Django

Right, I actually learned this on my level having worked on low-budget commercials where the 3D VFX team were begging for 2K pulls whereas the DP was pushing 6K from the BlackMagic. I was naively hoping 4K could be the middle ground but quickly realised there simply wasn't the budget or time for that. So I have first hand experience with this type of scenario, however I admit I assumed that on high budget Hollywood films things were different but I guess it also depends on budget and deadlines.. I wonder if theatrical releases are also more lenient as US theatres are still mostly using 2K projectors? Netflix requirements are high but they are partners of Samsung/LG/Sony pushing high resolution TVs which need high resolution content to shine! Its not just one big hustle though and I feel this pushes the industry forward, including ARRI.. I wonder if Disney+ does the same with its original series (they have the most VFX heavy content with Marvel & SWU IPs). Speaking of Fraser, I know he shot The Mandalorian season 1 in ARRIRAW 4.5K on the LF but that's also using mostly VP for the VFX via The Volume so whole other paradigm. Its not a rumour, its been absolutely verified in teardown that the A7SIII/FX3/FX6 sensor is a 48MP quad bayer sensor binned down to 12MP. That's how it achieves such class leading read out speeds without being stacked. I didn't know/think about dual gain ability though. We have seen ALEV inspired dual gain sensors in the C300/C70 DGO sensor as well as GH6 so that is trickling down. And of course RED Komodo has global shutter 6K sensor for very attractive price.

Cool that makes sense but even still if the footage gets reduced below 3.5K for VFX and delivery, as you say its still a downres from high resolution which benefits the IQ. So its not all going to waste..

It's tricky, actually Sony is what everyone uses in my media circle. I have an FS7 with some nice E-mount Zeiss glass so one or two Sony bodies would be the logical direction to go. But I find them so boring, so utilitarian. I hate the on-screen display info, hardly any exposure tools, for photography its plain awful compare to CaNikon, terrible ergonomics, no top display or anything. They are small and light though that's a plus, sorta. CaNikon have the photography DNA with great ergonomics and now very impressive if not better video specs than Sony. I was a Nikon shooter for many years, still have some vintage Nikkor glass just gathering dust. The new Z lenses look great too with no breathing. And with the latest FW the Z8/Z9 sure has a lot of nice tricks up its sleeve. Like that 2X Hi-Res Zoom which sounds amazing for a prime shooter like myself. WFM. And a whole bunch of recording options from ProRes, RAW, to h265. It's very tempting but I need to see how the camera and files work in real life as it would be quite a big system switch for me too. So yeah long story short, yes you're right R3 is a more logical choice than Z9 considering my not so extensive but beloved EF-L lenses. But still I wanna try out Z8/Z9, who knows maybe they'll blow me away just like D750 made me switch from Canon 5D almost a decade ago!

I also can't make my mind up in between multiple camera systems for future consideration. I was kinda set on Sony: FX30 + A7SIII. or even FX30 + ZV-E1. But there are advantages/disadvantages of multiple bodies. If I went Nikon it would probably be a single Z9.. just because the price is so close to Z8 but then I'd be very tempted by its direct rival: R3. Better AF, more log options, easier RAW files, no odd H265 quirks.. and of course a lens system I'm already invested in. I can't wait to actually test out a Z8 to see for myself what the fuss is about.

..well to each his own but Greig Fraiser is obviously a fan if not a pioneer of the higher resolution, being the first filmmaker to shoot an entire movie on the Alexa65 in glorious 6.5K for Rogue One and I don't think it gets much more CG-heavy than Star Wars. Here's what he had to say about that: "The images are sharper and have more resolution, and those things are an advantage, but for me it is about the depth of the image -- there is a three-dimensionality to it. Often the beauty came from the texture; we found that the camera excelled when we were filming something with texture; it really enhanced the quality of picture." https://www.arri.com/news-en/greig-fraser-on-rogue-one-a-star-wars-story-

That's what I'm saying the price is so similar that I'd much rather lean towards a Z9. Yes modularity is one thing, but as you pointed out earlier once you do attach the grip the Z8 becomes bulkier (and uglier) than the Z9: ..and considering the very average battery life, you'd probably have the grip on most of the time anyways. The Z8 sensor dust cover is nice though.

