extremely useful for non-action photography. Apple is just doing something similar but taking it a step further.

Ronin-SC is rock solid for me, I would go for that between the two.

I use Topaz Gigapizel every single day at work. I constantly have to pull images for ads and for preshows that I make and being able to upscale the image multiple times and get a better result from even basic material saves me I would say an average of an hour each week. You better believe that I would use an AI upscaler in my editing program, or denoiser, or software that could refocus a defocused shot. It will change the entire world of media.

It is fine on G lenses, but they are not exactly light setups. For example the 24-70 2.8G on the adapter is not a light setup to haul around all day on a gimbal.