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  1. I'll chime in with my usual advice about colour grading. The simple fact is that colour grading has a much more significant role in getting great looking images than the camera does. I'll also re-enforce the points above that what you point the camera at is more important than anything else. When we look at something shot on ARRI or RED or the high end Sony cameras, the reason they look great are 70% the scene, 25% the colour grading and 5% the camera. I know this is a bold statement, but I stand by it. Colour grading is the elephant in the room of all online discussions about cameras. Everyone is looking at sample videos and going "wow, this looks great - I want to get that look without doing any colour grading or work in post at all!" and it's just not true. If you need more convincing, here are a few things to look at: The BMPCC 4K can match the Alexa almost perfectly... So, why don't all P4K videos look as good as Netflix shows? It's not the camera! The image from the GX85 is more flexible in post than you think... @John Matthews I haven't forgotten about doing a follow-up with skin-tones in it. Simple colour grading > Camera colour science... I compare a few examples of the 709 version of some professional grade images with the final colour graded image, and it's pretty obvious that the 709 version looks quite plain - a lot like the images we get when us mere mortals shoot The best film-making advice I ever got was to do with colour grading, but it helped me improve my shooting, editing, sound design, etc etc, the whole lot. Here are a bunch of GX85 shots SOOC that I took in Korea last year.. this just goes to show you that not only is the GX85 a very capable camera, but that it's the subject that you put in front of it that really makes the difference. Of course, colour grading will elevate these beyond that level. High-end TV shows and movies look nothing like the standard images out of a camera... In this thread I compare some standard images from ARRI with real images from TV shows and movies and it's pretty obvious that not only are the colours significantly changed, the real images aren't sharp and clean like the videos that camera YT seems to idolise. The goal isn't technical purity, the goal is creativity, and this means taking your sharp and clean images and giving them some character. I could go on (many will wholeheartedly agree on this!) but long story short... the camera is a minor part of the journey that the image takes from finding / creating something cool to point it at, to all the work done in post. Also, learn to edit. Well edited bad-quality clips are better than boring high-quality images every time.
    4 points
  2. I don't know what's going on in your world, but I can tell you it doesn't matter how you fiddle the menu on a camera that leads to good shots. All the real work that happens with a good shot starts outside of the camera. The camera is honestly one of the LAST things you should fret about. I swear to God, you can be a better shooter by visiting a museum full of Romanticism Artistic movement paintings. Study how light affects a scene, and you'll become a more sophisticated videograper that way. If you can't train yourself to "see light" you're always gonna struggle. I'm not being flippant here. It's the cheat-code. Skip all the tech BS and learn light. Take a classic art appreciation class. Learn composition skills. These are the things that actually make a difference. Train your eye to be a shooter and a person that can paint with light. Sure, you can be a pixel nerd, but that has a low ceiling of accomplishment and, honestly, advanced tech makes those acomplishments not a big deal to begin with. And look, when you study art, you'll learn more about the human condition along the way, maybe even some philosophy. Win-win.
    3 points
  3. Hello, This is the official topic for all Colorizer products. My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras. The following formats are supported at the moment, click the links for videos and details: Fujifilm X-T3/X-T4 F-Log Sony S-Log2/S-Gamut3.cine Panasonic V-Log L & HLG I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve: - Fujifilm F-Log/F-Gamut - Nikon N-Log/BT.2020 - Sony S-Log2/S-Gamut3.cine - Z Cam ZLog2 - GoPro Protune These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well. I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user. As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net. Thank you for your attention, Attila
    2 points
  4. The reason here is a bit different though. V-Log L clips at 80 IRE so my LUTs in the V-Log L LUT pack will push that to white. V-Log on the S1 clips at 88 IRE if I remember correctly so any information between 80-88 IRE will be lost, even if the interpretation of the clip is correct (full vs video range).
    2 points
  5. @kye Great. Thank you for adding that note. I'm quite protective of highlights generally at the point of capture (as long as I'm not compromising skin tones) as I find that clipping is the greatest remaining "digital tell" that can usually be avoided. But this is always good to keep in mind. @Attila Bakos I've never approached LUTs as a "click and done" solution, particularly wanting to preserve options for the further application of tone curves. Since moving on from (and now partially back to) Fujifilm, I have missed Eterna as a baseline for further work. To date, my best, neutral LUT for V-Log has been a 2021 LUT by Gamut applied at 80% - even then the shadows would generally be more crushed that I'd prefer for further grading. Your Eterna LC LUT! It's marvelous for how I like to work! I am now editing a piece that I filmed primarily last year. Replacing the Gamut with this low-contrast LUT - I really like the color interpretation (even in some challenging mixed-lighting) and a whole world of shadows is available to further work with, rather than to try and pull back in some fashion. Just so, so nice.
    2 points
  6. Danyyyel

    Nikon buys Red?

