gethin

Does the camera have any kind of hard reset that could reset the cripple timers?

I think we need to compare settings and bodies. Mine is so far away from being excellent it's not funny.

I shoot with the z6 every week. I can tell you that much improved or not, the autofocus is not good enough to use. I just did a shoot: 6 takes with presenter moving from wide shot to medium close up and none tracked focus property, and when it missed it focussed on the background. Tracking objects equally hit and miss. But hey I hear you on the feel of the footage. I owned and sold a gh5 partly for the same reason. A much more usable camera for video, but with worse results (at least for what I do). I seem to have a thing for buying cameras with shite af. I'm starting to get jobs that require it, so for me the z6ii is a make or break for me and nikon.

Agree. The z6 is nearly this. But the af is totally amateurish, as is the codec. Add to your list 15ms readout. (And 13.5 stops dynamic range in stills minimum)

A cynic might think that they dont want to release it in the middle of summer 🤔😆 We'll know for sure if they start appearing in stores over ere in Australia.

I did tests too when I first got my d800 I found a small difference in the highlight dynamic range it was just enough to make the difference between being able to pull back some blue sky in some shots. (For me this means interiors where the unprocessed raw interior is literally black and the exterior sky is white. A single 14 bit raw file could produce a perfectly usable image 12 bit could not. Yes these are extreme examples for most users, but for me was business as usual. I could shoot interiors without flash or bracketing. I can't do that on the z6. 16 bit raw video offers absurd possibilities for my work if it was truly raw.

Daft blanket statement. Depends on how you make money as a photographer. I'm a "professional" (I make my living from photo/video). I shot on a d5300 for a few years lol. I used to do a bit of teaching and many amatures/enthusiasts had 5x the dollar amount of my kit. I'll be keeping a beady eye on overheating in high ambient conditions though. Crap loads of sun and 35+degree days are common in Aus.

I'm a Nikon shooter. I considered going back to canon briefly there for a bit. But the cynicism of engineering overheating (or at least not bothering to engineer it out) on a $7kaud camera put paid to that. If I was going to ditch Nikon it would most likely be to Sony: they innovate, they don't hobble their small cameras too badly to protect their cinema line, they have a good range of bodies. (I know their lenses are expensive, but there are other options). Whilst I love the nikon look, I was out shooting with the z6 yesterday. I don't love it like I did the d800. It's clunky. It feels amateurish. The auto focus is pants. The dynamic range is lacking. I think I'm ready to move on. It's not me, Nikon, it's you.

Well that's buggered it for me then. If the $7k didn't already. We get the odd 40 degree day here.

This camera is nearly $7000 AUD. It makes no sense. Hybrid cameras are the jack of all trades, you expect compromise somewhere. But I notice my z6 now goes for $2K aud. so I could get 2, plus a ninja, plus a full sound kit. Or a D850 and a blackmagic pocket 6K. I dont think I could justify that sort of money simply for the convenience of having the one body.

I came here after seeing 12mp as rumoured spec. How have we ended up with the three main FF players segmenting their cameras into High mp pro stills focussed (Low mp pro video focussed) Medium mp jack of all trades for amateurs. 24mp is fine for the vast majority of pro work. I'd be happy with a videocentric camera that also shot stills, with those tradeoffs: maybe slightly lower dr or higher noise because of the quicker readout. But make sure the bracketing options are amazeballs and offer pixel shift high mp mode: those sort of things you're not seeing because they're tailoring them to soccer mom's.

I hate this bit. Where the only people who have cameras are the reviewers that play the game with the big companies: who know who will blow smoke up their arse. By the time we actually get to see any stills and vid samples the bloody things have been pundited to death, we've all lost days of our lives pointlessly pontificating (hey yeah totally guilty m'lord) and arguing the toss 😆 and we've spent so long doing it that the actual release is a huge anticlimax. (Or in my case realise that my niche absolutely does not need, and so I cannot possibly justify, dropping $6.5 Aud on the camera anyway). Yet despite saying this, you can bet I'll read all the articles and watch all the videos 🙄 I wonder about the industry: the cost of these things contines to skyrocket, yet I've not put my prices up for 2 years. And clients seems increasingly happy to embrace the cheap and shitty. (I live in rural Australia: your experience may differ😬😁)

I think this is the least onerous way for canon to segment it's cameras. For starters it's based on a physical thing, it's not purely gimping. Any cooling solutions would have compromised the size, shape, battery life. The main thing that gets my goat is that companies who don't have a cinema camera division to protect (whose names end with ikon) are falling so far behind when they could've been leading. However I'm sure if they didn't sell cinema cameras with higher margins that they might have been able to find a technological solution. I wonder why nobody has thought of a battery grip or studio base like that gh5 audio solution that has fans? Something you can plug into the camera body that will extract the hot air. Small body for running round, large add on for studio or longer takes.

