Django

Yeah pretty wild that in 2025 Sony only offers it on their $60K Venice 2. I’d hope that would change in the FX replacements or even some kind of update although Sony are terrible in that department. There is a rumour Canon will introduce open gate in an upcoming R5 mk2 update. It would be a smart move because that camera isn’t getting much love and no one aside from Panasonic is doing it on a hybrid (would be a direct S1Rii counter strike). Plus if Canon add it, it might push Nikon to do so as well.

Yeah I don’t really think stills burst rate limits correlates to open gate. There are cameras from Panny and BMD that offer it with much older tech. Personally I wouldn’t mind if it were offered with certain codec/fps restrictions just as long as it’s an option. Fingers crossed.

Cool, now what they really need to add is LUT support. Especially considering the current log assist mode isn’t really that reliable for exposure. Another major one would be open gate. If they add both LUT support and OG, I’d switch to Nikon in a heartbeat.

I’m curious how you find the grading workflow and latitude, especially compared to R5 log & RAW. I had trouble getting the log exposure right.. Check out the new RED luts, especially the technical one. By the way, latest Z9 update brings some cool stuff including shutter angle options. That should trickle down to Z8 pretty soon imo.

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..

Like I said earlier, open gate is very appealing to me and currently Panny are the only hybrid cams doing it. But with 37ms RS in 6K it’s basically useless. I also like what they did with S9 allowing you to stack LUTs and adjust opacity in cam etc. Even vertical aspect ratio. Panasonic have real useful features for the working videographer/filmmaker but always seem to drop the ball somewhere. Not by much but enough for me to look elsewhere. Here it feels they’re playing catchup with a way overdue model. The absence of a stacked sensor or even semi stacked sticks out like a sore thumb..

..and showcase 52ms RS 😂

37ms rolling shutter for Open Gate is such a deal breaker to me. Open gate is the only reason I’d consider switching to Lumix. Plus it overheats ?!! Fuggetaboutit..

Sigma cameras have always been quirky in a good way I think. Niche cameras from a niche company. As Andrew stated they aren’t competing with Canikon or Sony. More of a Japanese Leica without the price tag. Also differentiating themselves from other sister company Panny so yeah very different from S9 despite similarities. More high brow artsy, very early Apple/Braun philosophy. Design first, form over function. There is no open-gate AFAIK. I don’t think the target audience is social media users like S9. Video is really a side show here. This is more for the Leica audience. Stills oriented for mature enthusiasts that doesn’t want to delve into technical aspects yet want a sleek compact rugged camera with minimal controls that’ll output beautiful SOOC stills. It’s not so unlike their Merill/Foveon cameras.. I won’t lie I want one just because I’m a sucker for this type of design philosophy but it makes very little sense spec wise in todays market. Beautiful Foolishness, name really checks out!

I think the name says it all. Specs aside this is the most « think different » camera from an engineering and UI perspective I’ve seen in a while. Very ZX1 reminiscent with the monolith design and aluminium unibody is right out of the Apple Johnny Ive MBP / iPhone 5 playbook. You gotta give it to Sigma for always bringing something different to the table. The Fp was already impressive with its compact solid construction and minimalist approach and this takes it to the next level. Personally I still prefer the modularity of the Fp-L with optional EVF etc but this Bf is stunning in an ultra minimalist way. Spec-wise it’s more a mixed bag but this is more form over function. It’s nice they gave us 6K and L-log but a real shame they took away video DNG Raw, especially considering it’s got internal storage. But I think this is more a premium lifestyle and photography oriented camera. Curious to know if it shoots 10-bit. Probably not because of heat management like the previous compact Fp’s..

If you shoot a lot of 4k60 then R6 mk2 actually has a much better oversampled instead of line skipped image than R5mk2. But if that isn’t a concern then the original R5 may be a better choice as it’s now more or less the same price as an R6 mk2 at some dealers. You’d gain 45MP / 8K and internal RAW. yeah I always just go with the exposure meter on Canon cams, plus of course the view assist to get a rec709 preview. Unless mistaken the exposure meter is absent on Nikon’s in video mode? I always find the exposure meter most handy on small mirrorless lcd’s.

No there are zero compatibility issues with Sony Slog and Davinci. FWIW Sony were the first to introduce log on a mirrorless camera so its supported in every NLE. FX3 is super compact so ideal for confined spaces like a car. Reason I recommend it is that the FF 12MP sensor is optimal for low-light situations with a second base ISO of 12,800. Other strong points is super low rolling shutter (great for fast run & gun), IBIS and cine features like shutter angle and in-camera LUT support. And it comes with an XLR handle. Oh and The Creator was shot entirely on it so yeah its pretty legit even on the high end.

Can’t chime in on the vehicle talk but getting back to camera needs I’d look nowhere else than Sony FX3 / FX6. Since OP mentioned lowlight / nightscape / astro. Pair em with a 24-70mm f2.8 GM.

On a pure IQ level, mirrorless has definitely made significant strides wether in DR, color science, resolution, rolling shutter etc. And more importantly now with chunky internal RAW/ProRes/10-bit/Log files the gap towards high-end cinematic imagery has definitely narrowed significantly. RED/ARRI still rule in highlight roll off, DR but all the extra mileage you see on an image is indeed mostly lens, light, color grading related. On a related note, with CST in Davinci you can transform your log footage to RED/ARRI Clog and apply their LUTs & look files. Results may vary but the gap isn't as big as you'd think.

C70 is great but I’m a FF hybrid shooter. I wanna invest in RF lenses (24-70mm f2.8, 35mm 1.4 VCM) so FF makes a lot more sense. Plus with 8K/45MP resolution you have great cropping power. The 35mm prime can become a 50mm & 105mm at a flick of a button on R5C. That’s great because I don’t like changing lenses on run & gun shoots. The new teleconverter feature is what’s pushing me towards R5C at the moment.