    I thought the same, until I tested a bit the 4.1 K (pixel skipping) of my z9 as I calculated that it was about 350 mb/s bitrate (I dont know if it is capital M or small m), compared to about 200 mb/s the h.265. Another surprise was that it played better using Resolve than H.265. For me this has been my defacto standard for higher end work. I must do some more test about DR etc. to know what loss compared to 8k. Which I think is just too much. If I could get a 4k or 6k raw camera, I would be super happy or with the likes of Redraw higher compression.
    2 points
  7. eatstoomuchjam

    Nikon buys Red?

    I, for one, can say that I enjoy having internal raw available (even if I don't always use it) and that I have little or no use for 8kp120. I'd also say "Nikon won't enforce their new patent" and "they'll probably license it" are completely incompatible statements. If they don't enforce it, other companies would be stupid to pay for a license. Even if Nikon fought to invalidate the patent in the past, now that they own it, there's a decent chance that their opinions on the validity of the patent have evolved.
    2 points
  8. On my FS7 I set a ND filter that is reasonably correct then ride the aperture to fine-tune. A stop either way in aperture isn't going to significantly affect one's artistic intent.
    2 points
  9. Thanks, I appreciate that. I have a running thread on Fred Miranda soliciting submissions and so far the response has been good. To encourage participation I've been buying the Arduino boards on Amazon and having them shipped directly to members who have cameras I would like tested. Going forward my hope with the crowdsourcing is that the group interested in these kinds of measurements would be enthusiastic about having their own reliable method for measuring readout speeds whenever they need, so that the small investment in the Arduino board wouldn't be an impediment. Time will tell if that turns out to be true.
    2 points
  10. Django

    Nikon buys Red?

    I think if we look at the Komodo which is around the price of a C70, uses RF mount and has AF, it gives us basis to speculate that future entry level RED cams with Nikon tech and Asian manufacturing could venture out of the high-end cine market and compete with Canon & Sony C/FX line. And reverse wise Nikon high-end cams will benefit from Redcode and other ciné savoir-faire like color science, anamorphic support, open gate etc.. it also finally gives Nikon users an upgrade path to a cine line and creates a more viable ecosystem. That is great news for consumers and further increases my desire to switch to Nikon.
    2 points
  11. With today's news, I feel like I made the right choice going with the Z9s, not just for now, but for the future.
    2 points
  12. I legitimately think that the consumers will eventually abandon any manufacturer that tries this. And, if they all try it together, I see a mass revolt against new models and perhaps even a movement to “older” cameras.
    1 point
  13. kye

    Take the red pill...

    I recently asked for book recommendations to learn about human vision and was given a link to a free PDF. It is incredible. I'm only a quarter of the way through, but I'm absolutely blown away. The human vision system looks like it was designed by committee and then re-imagined by Dali and Picasso, while on drugs. It is a wonder we can see anything at all! Did you know that the rods and cones (which detect light) are BEHIND a bunch of nerves and nerve cells and blood vessels, so the light has to go through a bunch of crap before you even sense it? The book is actually a mix of how the human vision system works and also what we have done with the tech to try and align to it, so it's a nice blend of biology and tech. It's also very readable and tries to be as non-technical as possible. This is a rare find compared to other books that are hugely tech heavy. Take the red pill with me... download it here: https://www.filmlight.ltd.uk/support/documents/colourbook/colourbook.php (download it by clicking on the box next to the file size).
    1 point
  14. Evgeniy85

    Take the red pill...

