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They didn't use the full potential of that sensor in Z6iii. It can output two images per frame, one at first base ISO and one at second base ISO. Then the processor can combine them to achieve near 14 stop of DR. But as its 2x data, it takes longer to read out, hence the slow read out of S1ii when DR Boost is ON. Either Nikon's Expeed processor isn't capable enough for that task, or they didn't find that rolling shutter effect acceptable, or its a feature that needs premium license they didn't bother to pay.

If they commit to it, they'll be able to make a camera comparable to the S1II, with which share the sensor. But it's Nikon, and it will be a huge success.

Def getting there. As you said, bokek is better when it's not distracting, like in most of your recent images. That and the very contrasty-darker frames make the image better. I think that's it. You'd just have to add a couple of actors that move within the frame to fill the last piece of the visual puzzle.

r means red?

I was pondering going to the IBC but decided against it yesterday. If this date is correct (2 days before the show opens) then it is a fair bet that it will be on display at the Nikon/RED booth. Might change my mind now.

So the date is Sep 10th. Still the only leaked info is Z6III sensor and large screen, nothing more. Whoever is under NDA is as tight lipped as Nikon intended.

Definitely what I will consider, or even the Z5II once it starts getting cheaper on the used market.

looking my previous footage, i still like ml raw the best, no matter from 5d3 or crop mood cams, like m.

Yes, it has an emotional component doesn't it - that's a good way of putting it. There are lots of parallels between cinema and dreaming or memories, so in some ways the more realistic the image is the less aligned it is with all the other things about it that are dreamlike or like a memory (e.g. we can teleport, jump time, speed up and slow things down, we can see something happening without being there, we can fly, etc). Considering that memories are formed more readily at points of heightened emotion, I think there's a link between a slightly surreal image and something feeling emotional. Unfortunately the front element rotates with focus on this lens. I had it in my head that means I can't use it with the anamorphic adapter but just realised that's not true as the taking lens should stay at infinity... I'll have to try that next! I'm not sure about hard-edged bokeh.. maybe I'll come around but not sure. Our attention is directed by a number of things, one of which is sharpness, and so focusing the lens is the act of deliberately directing the viewers attention by adjusting the focal plane to be on the subject of the image. When the out-of-focus areas have hard edges, this takes the viewers attention and pulls it towards things that have not been chosen as important in that image, so it sort of undermines the creative direction of the image in a way that you can't really counter.

It reminds me of the early dot com bubble and all the junk websites and businesses. All the junk side of AI is going to get swept away later this year when the market crashes.

All of the above. I think that the lessening of detail forces my brain to "fill in the blanks", making it more of an interactive set for me. And I have an emotional response to an espresso machine, which I usually wouldn't. Curious, does the front element rotate when focusing on this? I've held the same position for years but lately I've been learning to like it. Hard-edged bokeh is one of the big differentiators between modern and vintage glass.

From dealbreaker to game changer... ; )

Today I tested the Voigtlander 42.5mm and Helios 58mm F2.0 lenses with the Sirui 1.25x adapter. GH7 >> Voigtlander 42.5mm >> Sirui 1.25x adapter.. Wide open at F0.95: ...and more stopped down (I didn't have enough vND for this much light): GH7 >> M42-M43 Speedbooster >> Helios 58mm F2.0 >> Sirui 1.25x adapter There's a certain look to the Helios, but it's hard to separate it from the changing lighting conditions, and I wonder how much of the differences could be simulated in post too.. reducing contrast by applying halation / bloom, softening the edges, etc. In pure mechanical terms the Voigts go much better with the Sirui, and the extra speed is really handy, so that will probably be my preference over the Helios.

Thanks. If you like contrasty light, my next batch of images should please you! What is it about them you like? Is it how imperfect / degraded they are? They certainly have an incredible amount of feel, that's for sure. This zoom is the Tokina RMC 28-70mm F3.5-4.5 and I understand these were held in reasonably high regard back in the day, so it's potentially not a disaster, although I'm not sure that it's the sharpest / cleanest vintage zoom in the world. Looking back at the initial set of images I posted in my first post, this seems to have gotten the closest with the softness of the OOF areas and the CA / colour fringing etc.

Would you consider just upgrading to a used z6iii whenever it makes sense to financially? Just the fact that you’d be able to get arguably better internal recording than the atomos / not having to hook up the atomos all the time..

To me, these are my favorite images yet -- by a long shot. I may need to reconsider my position on vintage zooms!

Nice! The contrasty light makes this images much more interesting than the previous flat ones.

Disregarding the use of AI by professional filmmakers as a tool to make serious content, can I just say, fuck those same 2 voices reading garbage AI scripts in YouTube videos, and all generated images of celebrities. And especially fuck AI images of real landscapes and mountains on Facebook. The Grand Canyon doesn't look like that.

This is my presentation page on the website of the agency that represent me : https://bangger.com/realisateur/stephane-tranquillin/ I have other works I can't show or that aren't released yet, including some for major brands (French car brands, TV documentaries, etc).

Shot a quick test with the Tokina RMC 28-70mm F3.5-4.5 zoom wide open with the wide-angle adapter. Combined with Resolve Film Look Creator it's super super analog, and maybe a bit too analog for what I would find uses for. Still, interesting reference. GH7 shooting C4K Prores 422 >> M42-M43 SB >> Tokina 28-70mm >> cheap wide-angle adapter >> cheap vND Resolve with 1080p timeline: CST to DWG >> exposure / WB >> slight sharpening >> FLC >> export Personally I am not really a fan of the hard-edged bubble-bokeh and the flaring with strong light-sources in frame is too much for most of what I shoot (mostly exterior locations and uncontrolled lighting) but it's great to know that looks with this level of texture are possible. I'm keen to compare it to the setup but without the wide-angle adapter. That would be less degraded but maybe in the right kind of way.

Imo, you're describing two different strategic approches to AI. Yes, it's important for us to get familiar with it as a tool in our work - but there are also managers/execs, etc looking at AI as a way to cut costs, which includes human labor, at all levels of production. So the only people kind of protected at the moment are ones in unionized jobs... but of course even that is temporary.

Could you show me some of your a.i. works? IDK if with a.i. it's the same like ordinary filmmakers which make reels... Or could you show me some pro work made with a.i.?

Sounds good, can you name that specialized AI and the purpose it serves in your workflow? Thanks.

There's a lot of "well...." and "it depends" in there. - If you have a manual focus lens with FF gears on it, the R4D is infinitely better, in that it can do it at all (after you buy the focus gear for additional money and spend time calibrating the lens) - If the subject is within between 1.5m and 4m of the camera, the R4D might be better (it's really good here, but I haven't tested the S1R II which might also be very good there) - If there is haze in the air, the S1R II will probably be infinitely better. Haze reflects light which makes lidar throw up its hands and give up - If focusing closer than 1m or so, R4D can get weird because of parallax (the lidar unit sits above the lens - this becomes more relevant the closer you get) - If focusing more than 4-5m away with r4d, the lidar keeps doing alright until about 10m or so and then it just doesn't work at all and calls it infinity. This is fine with wider lenses, but awful with long lenses. That's probably also why the calibration doesn't understand that there are lenses longer than 100mm or so.