Danyyyel

19 hours ago, MattH said:

Pretty significant example of posterisation on the jeans from about 1:14. And on the big plant pot to the right.  Could that just be the grade?  Also I found the whole video quite macro-blocky, though you never know how much of that is down to youtube, im sure I've seen cleaner.

Its is a bit of a stretch I think to judge footage from a camera like posterisation  from a youtube clip.

Second wedding video from z6.

Kai, review of the Z6

Nice example of AF video tracking and use on a gimbal.

2 hours ago, Shirozina said:

8k capture just means true 4k output. Many if not most of today's 4k camera can't actually deliver 4k resolution esp ones with 1:1 pixels sampling. Nyquist's theorem requires 2x the sample rate. I'd certainly be interested in a 60mp stills camera as long a DR isn't compromised and no 16bit does not mean 16 stops of DR.....

Just as 4k displays and TV's give is better HD picture quality then it follows that 8k displays and TV will give better 4k picture quality and remember most output even now is still HD/2k and looks very, very good.........

 

I will never understand, do you shoot or are you just some kind of geek. Because I will never understand people that says thing like that. I mean, can someone at real viewing distance even see more than 2k. The perfect example is the Alexa 2.8k sensor, I don't see anyone complaining about lack of resolution. It is just the geek that might find it sexy to be able to count every pores in an actress face when stopping the image.

So it will be 8k 4.1.0 Hurray... I just saw Samsung advertising 8k TV, my guess they are not selling anymore TV, 1080p was aready plenty and a lot of people did not move to 4k, now they have to the next gimmick 8k to try and sell cameras and TV.

Video comparing Log profile on skin tone between Canon Eos R and Nikon z6. At first I would say the Canon is better because it is at the right level of contrast I would say. From highlight to shadows the right contrast ratio. But looking a little bit more the Canon seems to suffer from a harsh clipping shadow compared to the z6 and it is confirmed by the log non graded sample side by side. Somehow their is one thing hat I am witnessing is the very green tint Nikon Nlog. I don't know if it end up in the grade it (it doesn not look so in this video).

Video

I think it was in this test but the when applying NR at different level (losing some detail in the process) the z7 became exactly as the Sony, my guess is that Sony is applying NR by default.

Camera lab review part 2, with a big part on video. Again very nice autofocus in video but what impressed me the most was the IBIS.

Under full moon test

Brandon Lee review seems really  nice, it looks like it quite good. As a user of the Zhiyun crane 2, I am not very satisfied by its stabilization and sincerely those  heavy gimbal are very hard to use because you get fatigue very fast.

10 minutes ago, webrunner5 said:

And that is why most of these AF cameras, even Canon's DPAF is still not going to work well for serious stuff. Once you see something OOF you keep looking for it the whole time and not paying attention to the movie plot, or interview at all. Bad focus, Bad audio is just a terrible thing to have in Video or Film.

Yes, nothing more distracting after bad audio than watching a film or documentary where the focus is on the background or foreground of the actor or interviewee.

11 minutes ago, thebrothersthre3 said:

You can always shoot further away from the subject and get a longer DOF even with a 1.8 on full frame. But yeah its pretty impractical for close ups outside of specialty situations. Most people aren't going to need 1.4 on full frame in photo or video. 

Yes, in theory, I myself just experienced that even using a Ninja Flame, the peaking at this distance start to get unreliable, everything start to peak while with those ultra fast lens the DOF is still quite thin. Its only when you get back home and watch it on a 27 inch monitor that you find that the focus was a little behind the subject. You would need a focus puller with a 20+ inch screen to see this.

The thing is that for photo I can understand shooting at these type of apertures like 1.4 because even if you get 1 out of every 2-5 photos in focus it is ok. There is no continuity in photography, you can do 10 out of focus image, if you get one it is ok, more so in our digital world where you can take hundreds if not thousand of photos during an event. While in video you need continuity, you would need at 5 to 10 second for every scene , and unless you are shooting static subject it is near impossible to keep your subject in focus during those take, more so when using FF. For example I do interviews at least at F4 with FF at about chest level and it is still problematic. The person just has to move some cm in front and the focus is gone, so he just as most people move little bit in front or back as he is talking and gets out of focus. If it is only for some fraction of second it is ok, but if half your interview it is the case then it is a big problem.

The second thing is what I would translate as subject attachment to his surrounding. Just after the large sensor revolution with the 5d ten years ago there was that craze to use very shallow death of field that your subject is like floating in an abstract universe that was completely blurry. That's why sometime I think that cine 35 mm was perhaps the rel best medium, because it gave you enough shallow DOF for subject separation and nice bokeh, but not that crazy that it becomes artificial.

Someone testing the z6 and seems some test of the zlog. I wouldn't call it a good advertisement for the zlog given the subject. I would really have liked to see what human beings etc and his first samples where completely overexposed etc, I don't know if he used zlog in there. 

Yep does not take a lot to fool a little bit an automatic system.

5 hours ago, Mattias Burling said:

A lot of people

 

I think for video it is really an overkill.

On 11/12/2018 at 12:40 PM, Castorp said:

With the coming CFe cards buffer shouldn’t really be an issue. Especially on the Z6. 

Yes, that's what I think is their strategy. Memory price have been very volatile and prices historically high, with CFexpress you might not need a big buffer anymore.

Nice z7 video

Low light comparison between the z6 and z7.

9 hours ago, DBounce said:

@Danyyyel It looks like a pretty nice 24-70mm F2.8, but was not the promise of the super short flange distance, and indeed the current promise of mirrorless, the idea that we would see faster glass? If so, why is this lens an f2.8? Hasn't that been done to death? It's been 17 years since Sigma created the first 24-70mm F2.8,  it's time for a new faster variant in the f2 to f1.8 zoom range. 