OK! suddenly 4K 60 8bit internal isn't looking quite so exciting. 😄 I mean 8k is overkill, but for future-proofing the stock video I shoot, it definitely doesn't hurt. And being able to shoot 4k at 100fps instead of 50 (because shooting in houses with 50hz electricity makes 60 fps a no-no). Unless of course in 5 years time if your video isn't 16K HDR 360, 14 bit raw nobody will want to know it. In which case I may as well not sell all my nikon gear

The only thing I haven't tried is writing to Adobe management. Adobe doesn't really have regions for its product support. Writing to Adobe Australia I'm sure would be a waste of time, but no more so than all the other wastes of time so maybe I'll try that.

I'm reasonably monogamous. I've had a fling with the gh5 but it didn't last. I've seen people rave about the z6 image. Can anyone on here that has used multiple systems comment on that. I work in environments where I can't control the light. Even with internal 8 bit I have a way easier time in post than I did with the gh5.

I bet Blackmagic have never had people streaking though their offices 🤔

I put up with shooting on the d5300 because I liked the image it produced. I think the way to feel happy about owning a z6 is to think of it as a full frame mirrorless 5600. From that point of view it's a vast improvement. (But yes, why they followed the amateur paradigm in these cameras and not the d8xx I dunno. I try not to get started thinking about their product decisions in the last 5 years. I've got high blood pressure as it is). The image is lovely though. I see the incremental upgrade as a positive sign: this is Nikon reacting quickly to a quickly changing market. That's new. Previously they'd make you wait 4 years. A z6 with 4k 60? I'd love it. (If they can work on the af a bit too that would be peachy).

I've been trying to report a bug to adobe since 2017. This is not my record. That goes to a bug between lightroom and photoshop that appeared in 2008. I tried and failed for years on that one. They say, don't they, the definition of madness is repeating the same futile action over and over... I'm thinking about making a short film about what you have to do to get adobe's attention. I've tried the forum, and the uservoice site (where they, in a Trump-esque stroke of not-testing-for-coronavirus genius, removed their bug-reporting form). I tried phoning them, and then doing a chat session. I was lucky to make it out of that one alive. Honestly If there had been any sharp object on my desk I would've been a goner. Recently I looked up a bunch of the senior devs and quality managers and tweeted them, or wrote to them on linked in. Just now I've been sending any employees who engaged in any small way a message via their forum. I have very very low expectations. I was thinking maybe I could pull some stunts to get their attention. Streak in their offices, or skywriting maybe? Yes I know i should move to resolve. But I'm deep in the sunk-cost fallacy, OK? Here's my latest pointless waste of time: https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/40860028-fix-time-remapping-ppro2017-ppro2020

That is extremely good to know!

This would make me very happy. If they could sort out the shadow banding and improve the video af a bit I'd be ecstatic

So what's the final conclusion with z6 raw. Is it worth the update? Is there much pain in grading compared to Nikon flat. I'm shooting 8bit internal at the mo

True dat! Ill have acquire it slowly though. I watched Gerald Undone talking about the oktava, would this be a good place to start? I have the rode video micro. I know this probably seems like a toy, but I really like it. Better than video mic pro which is muddy to my ears. So whatever I get first should do something that one absolutely can't. I have a scarlet 2i2gen3 and a kingbee for voiceovers too, so the voice stuff Gerald talked about in relation to the Oktava MK-012 is probably less relevant.

Thanks man for the advice. I'll have to squirell it away though for when I have a couple of grand lying around. This process started with me wanting to replace a $70 recorder 😆 I get it though, its like when someone asks me what $200 camera to buy and I end up suggesting a s1h or a7r4 😁

I've got an ad coming up. I've shot one local tv ad on the z6, delivered in 1080. This one will also probably be 1080, but I was wondering if the ninja is a worthwhile investment, or whether I should just put the money towards a bmpcc4k kit. (Or z-cam E2) The ad will have a bit of slowmo in it, the z6 slomo is barely up to it. Will I notice anything in z6 ProRes footage other than a little bit more highlight info?