Danyyyel

I sincerely hope that we will get internal 10 bit and log. What is a given is that we are getting dual card slot and 4k 60 fps. It would be a dream to get 120 fps, even if it is time limited 1 to 5 mins or even cropped. What would also set it apart would be to just give the full 6k raw out of the sensor even only in up to 30 fps mode. But with the dual expeed processor they are putting how much thermals will limit the camera.

I was responding to someone who said pixel shift could make it the perfect hybrid camera because it would deal with the low rez photos and I said it would never be the case. This is primarily a video camera with some photo capabilities.

I am a pro and my Z6 autofocus was a life changing tool for me. Last year I was on course to buy a black magic pocket camera as a secondary camera. After using the Z6 for 6 month, I chose another z6 because of the autofocus. Appart from narrative film who uses manual focus. I mean working on film sets, I think most people fantasies on that and don't know the reality of it. I mean every alexa has 3 person working on each. The DP or second cameraman, both having their first assistant who does focus pulling, both of them having wired follow focus and external screen and a second assistant for everything else. I mean which production apart from feature films does that. Because the professional world is not only narratives, in fact it is less than 1% of professional video work. Pro work is also news, sport, weddings, events, reportage and documentaries. The last 2 were perhaps a bit more manual focus, but believe me with the knid of autofocus we are getting now, everyone wants to shoot with autofocus. My Z6 with its very underrated video autofocus can do so much things and for the rest it is just assumptions. It seems from the video that at least it is better for ibis etc... For me if the future Z6s has internal 10 bit log and 60p 4k and even time limited 120 fps, I would be in heaven. So I hope Nikon is forced to do that with Canon and Sony coming out with it.

Does the S1H does FF 60 or even 120 FPS?

So you need more that 16 bit RAW FF video??? I bet in the next 4 years it will be still the best low light camera. I am a Nikon user and I love my Nikons, but I don't expect anyone to go and build a 12 megapixel FF camera soon. I don't understand those people that only complain, My guess is that Panasonic MLC line will already be dead before they put on sensor pdaf.

I am not a Sony user, but I don't know what are the expectation for people. I mean this camera is better technically than any DSLR or mirrorless camera in term of specs for video. it's 12 megapixel will provide good 4k which is more than enough for 99.9% of shooting. It also permits such a camera to actually work and not overheat. With FF 10 bit and 422 internal until 120 fps, great DR to exceptional lowlight and autofocus, + it seems it has better ergonomics with flip screen and menu. I can't understand how anyone can be disappointing unless its out of budget for some. As a Nikon z6 user I am not interested in Sony's , I already have great color and ergonomics and supreme image quality. If the z6s had the spec like that or just 10 bit log internal with 60 fps 4k I would be in heaven. For me the as a hybrid shooter the 24 megapixel is more important, so I would not even mind a 1 to 5 minutes 120 fps 4k because who shoots 120 fps 4k for 30 minutes... Just derushing that is like 2.5 hours of 24p!!!

So why the room with a view or the that car that will drive you from A to B cost more that the other one who will do the same. It is simple, its called market differentiation. Who will buy there FX9 etc

People are just too enamored to specs, not so long ago 4k was the holly grail and now it must be 8K or 12k. Before it was hey you need 4k because you can reframe etc, now its, you need 12k to reframe 8k. In the end as the 10 year old Alexa 2.8k sensor has shown even as low as 2.8k is enough for the big screen because we human don't see more than that. I understand for some geek its like they need 150+ fps game to play, we humans have limits.

You mean for 0.1% of photography. I mean pixel shift is only good for still subject like architecture. This camera with its low megapixel is very good for video, but not photography. At least for professional use, it is hard to sell 12 megapixel in 2020.

When will people stop with this silly thinking. I am a hybrid shooter, My camera always has 2 distinctive mode why, because the two don't use the same code. While for video you need motion blur so that your video don't look choppy and for stills you need highest shutter count to freeze motion. Secondly a 1 minutes video would be 1500 still frame and 1 hour would be 90 000 frames for 25 fps pal video. Lets say for a typical wedding they would get 3 hours of footage that would mean 270 000 frames. Typical events would be 1 hours. Go and browse thais when a typical wedding would be 100 times less., and see how many photographers are ready just to do that.

I You mean the one where everyone is in the shadows under a winter sun, yes we are in winter here in the southern hemisphere. Aslo that is super dark in the night seen. Yes I have seen those.