Sony cine cams were definitely used which is why I assumed Venice: (True Love was the films working title)

Gerald just posted a thorough Z8 review with a lot of overheat results among other things. He reveals some mega aggressive NR and very strange artefacts using the h265 codec in 4K. Apparently there is a new V2 LUT for N-log with a smoother curve. This camera does tick many boxes for me and there is something about the IQ I find lovely. But its true that considering you can now find Z9's for maybe 300€ more, that take care of the battery life and overheat issues.. I don't see much of a reason to go for the Z8 if I was going down that path!

I know he said a while ago that he was about to shoot the entire thing on the FX3, but I kinda have severe doubts about that, especially after watching the trailer. Like why would you pick an FX3 on something of that budget? Maybe for some complimentary shots to a Venice.. but the whole thing? nah. All those VFX shots would be better suited in 6K on the Venice. He praised the FX3's sensor for its (12800) high ISO so maybe for some of the low-light scenes FX3/FX6. But again the A-cam is surely Venice for all sorts of obvious reasons.

Not really talking of sneaking in but there are places like churches, cathedrals, museums here in Europe where walking in like you stepped out of the Terminator set just isn't an option no matter who your client is. Certain countries while running & gunning may also require discretion or extra permits. Obviously a whole different thing if your covering Coachella! It's actually great you bring up geography/terrain because I feel that's really the key difference of your lens setup and preference vs others like mine. I live and work in Paris, France. Corporate, art, retail, fashion & music. Venues/locations are usually quite small. I work in tight spaces most of the time, I also like to blend in and move around so the more light/discrete the better. That's I guess why primes and wide to medium zooms work for me. No real need for big tele. That said I will be doing a couple music fests this summer, two weddings etc so your input and @MrSMW is definitely valuable even if we may have different preferences! Lots for me to dissect in both of your posts and I haven't yet read all in this thread. Good stuff folks keep it coming!

ok I don't think it was 100% clear to me or OP that you strictly meant stills. Yeah removing the mech shutter seems to be a growing trend which I think is a tad premature at this point. RS is still a thing and I personally like the haptic feedback. Other than that I don't see what could be worse on Z8/Z9 IQ-wise as it has the exact same resolution, ISO sensitivity, RAW specs and DR than Z7ii. Come to think of it its actually kind of a mystery what a Z7iii would now be. I guess a higher MP stills like Sony A7RV but still regular fps performance and maybe 6K max 10-bit no RAW or something.

Oh for sure although generally speaking one could argue that an inconspicuous compact rangefinder setup like this.. just might grant you closer access in certain situations than coming in loaded like this: Not really an option I know as a wedding photog but sometimes less is more! 😉

