nickname

Thanks guys, this is really interesting. The chroma noise reduction that you are describing sounds like the reason I never liked the look of Fuji video. Always seemed flat and textureless to me. Suspected it to be baked in processing. Makes so much sense now!

It's a real pity that Fuji doesn't give you the unprocessed noise. For me that's one of the main differentiators between hybrid and cinema.

Great news! Looking forward to more eoshd! 

Pocket and GH5? 

OLPF, noise reduction OFF, sharpening OFF, true V-LOG.

Another spec sheet rant. How boring. 

They are probaly targeted at the working professional. Maybe thats why you are not interested. ; )

Nesshooter are just saying what it is and what it isn't. They are not in love with this release like you insinuate. 

How do the 100% crops look? 

On 9/20/2020 at 8:44 PM, Kisaha said:

sorry for bringing that back, but I can't seem to find this filter.

https://www.amazon.de/-/en/Hoya-77mm-Cut-Screw-Filter/dp/B006OIJTIG/ref=sr_1_3?dchild=1&keywords=ir-cut+filter&qid=1600627370&sr=8-3

is this ok to buy? any other suggestion? 

When do you people use your IR filters? and can you use it with an ND or Polarizing one?

I have used the hoya ir cut filter with vari nd and diffusion. Works flawlessly. Use it on the red one as well. 

For the pocket i have upgraded to the rawlite olpf. If you just want ir filtration the hoya is perfect. 

What if the recording restrictions are also part of a deal with RED? Allow internal compressed raw but not in a way that it could replace a monstro? 

Seriously if you do narrative long form on a controlled set and the r5 had a more practical recording limit it would be all the camera youd ever need with better ooc color than red. And af. It would be too good to be true.

Canon obviously has the tech ready for the ultimate hybrid, but doesn't want to unleash it yet for business reasons. 

They have 45% of the photography market with a dual mount strategy! Annoying for the consumer, but good business it seems. This here might be another case of abusing costumers but creating good income.

I don't think that this particular product will disrupt the market but the sensor tech and image pipeline inside might. 

I love my pocket 4k for its simplicity and affordability but I hate the hoops i have to jump to get a good looking image. 

Without an olpf and color space transform it looks like video with a bad LUT.

For me tha body design of the pocket is perfect, but i can see how it isn't for many other purposes and tastes. The same goes for the Ursa. They will have to learn hiw to build proper camera hardware if they want to get some real traction in the pro field. 

At the moment it feels they want to create alternatives in niches and dont want to step on the toes of red and arri and the like yet. 

2 minutes ago, wondo said:

who needs this? and why??

no debayer. it´s a pefekt 4k, 6k, 8k, cam. id the 14 stops are true this is the next step in motion picture imagers.

i understood it´s not a bayer sensor and you can scale the image resolution on sensor to get full uninterpolated color at 8k raw s-35. which is pretty neat.

16 hours ago, Andrew Reid said:

How can anybody trust it for paid work with this problem?

It is unworkable on set.

Imagine telling the entire crew and actors to go and sit down with a cup of tea for 20 minutes while the camera cools off?

No wonder Canon does not consider the EOS R5 specs to cannibalise the Cinema EOS series.

This guy's reply said it best:

 

Easy. Bring a second camera. 

i´m sorry, but the first image completely contratdicts everything you say about nikons design heritage. and the nikon 1 image shows clearly that there is no connection to the z design language.

the z bodies handle like photographic tools. they did not forgoe their past like some competitors who flushed their aquired DSLR history down the drain.

this is the rant of a spec nerd and not of a photographer or a videographer. the video quality that´s coming out of of the z cameras is totally fine and sufficient for the enthusiast. who wants absolute image quality will not look at hybrids anyway.

as you yourself have shown there is no significant difference in image quality between 10bit recording hybrids today. this singling out and bashing of nikon that is all the fashion these last months is silly in my opinion.

2 hours ago, Andrew Reid said:

What do you suggest existing Z6 owners do?

Bearing in mind our cameras cost $2500 new and are now worth half!

Pony up the cash AGAIN for a few tiny improvements? Not going to happen!

The Z6S rumoured specs are insulting.

This is exactly what sony has been doing the last 5 years. Why are you bashing nikon for an established business model? 

You are describing the next FF 6k pocket! 

5" screen, internal prores, internal raw.

there´s a video up now on youtube that has a brick wall.

before this i also hadn´t seen any aliasing...

as a full frame raw camera with usable AF this is actually not expensive.

Hilarious! Canon and your post! 

I'm really glad that I don't need a speedboster to get to s35 with this. 

I shot the bmpcc4k with the viltrox nikon g speedbooster which worked well, but I felt that it adds CA in harsh light while at the same time making my nikkors almost too sharp when stopping down a bit. Which didn't play well with the moiree of the 4k sensor. Moiree would pop up in fabrics or wide shots in grass or leaves. Very annoying. 

Plus I just feel better if there's nothing else between my lens and the sensor. 

Anyway, this is the camera I have been waiting for. Affordable S35 raw with good DR and decent lowlight! 

Have expected z-cam to deliver it first, but for me this is the better package. Usable without rig or external monitor. 

Sony just drag the moment they deliver a milc with better image than their FS line out as long as possible. A mini Venice for 4000 would be bad business for them.

Maybe they should look at leica for innovative design.

In fairness to Sony it has to be said that canon has been  slinging the same old tech every 4 years, while Sony at least updates their models to the latest and greatest. But of course this frantic pace is silly and I would feel unappreciated as a Sony customer if my cameras worth drops 50% each year. 

But seriously, with the acquisition of Minolta Sony actually owned a great design dna. The alpha mount cameras slrs are great to use. Remember handling one and thinking, damn, that handles better than my nikon. 

But then Marketing decided that the only mirrorless advantage they could sell is smaller size. That's where they are still stuck. And they can't let it go, because its the only differentiator they have. 

And I think something similar to apple and imovie Pro happened. Wrong department in charge of a redesign. The a6xxx series feels like an apsc point and shoot. And the a7x series feels like a point and shoot with an evf bolted on. 

29 minutes ago, Nikkor said:

Try a real pro camera like a phase one or a hasselblad, it will make you Laugh when you come back to a crappy canikonfushitsony

Try a real film camera, that will make you question any digital pro or consumer. 

Seriously, I recently used my hasselblad with Kodak portra and had real color prints made about a4 and the results were so beautiful it made me laugh with joy like I have never with any digital photo or print.

It makes me really sad what a downgrade in color reproduction and contrast handeling all the digital toys brought. And here we fight about wich canikony is better. They all still pale next to the real thing.

2 hours ago, Palpet said:

Strange. Philip Bloom shoots almost exclusively on Sony cameras and I never once thought the colours in his videos was horrible.

I do. He slaps a film convert preset on them that makes all colors orange and thinks it looks cinematic in slow motion. Well, it doesn't and it looks awful.