On all non theatrical release I have been on it was all about Alexa's. They will just upscale it. Do you think netflix will refuse a very good story with good actors etc because it was shot in 2.8 k and now every camera shoots in 4k. 12k is another ball mark, even 8k is a waste, because as I said before, bigger the screen, the further people will watch it, unless they want to watch a film like watching a tennis match.

In raw? how do you shoot lower resolution raw format. I saw same thing with Nikon Z6 raw output from a 6k sensor to a 4k one. They had to line skip and it introduced moire and aliasing. This was from 6 to 4k, now imagine from 12k to 4k?

I will wait for actual reviews, I think I have seen enough horror stories on reliability of the BM cameras. Sincerely I was going to buy a BMD just before Nikon announced the Z6. Its now in these thread that I saw all those stories. Because you know what, from every camera manufacturers I have seen all types of extraordinary claim. Even Nikon 4k Raw was a mystery to me from its 6 k sensor, until people found out it was line skipping and producing some moire and aliasing. Nothing that bad, more so for a 1700 usd camera, but for a 10K pro video camera, I would like to see it. We are talking 6 to 10x more processing power in the same body. Secondly I will have to believe that an APSC sensor with like 80 megapixel is going to any good, because it would be revolutionary, enough to destroy Sony Sensor business number one position.

That was before, everything has it's threshold, the 2.8k Alexa is still the No1 production camera, we are talking theatrical release. I mean the human being can resolve a certain amount and no one wants to sit 2 meters from a Cinema screen to look for pixel. the larger the screen, the further people will sit.

That's a joke, what pro's will burden themselves on 12k.

WOW I would like to see that, I have a Rizen 7 3800 8 core 16 thread processor with a Radeon V (the second fastest GPU after Nvidia 2080TI) and .265 fuji XT3 with around 4 to six node on a 1080 timeline shutters. Did you do it typical style with many tracks etc like normal editing.

Does it if you have like 6 nodes with some power windows etc... H2.65 plays smoothly on my set up, start to add some nodes and you have to revert to proxy files. Now imagine the typical TV shows I have been working on with two 2.8k arri Alexa's, transitioning to that. So 2 12k camera with at least 3 backup. It would be like 3 to 4x what they already have even with the best estimates. I don't see this camera going to get any traction in film and TV shows. And I guess that most of that super color info BMD is talking about is going be loss with these compression anyway.

LOL, what is the price to pay for this footage 6 to 8x more data than 4K and 4x that of 6k. I mean we are supposed to be blown away.

LOL, you mean when it is projected on the low quality outdoor screen full of pigeon shit....

Working on film sets last year, both cameras had 3 people on them. The shooter or DP, a second assistant focus puller and his assistant. It was normal Alexa's.

What test, the Nlog is rated at 12 stop, in photo raw the Nikon with Sony sensors are rated at 14.5+ stop. Albeit at 12 megapixel from dxolab. The thing is DR is calculated also with a level of noise. Some prefer the noise free which are about 12.5 stops. But I prefer with noise if else even film would be like 12 dr max. That is also why I think Nikon chose to put its Nlog less contrasty as to cut into the noise.

Yep, I dont know in what world we are living anymore. I mean I saw someone angry on this threat because Nikon is charging 200 usd to give you FF 4K RAW video !!!!!!!!!!! I mean you can get in 2019 a 4k RAW FF camera with excellent auto focus, IBIS, construction, ergonomic etc for 2500 including a Ninja V, that not only gives you the recording but a whole lot of shooting tools for exposure, color monitoring etc. When I bought my z6, no one told me it would have face and eye detect autofocus, raw video etc... The firmware update they have given gives me big hope, all their lens are esign with video in mind (albeit not for manual use) I didn't buy this camera... Now with the rumor of the S version which is so much closer to a 2.0 version. That doubling of processing power is exiting for even better focus and hopefully 10 bit log internal. Now with all the negative press of the Canon f5 f6 overheating, I am not sure they are going to risk it, because its an S update and I am not sure they will change the body a lot.

They tried it with the DF and it was a failure. I understand for some this is a hobby for me I have zero use of retro style camera. How do you hold this, on my z6 I can control shutter, aperture, ISO, video/photo trigger, AF tracking, changing auto focus mode, FX or DX mode, zoom in or out with only 3 finger and without leaving the viewfinder. My cousin has a XT3, my z6 kills it ergonomically.

Its not because there are a thousand on production sets that its going to enough. What I meant is that 10s of thousands of Nikon users are shooting video more and more now. But also you also have all the pro photo shooters around the world that also have started shooting video and don't have to have 2 kind of bodies anymore. I am talking about my own experience here.