Fun thread, always neat reading other peoples perspectives when it comes to tools for certain jobs! I don't specialise in event coverage but I do have a few lined up this summer so interesting to get seasoned pros weighing in while I'm in active prep mode. Now obviously everyone has their own particular preferences when it comes to gear and lens choice in particular. I don't think there is a right/wrong way to do it just use what you're most comfortable with to get the job done. Zoom lenses seem most popular for event shooters for obvious reasons, I'm just not a big fan of them, especially wide range ones like the popular 24-105mm F4. While I understand the versatility of such lenses they are often big, heavy, slow & optically inferior. All concessions I'm usually not ready to make no matter the convenience. The 24-70mm f2.8 is imo a much better compromise but hey to each his own. I also learned photography shooting primes, often with just one or two lenses. Mostly on 35mm point & shoot. Later a nifty fifty because they were cheap. My lizard brain is just wired to certain focal lengths. And that has carried over through to videography.. I guess its a cine thing also. My favourite focal length and prime combos do vary depending on task & situation so I can't really recommend a single one. For example its the 28mm Summicron that lives on my Leica M9. I mostly do street photography with that setup so its the focal length that best resonates with me for that type of work. 28mm equivalent is also what most smartphones use as their normal lens and for a good reason. Bit wider than 35mm but not as much distortion as 24mm and under. On Sony, a Batis 25mm & 85mm is usually my preferred combo. As with APS-C crop and clear image zoom I also get a pretty full range in between and over. On Canon, its a fuller range of primes and zooms. Most of my lens collection is EF/L. Mostly wide to mid. I've stayed away from telephoto zoom lenses because of size, weight and cost. I usually work in intimate settings and am not afraid to get up close & personal with my subject. Obviously some gigs like sideline sports shooting or other remote applications may forbid that but that's just not my scene or style of shoot. Well like I've just said the 28mm lives on my Leica, so I honestly don't think he's necessarily "taking the piss". While I would probably not shoot an entire wedding with that setup, I have witnessed actual 'world famous' photographers that work with just a couple primes, if not just a single lens. I've never thought of it as particularly pretentious or restricting. I think it can actually be quite liberating. And of course it does give a consistency within a series which can be useful. Obviously "art photography" or even studio photography is very different from event or wedding, so tools may vary. But again there is really no right or wrong way. Also flash photography was mentioned and there is nothing wrong with that either, it can be quite creative other than having a functional purpose. Working with primes or even just one prime means traditionally being quick on your feet which isn't always ideal or practical but with high resolution and cropping is bit less of an issue. The Leica Q series had an interesting approach with the 28mm prime and various fixed crop modes emulating other focal lengths thanks to a 47mp sensor. Of course not close to being the same as using dedicated primes but a cool concept nonetheless for an ultra minimal setup. I know a couple famous pros such as Greg Williams use the Q2 exclusively for red carpet events. This is an old concept that simply takes into account the human eye that has a focal length equivalent of about 25mm, an angle of view of around 50mm and an aperture range equivalent of about f2 to f8. So staying within that range with a prime or two would subconsciously emulate the human vision on a 2D screen or paper (since this concept harkens back to pre-digital days).

Are you talking about stills? Because the e-shutter has no incidence for video and the Z8/Z9 stacked sensor will only give you less RS. Not to mention the other benefits like RAW/ProRes/8K.

Maybe you can, the Z8 has two USB-C ports..

you sure about that? its my understanding there is a 2.3X crop only when shooting 4K120p in N-RAW as its 1:1 but h265 offers a binned no crop 4K120p. at least that's according to dpreview.. who yes have an actual Z8 review despite being officially deceased, strange times: https://www.dpreview.com/reviews/nikon-z8-initial-review

Yeah its a very cool accessory for sure! Also interesting for me to note in that video that you can switch to APS-C (DX) mode on the fly to punch-in during recording . That's awesome, I don't know of other systems allowing that kind of live crop functionality aside from clear image zoom which is similar but different. To be fair though Z9 has built-in vertical grip, bigger battery, better weather sealing, ethernet, GPS etc. Its a flagship sports/action D5 type body. Z9 will also not overheat and has longer recording times. Quite a few reports of "hot card" and overheat warning on Z8. Z8 is really a R5, A7RV competitor. Not R3/A1/Z9. Pretty amazing they did give it the same specs as their flagship. Puts pressure on Sony & Canon to deliver stacked sensor tech in their next equivalent products!

A very cool feature I'd missed that came with the 3.0 Z9 FW is this "Hi-Res Zoom" which is basically what I assume is the equivalent to Sony's clear image zoom tech but with oversampled 8K to work with and zoom control can be set to lens control/focus ring. This is really sweet for prime lens shooters like myself, effectively doubling the focal range. Great way to make use of that extra resolution.

