gethin

I just watched that newsshooter vid and agree it looks great. I was peeping for moire and I didn't see any. Need to see more footage before reaching any conclusions

the quoted values are always pretty much bulshit. My D5300 had virtually the same dynamic range as the d800 according to DXO. The usable dynamic range was nowhere near the same. The z7 and z6 have banding in the shadows which means you cant push them as far, and on the z6 at least the noise is not as pleasant - so again you can't push it as far (and the lower MP doesn't help either). Until we can get someone to do a controlled test with and without th 12 bit raw i reckon all this is a big fat waste of breath ? One thing I will say though is that sometimes I feel like the flat image on video almost retains better highlight detail than the raw still. Making me wonder if they deliberately hobbled the raw to create a bigger gap to the z7.

Now if we could only have 4k 60 I'd be as happy as a pig in shit

No 14+stop on the z6. The d800 supposedly has 13.something stops and the z6 does not reach the same levels of dr. I get the feeling it could if they turned up the active d-lighting. Anyhoo the blacks are way noisier than the d800, I'd guess 12 usable stops at most (which would still be awesome)

I'm a nikon shooter, but I'm just about done with them. And I really want my 4k 60 back. (I ditched my gh5 for a z6). Anyone here had experience with both nikons and fujis? Will I miss the dynamic range shooting stills?

Hurrah. Apsc is the ideal sensor size IMHO. Better noise and dynamic range than m43, higher frame rates than full frame, easier to move and cool than full frame. Speed-boostable for a full frame look. There's nothing sensible out there at the moment so I'll be watching this fuji closely.

Just in case anyone was under the delusion that the z6 raw update was a) nearly here b) a high priority I had an exchange with a nikon tech about it via email: he didn't know anything about it - i got the impression that he hadn't heard that a hardware update is going to be necessary, making it look like Nikon Australia has no plans in place to manage it. He said he expected it to come out with an update in the next few months (which I took to mean that he thought it would be done with a firmware update only, which we know is wrong and kinda shows they are as clueless as the rest of us).

I've been shooting real estate vids on the z6. I want to start shooting small docos on it. Just for youtube and myself. The preamps are rubbish. Can anyone recommend a teeny sound recorder? I've just ordered the rode wireless go, that I can mate it with. (I've got this we thingy:https://www.bhphotovideo.com/c/product/673340-REG/Tascam_DR_08_DR_08_Portable_Digital_Audio.html but it is really beat up, and i dont trust the 3.5mm inputs 100% - totally not ideal for doco reording. Need it to be bulletproof). Also the inbuilt h.264 is probably OK, I'm shooting flat. Anyone using Andrew's flat profile? Pros/cons? Any other little bits of kit that would improve the experience? I dont know about and external recorder - relatively big expense for how much benefit? I've not seen any news about z6 raw either - is it out yet?

looking forward to hearing what you think of the z-cams. Very much liking the footage I;ve seen so far

massive. prediction: the sort of processing I do on real estate pics will be pretty well dead in 5-10 years time. They won't be as good, but they will be "good enough". I can imagine the new image processing software will just have bunch of looks, and ai will do the rest. This is the reason I'm trying to get out of the game now. It's bound to come to video, too.

Neat video is the bee's knees

you beat me to it. The pico mic looks pretty good. bit more expensive, but you get 2 mics in a kit.

What's this sigma camera is going to be like I wonder? I'm a bit over the big boys. I'm not loving the Z6. (Actually I wonder if anyone does. It's a fiddly pain in the bum). I'd be curious @Andrew Reid how you'd find the z-cams. I'm loving the image I'm seeing from them (if only the E2 wasn't 3x the cost of the BMPCC4K), and their super35 bodies didn't have EF mount.

Ah yes, Because of that I end up creating my own proxies for DJI h.264, otherwise I just edit with the source footage (my 4k nikon stuff edits OK). Hey the other thing you can try is resetting the workspace, that sometimes jogs thumbnails back to life. and the thing that pushed me to download resolve was 4 hours spent trying to do the most basic of things in premiere (import h.265 4k, speed it up, export it). Premiere and media encoder kept crashing. I downloaded resolve, and having never used it, did all that, stabilised and exported it in the half an hour you'd expect it to take I posted the wip on my insta page And it didn't crash!

Nasty, makes it a poor choice for a gimbal camera. You need faster readout for warp stabiliser not to poo itself.