    One of the best books that I read about color theory is The Art of Color by Johannes Itten. It can be found on ebay for cheap.
    1 point
  15. No thank you. I have very few subs to anything and even for my Adobe suite, massive annual discount because of someone I know, (sorry, cannot pass you their details!) and if I did not have that discount, would be using something else. I recently cancelled my annual Musicbed sub and switched to Audio as it’s about 10x cheaper and for the types of tracks I use, a no-brainer. Otherwise Netflix and AppleTV but that’s it for monthly or annual subs. Re. some stuff, if I am not buying it outright, I expect to pay a sub such as Netflix, but having to pay for firmware often with stated or unstated bug fixes? More than a bit unethical and grasping IMO.
    1 point
  16. kye

    Take the red pill...

    Indeed. It's a pity that reality doesn't fit in a sound-byte.
    1 point
  17. You can adapt pretty much adapt anything and everything to Z Mount except L Mount and even convert what are otherwise manual focus Leica lenses to become AF lenses. OK, regarding the latter, it's not amazing AF, but at least something...though not something that especially interests me and I prefer the native manual focus options for Z that were previously primarily L Mount only, from Voigtlander. E Mount lenses on Z bodies with an ultra thin adapter is great though! Nikon have a range of 'native' lenses that are essentially rebranded older gen Tamron E Mount lenses, but I prefer the newer gen myself.
    1 point
  18. I think it's because Z-mount has the shortest flange to sensor distance of the common mirrorless mounts. So it's possible to make a (2mm thick!) E-mount to Z-mount adaptor e.g. the Megadap one, but not the other way round.
    1 point
  19. It's worth noting that this highlight clipping behaviour is a limitation with all LUTs, not just in this case. Increasingly, cameras are supporting "super-whites" which are values above 100%. My GX85 is one of them, and in my standard node tree I just have a curve with the white-point dropped down a bit to bring values back into range prior to all the subsequent adjustments, so I don't forget or accidentally clip anything that was available in the file SOOC.
    1 point
  20. Thank you all for your advice and your time. I'm going to decide between the K&F Concept Nano-X Filter 82mm ND8-128 and the Neewer 82mm ND8-128.
    1 point
  21. JulioD

    Nikon buys Red?

    They have a corrosive culture that comes from him as a founder. Having him return after doing some token penalty time is farcical. What has changed since he left? Nothing. Meanwhile their stock is still not trading because of serious (criminal?) accounting issues where they lied about sales volumes. The whistleblower was fired for raising it and that case is still going. They are awful
    1 point
  22. You can make a video shot on a 1980's VHS tube camcorder look pretty if you have elegant, soft, and nice lighting. When the light in a scene doesn't have a harsh spectrum, it'll look decent. Thats why exceptional shooters get up at 3am, get ready, and "chase the light". There's a very good reason they do a lot of their work during the so called magic hour. I could send you URL's of promo reels from camera products released 15, heck 20, years ago and it'll blow your mind. Cameras with 6 or 7 stops of DR looking freaking awesome . How? Pro cinematography with good light. I love playing with the tech side of cams, but i never accomolished great shots 'til i broke out of the teccentric mindset. Anyway, enough soap box. Will leave you be...
    1 point
  23. Yes, I saw a few videos regarding this. He's right- it's a fun camera and I wish Panasonic would update it. The best part of it is the flip-up screen. Unfortunately, the worst part about it is the moiré in 1080p and overheating in 4k at 5 minute or less. As a travel camera or B-cam, it's a great choice IMO. What I find amazing is the fact that many of the newer small cameras cannot be kept in-stock; yet, we see nothing from Panasonic who IMO is the leader in know-how for this category of camera. I'm not sure if their heads are stuck in the sand or just bad forward thinking. In any case, it isn't good. Hope they turn it around soon.
    1 point
  24. Absolutely. They have a place though as not everybody can justify having a bunch of single density NDs and the trade-off (if you're not doing absolutely colour-critical work) is worth it. But definitely one has to be careful when using them to avoid the issues you mention.
    1 point
  25. The "X" vignette is basically inherent to variable ND filters - those that don't have it just have a hard stop before it becomes visible. I'd also say that in the real world, having accurate full stop measurements is not that important if you're shooting digital. You have plenty of tools available to dial in your exposure. Plus, in the real world, light rarely perfectly aligns to full stops anyway.
    1 point
  26. Hi Gems: Skip the variable ND filters as they are basically polarizing filters. It won't matter how much you pay, they will always end up looking bad. If your clip is static and using a longer lens then you might be OK. However, if you are using a wider lens and you pan, then the sky will vary in darkness as you pan--it looks awful. In fact, you might even see the darkened band of polarized light running across the sky even if you don't pan with a wider lens. To the fairest, Eris
    1 point
  27. I've also heard good things about K&F; I have the SLR Magic one that has a little locking tab for precise repeatability. The K&F and SLR Magic ones both seem to be able to successfully avoid the dreaded X vignette at higher strengths, but I know some users have complained of colour casts on the SLR Magic. I haven't especially noticed it on my OG BMPCC but the ProRes footage on the OG BMPCC tends to have a slight greenish colour cast to begin with; I'd have to test using raw but I rarely shoot CDNG raw on that camera as there's no need; ProRes HQ is very flexible in terms of adjusting white balance, exposure, etc. in post. With VNDs, the main concern is colour casts; the cheaper ones can do the X vignette although they should be okay at weaker strengths.
    1 point
  28. Would Nikon go to such a small niche market like this, that is PL mount lens. I personally think they envision a Sony like lineup from red in the future. Option one would be to start just above the z9 price bracket with a new Komodo directly in competition with the Sony FX6. A 6k global shutter camera with a video camera form factor with XLR input, timecode etc. but this time it would include Nikon super good autofocus, Stabilization, CFexpress memory, Z mount and if possible internal ND. I don't know if their is enough space for the later. This type of camera, will be the type of high volume camera, that Nikon can use to make with little change some Cine like Z mount lens, because lets not forget, while the Z mount are the most adaptable lens mount, the Z lens are the least because of this.
    1 point
  29. I thought I would resurrect this thread as it looks like Logitech will be announcing a new MEVO product on the 17th with the m43 sensor/mount. The video specs are not great but it will be interesting to see how far they take this. The 6400mAh battery should provide a very long run time. https://asobinet.com/logitech-announces-micro-four-thirds-camera-for-live-streaming-on-march-19/ Interchangeable lens camera Mevo Core micro four thirds system Dual USB-C ports 3.5mm audio interface HDMI output microSD card slot 6400mAh replaceable battery 1/4 inch screw cold shoe USB-C 20W power supply 4K 30fps output Compatible with Mevo Multicum APP
    1 point
  30. Clark Nikolai