I think that whatever Nikon decided to do it would have been heavily criticized. If ever they had done a bigger body everybody would have said that either they could not match Sony tech or that the idea about MILC was small size and portability, which was true at least until now. Since Nikon and Canon launch of their new mount with much wider size (more for Nikon), that give the possibility of faster lens, we are hearing that MILC can get you better and faster lens regardless of size.

Some part of Nikon PR mess was that they showed up only days/weeks before the Canon EOSR and eventual Pana S1. For example, they got ten times the negativity because of the 1 card slot than the Canon R. While they are giving a much better and robust XQD/CFexpress compared to Canon SD card.

For me when you look at the price and size of the Canon 28-70 F2, I am glad they stuck with the 2.8 aperture. Another thing people don't discuss is the 24 vs 28mm starting zoom range. I like the 24-70 because of its flexibility and loosing the 24 is a big compromise. With the higher ISO we can shoot now, for me the f 2.8 is the best compromise, anything lower would warrant a prime lens. In fact this f 2.8 looks at least shorter than todays 24-70 and with the size/weigh gain, you could even carry another camera prime combo easily.

7 hours ago, DBounce said:

The new 24-70mm f4 compared to the older 24-70mm f2.8... starting at around 14 minutes in. The new lens looks sharper and more contrasty to my eyes.

 

That's the promise of the mount. The F4 kit lens (S is considered super for Nikon) being higher resolution than the top of the line older F-mount lens. The z7 already broke the record from the D850 with the 35mm f1.8 lens and by a margin in terms of resolution. That is why Nikon has been defending their 1.8 zoom as real professional primes and not just typical affordable primes for those that could not afford 1.4 primes. These things are more usable at 1.8 than some of the 1.4 primes at 1.8 and even beyond that. They say that their 1.8 lens are more reminiscent of 1.4 primes in capturing the light and I guess it is about the overall sensor plane and not just the center, with less curvature/distortion and I guess vignetting. 

1 hour ago, Vintage Jimothy said:

I wouldn't call it sacrilege to say that. I think autofocus is likely bound to take over more and more of the videomaking/filmmaking world as that technology advances. But in the here and now, it's important to meet the manual focus standards for filmmaking with these lenses. Granted, based on the recent interview I saw @DaveAltizer do with Nikon from PhotoKina, it does seem like they're planning to incorporate linear focusing on these lenses soon via firmware update.

Also that zoom looks great! Was that picture from Photokina or one of the other recent camera events?

Yep, it would be good, they said they would focus much more on video now and its a priority for them. I hope they do implement some more functionality through firmware update, like a higher 50 mbit 1080p bitrate, 4.2.2 would be prefect (a dream would be 10 bit at this resolution), just for broadcast. The second thing would be some 10-15 second burst  4k 60p would be great , to compete against the new Panasonc or an intermediary size codec like DJI 2.7k or a 3k mode at 60 fps or even burst 120 fps. A squarer mode for anamorphic lens would also be great.

The photo was on a Facebook z6/z7 group, the mockup of the 24-70 and 58mm knoc, have been doing the shows around the world.

7 hours ago, Vintage Jimothy said:

Where's the mockup of the F2.8 Nikkor zoom? Can't find a picture of that anywhere. 

As for the new Nikkor lenses being made with video in mind, I'd say most of that rings true. However there's a rather obvious elephant in the room with the lens design that needs to be adjusted before the new Z-mount lenses are top notch for video: linear focusing. The focus-by-wire design is still a hinderance for video shooters that prefer to use manual focus over autofocus. 

I understand your point your point about manual focusing, my guess is that those lens are not necessarily meant for manual focus for movie use. I know it is a sacrilege for some but with those new autofocus, manual focusing might really become a niche thing like in photography.

1 hour ago, DBounce said:

Certainly, Sony has the edge in native glass. Not sure I would spring for the 58mm f.95 either as it is both huge and only manual. But it's a new mount, so more options will come in time. Between Fuji and now Nikon the competition is really heating up. Can't wait to see Panasonic hand everyone their ass on a plate. As the bar keeps getting raised we will have more options. I would love not to have to worry about ND on hybrid bodies. Yes Canon's adapter sort of does this, but not with native lenses. 

I don't understand that supposed edge in native lens. From everything I have seen the adapted lens worked as good as they did on native F mount cameras. Have people not seen the video from Ricci Talk and BH, one was the 105mm F1.4 and the other 70-200 2.8. The 70-200 2.8 was tracking in very low light in the BH video. I dare to say that after the lens rental review of the build quality of the z7, that the z6 might be more weather proof with the FTZ adapter than Sony cameras. I personally don't know, but can someone tell me how many Sony, Pana or Fuji have in terms of video centric lens (silent, no breathing etc)

The second thing is that Nikon said they were dedicated to video now and the development of the S line of lens was from the ground up done with video in mind. We can already see it with the fast focusing , silent and zero breathing lens they have released. If you think that the treatment they gave to their 24-70 f4  kit lens in terms of video, you can be sure that they were not joking when they said that. Another thing, they already published lens roadmap, by next year we will get nearly the trifecta of Nikon 2.8 zoom and two new f1.8 prime lens plus the f.95 prime. Again I just saw a mock up of the F 2.8 Nikon zoom and it had a third ring. I guess we will have smooth step-less aperture control with this lens as the Canon, if I am not mistaken. So tell me how many Sony, Pana or Fuji are have thee type of video centric features to their lens line.

4 minutes ago, sanveer said:

This video is muddy. Most detail seems to be lost in noise reduction. 

What can you expect from youtube. So was filmed between ISO 3200 and 12 800, I guess we will see soon how it behaves.

Some z6 video