Oh dear. As Fagan said: I am reviewing the situation. Was about to send them my z6 for warranty repair. Might as well wait now, or might get rid of the bloomin lot. I hear plumbing is profitable. The weird thing is I don't love the z6. I really love the d800. I even loved the d5x00s. They were a nightmare to use but the image always surprised me. The z6 is clunky like the d5300 but 5 times the price.

I get the black thumbnail thing from time to time. You can usually fix it by trashing the files in your media cache (or sometimes the media cache files). Also rather than batch applying speed to your clips, try selecting them all and go modify>interpret footage and specify it there. I think that's a more robust way of doing it. It basically tells premiere to treat that media as if it was shot at that speed (and ensures for instance that it will play every frame if you're slowing your footage to the same fps as your edit timeline). cool! I like it. mysterious thanks! good to know

Well Chris I have grown to hate Adobe with a passion. It's not because of the subscription model, its because the subscription model has earned them billions, whilst their products have stagnated and their support has gone down the toilet. I was an unofficial adobe evangelist. Photoshop was amazeballs in 1997, but it essentially hasn't changed much. Their algorithms remain untouched. As do the paradigms. But all of that is nothing compared to the towering magnificence of their ability to ignore bugs. There is one that dates back to lightroom 2. I had a workaround, but now that's broken too. It's broken my workflow. Their tech support is a joke. It's like falling out of love with someone: suddenly you realise the love is gone and all those little things you out up with for years now drive you nuts. In fact you realise you can't stand them and never want to see them again, the treacherous harpies! There's probably a meme out there with that guy turning round from his gf and looking at a girl he's just walked past. Well, that.

Feels so good. Not sure it'll still feel good in 2 weeks time when my subscription runs out. I have 20 odd years of Adobe workflow to re-do. (I may end up resubscribing to Photoshop and lightroom but if Snapseed was a desktop app I would think about ditching them too). So resolve is the no-brainer choice. Can i get away with the freebie version? And if not should I buy the bmpcc4k? I cant remember if the free version includes their warp stabiliser equivalent. Any other software I should look at?

They are amazing little cameras, but the one I had (the IV) wasn't a joy to use. But Sonys passion is not for photography it's for $$. That's capitalism for ya. On the plus side it creates space in the market for mavericks like sigma and the E2. I can't wait to see where they are going to go.

it looks to me like there is artifacting in there due to time warping. I suggest it was shot at a lower framerate.

anyone interested should hop on the facebook group an petition for a small-flange version of the s35 and FF models, due to be released with EF and PL mounts only. Kinson Loo is active on the page - one of the most appealing things about the camera: the management and techs are on there, and there is a sense they are learning and constantly perfecting the camera software.

I will buy this. Or th moza aircross 2 if it ever comes out. THe ronin s is tooo heavy. Hey anyone here used to use balance gimbals like the glidecam? I'm convinced that there is scope for a hybrid where the pan axis is just on a bearing. I used to get smoother slow moves with my blackbird. The organic tail off of the spin is very hard to achieve on a powered gimbal. Currently whilst moving any wrist movements can slow or speed up a pan, whereas on the old school ones a pan would slow down no matter what your wrist is doing. The other thing is that the joint on the old styley effectively removed some of the walk bounce.

Nikon still do not understand video, and they don't want to. I contacted Nikon Australia to point out that the auto mode had a minimum shutter speed equivalent to 360 degree shutter and no way to change it and they said: meh. (And when I bring this up so many people blether on about shooting in manual mode and fail to imagine a circumstance where having a fixed aperture but smoothly variable shutter would be useful, so don't feel you need to waive your lack of imagination around now ?) . The fact it works like this is emblematic of Nikon's attitude to video: an annoying bolt-on they've been forced into and driven more by their marketing Dept than by their engineers. They can't imagine a time where stills will be the secondary function for photographers. A bit like Nokia before smartphones.

I agree with all of what you said It was the grading workflow that was the nail in the coffin for me: I was spending way too much time getting the image to a point where it was acceptable. I admit I have a lot to learn about grading log footage, but for what I do it was totally bonkers spending that amount of time on it. Akin to linus tech tips shooting with RED, what a whole load of faff, for a tech a blog, they'd get better results quicker with an an a7. THe z6 is sooooo much quicker, I have a few presets I can dump on the footage for different setups, and usually I just have to tweak the curves a bit, then onto the next. However, I just shot a local tv ad on the z6, and I was missing the GH5: no log, no 10bit, no stupidly high bitrate, no advanced monitoring Mostly that stuff is a safety net, but just knowing that the gear you use is designed more for that style of shooting, and having those more advanced options available makes you feel more in control. It's not great working a job and feeling like your kit isn't quite up to the task (even if that is just in your head!).