    Nikon buys Red?

    I had another thought. Since the patent (if I understand right), is for 4K and above compressed raw recorded internally, then a camera could be made that recorded internally to 3.99K compressed raw and so not violate the patent. Many people only shoot 4K to stabilize in post and to punch in and deliver in HD.
    1 point
  31. Danyyyel

    Nikon buys Red?

    I know a lot of people still watching 720p on their TV, or even SD, without any problem. I personally, don't think the likes of 8k will be sought by customers, but they will get it because as today you nearly can't find a 720p television even if you wanted to. My guess people are more keen and see more qualitative difference in the size of display rather than pixel. I think the shift into VR is a bit of a pipe dream. I see it more in gaming, and these are more about gpu speed and 3d generation.
    1 point
  32. Here's my list https://outerspaceoatmeal.com/tools/RollingShutterComparison.html You can add or not , up to you. Most of my numbers come from DVXuser, CineD, and a couple from other primary sources where the test method has been shared. Global shutter cameras are self explanatory so I link to the product page. Yeah I mean it's ideal to always do it the same way, I'm just not sure many people will buy a specific arduino to fill out this table. Difference with DR is that it's extremely subjective. Rolling shutter is not. People can measure it incorrectly-- which they can do whatever their intended test method is -- but they can't measure it correctly and then arrive at a different conclusion than someone else. Edit: And to be clear, measuring signal to noise ratio is also objective.
    1 point
  33. Eric Calabros

    Nikon buys Red?

    Nikon is going to release a Komodo competitor next month: Z6m3 with 6k30p raw 😄
    1 point
  34. newfoundmass

    Nikon buys Red?

    People keep talking about the patent, but I really don't think it is the reason behind the purchase at all. Nikon wants to get into the video/cinema market. Their recent releases are evidence of that. They have very little chance though of getting a foothold in the market on their own. Purchasing RED, even though it lags behind ARRI and probably even Sony, makes a lot more sense than creating something on their own from scratch that will likely fail. Major blockbusters and shows are filmed using RED cameras. Tons of independent films are shot on RED cameras. It has a loyal user base. Those are reasons enough for any company looking to get into the cinema/video market to purchase them instead of starting from scratch. Will it work? Who knows, but it's a better building block than what they had to work with. Better to own the company whose camera was used to film blockbusters like Guardians of the Galaxy and Aquaman than to release a cinema camera that will see minimal adoption,
    1 point
  35. Clark Nikolai

    Nikon buys Red?