Kind of a strange philosophy to release the exact same camera specs in a different body but I'm not complaining. I do wish they'd added N-Log2 with a flatter curve. The menu system seems a little dated. No SSD support. No open gate. Some reviews claim the AF acts weird. I dunno how I feel about no mechanical shutter despite the fast read-out. Then there was that article Andrew wrote about the RAW not having much DR.. But all that nitpicking put aside it still seems like a killer cam for the price. Stacked sensors are the future. Will it be enough to draw me back into Nikon, tough call. I'd have to try one out. I haven't even seen a Z9 in the flesh but I assume the Z8 will be more readily available, at least lets hope so. Anyone know of where to find some Z9 RAW or log footage online?

4599€ in most EU shops.

Embargo lifted. Its got same video specs as Z9 so you get N-Raw, ProRes Raw etc. Pretty sweet camera!

I hate being tethered to recorders, its clunky, requires another set of batteries and zaps the whole point of IBIS equipped mirrorless: handheld portability. If you're always shooting on sticks I guess its just an extra step to your rig but if you wanna go handheld it kinda sucks. So its not just the setup time, its a clunky affair. Nikon really put its users in a corner with the lack of internal log. Its why I never considered those cameras despite being a long time Nikon shooter with still a couple nice vintage F-mount lenses left. Then you have the limited upgrade path, basically Z8/Z9. Expensive. And no cine line. All these could be valid motives to switch systems. As others noted, only you can decide what your best move is. If you think you can swing a Z8 down the line, maybe better to wait and do option 1. F-mount glass is definitely a good incentive to remain in the Nikon ecosystem. We often gush over new bodies but its the lens collection you wanna be thinking about longterm.

Agreed on no crop 4K60p being an essential feature to me as well. I don't want any type of sensor crop when changing frame rates (no matter sensor size). The original R6 is still a good deal for that for under $2K. Overheating is present but somewhat manageable. R5 is coming down in second hand prices to the point where its a solid alternative to all these other newer releases in the $3K region. Its biggest competitor remains.. A7Siii if 8K isn't required. It has the full HDMI, much better DR, lower RS, better non binned 4K120p and of course the passive cooling meaning its still less prone to overheating than an R5.. and of course the third party lens options. This is currently Canons biggest con. Of course Nikon Z8 will be announced next week and will probably beat all these FF cams with stacked sensor 8K60p, ProRes etc. But will be a $4.5K camera..

The A7Sii was quite seminal being the first FF 4K mirrorless with IBIS that could literally see in the dark. Noise was never an issue with that camera since it had such great low-light performance across the ISO field. The real problem with these earlier A7 cams was the horrible AWB in mixed lighting combined with so-so CS. Andrew had a classic hilarious YT video about the A7Sii zombie skin tones. Sure you could somewhat correct it in Davinci but 8-bit really isn't the best for heavy color correction not to mention the waste of time. Daylight shooting not so much an issue but the camera had a few other cons brought up in that video such as slow AF, harsh highlight roll-off, poor battery life, build quality issues etc. Still for the current used price its a great little budget camera if you find one in not too battered state (they honestly haven't held up well) and don't shoot much mixed lighting. The A7iii fixes most of the A7Sii issues both in build, battery life but also AWB/CS. Also uses oversampled 4K for more detailed current IQ. But they still go for +$1.5K used. Not bad but not phenomenal considering you can now get a 10-bit cam for not a lot more from other manufacturers..

Yeah I had similar experience with the R6, learned how to get around overheat but it was a constant stress and I vouched never again but for casual shooting, travel etc was never really a concern. The ZV-E1 during my one hour test did shut off while in the menus with no warning which is what made me think initially the battery had died, but it was still on default normal temp setting. When set to high I didn't get an overheat warning but I didn't stress the camera much. I've done some gigs in China with an FS7 + A7iii. Needless to say the A7 was the only camera used in public. Looks like you'll be able to put the ZV-E1 through its paces on your tip. Don't forget to grab a VPN beforehand so you can access google and such and hopefully give us some feedback! Safe travels.