    At some point both costs of SSDs will be so low and data transfer rates will be so high (Thunderbolt 4, etc.) that it won't matter much in practical terms if raw files are not compressed. I could see new cameras saving internally in uncompressed raw, (ProResRaw or uncompressed BRaw) which would not be subject to the patent. At one time shooting HD was super expensive, now it's super cheap, the same with 4K and other things. If the cost of media is within the budget of a production, and the transfer times for copying the cards is short enough for the shooting schedule, then it doesn't matter.
    1 point
  36. My signature in another forum is: "your new gear will not make you produce any better art than you already do" Maybe it was something someone wrote here years ago. I only i could remember, I would credit him
    1 point
  37. Same for a lot of us, ie, more idle chat and musing than anything. Some folks immediately think that because you have an interest in such things, you are unhappy with your current situation and simply believe ‘The Next Thing’ will fix all your issues. I don’t think that is so much the case here where a lot of our musings are more, “if I was not invested in X, I might be looking at Y or Z” and nothing wrong with that in my book! And ultimately it’s all harmless!
    1 point
  38. EspenB

    Nikon buys Red?

    It's perfectly unclear here what kind of Sony sensors Nikon use or to what extent any modifications are made by Sony sensor engineers or team Nikon themselves. And neither will tell you the truth.
    1 point
  39. EspenB

    Nikon buys Red?

    The new patent is only for the specific tweak, not the old stuff. Like I said, evolving CD into Blu-Ray doesn't prolong the patent for CD.
    1 point
  40. EspenB

    Nikon buys Red?

    Patents expire after 20 years. The basic "internal compressed RAW" patent expires in april 2028. Or the end of the same year, I'm not sure. In any case "the patent" only has four years to go. https://www.timeanddate.com/countdown/to?msg=RED.com RAW patents expire&p0=840&ud=2&year=2028&month=4&day=11&hour=0&min=0&sec=0&fromtheme=party
    1 point
  41. Tim Sewell

    A couple of firsts

    The biggest thing for me, using it, is the realisation that a huge proportion of the features we pay extra for in hybrid cameras are really just workarounds for the problems caused by using a completely inappropriate form factor for shooting video.
    1 point
  42. BTM_Pix

    Nikon buys Red?

    I’m not sure as a hardcore fan of any sport how you could be lukewarm about systematic cheating as, well, it doesn’t seem very, erm, “sporting”. From my personal point of view as a pro sports photographer covering Tour de France in that era though I’m far from lukewarm about having sat in press conferences being lied to by him and watching him ridicule and soil the reputation of David Walsh and Paul Kimmage. Or Emma O’Reilly. I’m also sore that in Armstrong’s case, unlike all the other ones I’ve covered, that I get zero residuals from my “winner of stage x” or “winner of TdF x” images 🙂 I might be being old fashioned here but I’d give it to the highest placed cyclist that wasn’t using PEDs. I have some sympathy with the “well they were all at it” aspect so, fine, let everyone do it and have a special event. Just don’t call it sport when it’s only being used by some of the field.
    1 point
  43. I think the closest that you're going to get with that will be the Sigma contemporary range. They are behemoths compared to what you can get in MFT but, actually, when you line it up against an MFT package of actual equivalence (or slightly less in this case) then the story changes. Its just that with MFT you have the option and thus far in L mount then you don't. Unless.... You don't mind sacrificing a daft amount of money and going APS-C and picking up the Leica range that they made for the TL and CL which are very compact indeed. Leica have abandoned APS-C and Panasonic seem content to sit either side of it with their MFT and L mount so it might be a place that Sigma could carve a niche for themselves with an APS-C body, particularly as they have an excellent set of fast primes and a zoom for it. With the trials and tribulations of them trying and thus far failing to make a full frame Foveon, it could well be that it would find a home for an interim APS-C version in a rehoused Fp. Realistically, though, the only current way to get pancake-ish full frame in L mount is to go for the manual focus route of using M mount on them like I've done on mine here with a 35mm f2. As @MrSMW has just posted, the E mount system is currently better served with compact FF lenses particularly in regard to 3rd party manufacturers like Samyang. The closed shop nature of the L mount alliance (in terms of electronic lenses at least) is definitely a hindrance in that regard.
    1 point
  44. I recently shot this cover song and music video in 8K RAW on the R5C with a Great Joy 1.8x Anamorphic (50mm). My daughter sings here and I recorded the music, so I was occupied with a lot of things aside from the camera. Having said that, the camera performs really well for what it is and is a great addition for those who already own Canon glass. It's not going to replace a proper cinema camera in terms of the best DR or latitude, but it is an amazing tool and the in-camera anamorphic de-squeeze is a priceless feature. The video is uploaded in 8K so choose that for best quality:
    1 point
  45. None. Closest would be a 10bit Shlony apsc. So again, 10bit HLG GX camera with 4K from full sensor and perfect HD quality for the launch price of the GX85, 799 Usd, 699 Euro. Please 😊
    1 point
  46. 10bit 150mbit and HLG please @John Matthews😊
    1 point
  47. The workflow I've found is either shoot in "4k Photo" at 30fps, which is fine most of the time. Everything will be manual in this mode when set to "M". Otherwise, do the following: Turn on flicker reduction to 1/50. Put it into 4k photo mode(you'll get the framing correct) with dial on Shutter priority (set it at 1/50). Adjust the exposure with exposure compensation. You can also use a grey card. Half-press the shutter button (this will be the ISO and aperture settings in "P Mode" if you hit the video record button). You can adjust a VND filter if necessary. Now, how do you get the camera to stop adjusting? Map a function button to AEL. This will lock in the exposure but only after you start recording. Your shutter, aperture, and ISO are now locked. Use manual focus with touch and lock. Personally, I've found that "4K Photo" mode works best and is the most usable, especially for 30fps if you need consistent exposure every time. Otherwise, set the desired fps and put it into "P Mode" and just not stress about it. It does a great job. Use the AEL to lock in the exposure so it doesn't change. Prior to the GX850, you couldn't use the AEL in video mode (exceptions?, maybe GF7).
    1 point
  48. This is the same for me, the good stuff is all personal. I make lots of little edits as camera tests, and put a reasonable amount of time into the edit, adding music etc, to keep as a momento. So by the time I've done that the last thing I want to do is another public edit and re-do the frame-level editing and music and sound design etc. One thing I did do, which is a little besides the point but might be useful, is I found that I wanted to repeatedly reference clips from various cameras and projects, typically to try new colour grading techniques, but sometimes for other stuff too. What I did was I got organised and found the best clips from each trip / shoot and copied them onto a folder on my SSD as reference clips. Under that I had two folders for each camera, one for clips I can share in public and the other for personal stuff. Then I made a timeline with all the personal clips from each camera first, then a gap, then all the publicly sharable clips from each camera after that. Then if I have an idea for trying out some technique I can quickly pull that up, maybe take a copy of the timeline, and experiment on footage from across all the cameras I've shot on over the years. I've found it really handy since I did it actually, and I refer to it quite a bit.
    1 point
  49. From what I read on this forum, Clog flavours on their hybrids lag behind their counterparts C300 II and Mark III even moreso. R5 in Raw does perform same latitude as S1H in its h264 codec in test by German test site slashcam, but less in dynamic range according to Cined tests. NRaw has been a bit of a riddle in post to some youtubers due to akward Nlog curve. But an Aces or other adequate workflow should solve that. It has almost the same but even a tiny bit better latitude than a S1H and the same as C70 Raw according to slashcam, bettering also a R5 in that same test. Colour fidelity is supposely astonishing. Nikon has put out convincing 8bit video hybrids with the Z6/7. Even their HD Dslrs D750 and 850 have been 8bit video marvels, such as their Apsc D5300, 5500, 7500. So they are no newbies regarding convincing image quality in video. @ghostwind That is only talking about image quality, not even mentioning full Hdmi, sturdiness, internal Prores besides Nraw. Nikon had a few aces in their sleeve during their law case with Red. You could find all about that in the insightful Eoshd thread about that topic. @Jedi Master
    1 point
  50. I have known for ages literally everyone is running around completely blind on this planet. Deaf as well, by the way.
    1 point
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