Danyyyel

I was never the biggest fan of super low dof video when it was so in vogue when the 5D came out etc, find it distracting for video. But now I think it is the best format at least for doc work. The two reason is that a F4 zoom will provide you S35 F 2.8 esthetic for half or lower price and secondly flexibility. The Nikon 24-70 F4 is 600 usd with the body, which will provide you 24-70 in apsc 2.8 equivalences and 70 to 105 mm in f4 apsc look when you put the camera in 4k apsc mode. Now thats the most restrictive f4 zoom range. I for example was thinking of getting a 24-120 F4 (Fmount). That is a 24-120 equivalent f 2.8 s35 look. There is no APSC lens like that until you get into those CINE zoom that cost more than a car and need a car to carry them. Even a 24-105 mm F4 lens would cover 90% of needs.
Another thing which is better with FF format is ND filter. You are getting a stop more you can close down to maintain s35 look. I have found that most variable ND filter start to exhibit x pattern etc at about 5-6 stop, which is exactly the range a F4 aperture works out in sunlight situation.

So is Canon Raw on EOSR already out? LOL only fools would have believed that, I can't understand how people, more so adult, can be dupe that easily. Its been like 8 years people are wishing and wishing on Canon to do XYZ, to come out with something out-breaking. And every time they just come out frustrated. If you can't understand simple economic principle, that Canon won't jeopardize their Cine line for their DSLR line, you just deserve to be duped. You either move to their Cine line or you have other Manufacturers from Nikon to Black magic etc that are doing so much more.

I think the difference is that most of the electronics can be much smaller, thus leaving more space to the actual photo sensitive cells.

The difference I think is not being mirrorless but having pdaf on the sensor, which the Sony have while the Pana don't. I remember Nikon saying that they would not use on sensor pdaf oon its Dslr because it could create artifact and that they were not prepared to do any compromise on image quality. I thought it was BS, now I am more incline to believe them. But I still think they will use it in their future mirrorless cameras.

So is Canon Raw on EOSR already out? LOL only fools would have believed that, I can't understand how people, more so adult, can be dupe that easily. Its been like 8 years people are wishing and wishing on Canon to do XYZ, to come out with something out-breaking. And every time they just come out frustrated. If you can't understand simple economic principle, that Canon won't jeopardize their Cine line for their DSLR line, you just deserve to be duped. You either move to their Cine line or you have other Manufacturers from Nikon to Black magic etc that are doing so much more.

LOL, people are still think half a stop DR or Low light or more megapixel are going to make their work masterpieces. We have 6k sensor doing 4k images in $ 2000 camera and people are still wasting their times on these.

LOL, people are still think half a stop DR or Low light or more megapixel are going to make their work masterpieces. We have 6k sensor doing 4k images in $ 2000 camera and people are still wasting their times on these.

Great. Sounds like an RX100 full-frame sensor. I wonder when people will say enough is enough. Weren’t people saying that with 4K? 

That's exactly my experience that I reported above. I did it more or less by trial and error. I just switched the thing to sport mode and saw no more wobble and forgot about it until I came back to this thread.

Exactly, I just did nearly two week non stop shoot around my tropical island for a reportage on a Victoria Secret model coffee book shoot. That shoot was intense in very harsh tropical summer climate with a lot of rainfall, heat and humidity (shooting a lot around the water). At first I was a bit embarrassed to shoot on such a small camera and rigged it a little, after not even half day, I was shooting mostly hand held and with my 7 inch Ninja. This shoot was going fast and I did not want to interfere at all as most of the team was coming from US and with the weather had a very tight schedule. After watching the fotage at night I slowly moved to only the internal shooting and was really impresed by the internal 120 fps 1080p footage. Where I en-counted problem with the footage was banding in the blue sky, I watched some tutorial and got some great result with qualifier and ofx debanding in Davinci resolve.
Perhaps for a Nikon shooter this is extraordinary and would have been normal for other MILC shooters. But for me it was extraordinary, I got some amazing tracking and slowmo handheld footage (I was starting to have to restrict myself with the slowmo because it was so gorgeous), that Nikon quality with all the features of the Z6 video capabilities like Ibis, auto focus, handling ergonomic, build quality is mind boggling in such a small package. Now if I was first camera and I had a more compact Ninja V than my 7 inch one. I would have perhaps done more 10 bit shooting and use an external recorder. But even then, with mostly the 4k and 120 fps codec bitrate, I am stunned by the quality.
The last thing I don't understand is the supposed non cinematic image of the camera. I guess some people might understand that its not shooting in crappy light that will make their camera look cinematic or not, perhaps they should look at the meaning of the word. Because for me, my images are coming out great. There is not one people from the US team (photographer working for vogue etc) thought the image were crap. 

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production.
Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production.
Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

Exactly, I just did nearly two week non stop shoot around my tropical island for a reportage on a Victoria Secret model coffee book shoot. That shoot was intense in very harsh tropical summer climate with a lot of rainfall, heat and humidity (shooting a lot around the water). At first I was a bit embarrassed to shoot on such a small camera and rigged it a little, after not even half day, I was shooting mostly hand held and with my 7 inch Ninja. This shoot was going fast and I did not want to interfere at all as most of the team was coming from US and with the weather had a very tight schedule. After watching the fotage at night I slowly moved to only the internal shooting and was really impresed by the internal 120 fps 1080p footage. Where I en-counted problem with the footage was banding in the blue sky, I watched some tutorial and got some great result with qualifier and ofx debanding in Davinci resolve.
Perhaps for a Nikon shooter this is extraordinary and would have been normal for other MILC shooters. But for me it was extraordinary, I got some amazing tracking and slowmo handheld footage (I was starting to have to restrict myself with the slowmo because it was so gorgeous), that Nikon quality with all the features of the Z6 video capabilities like Ibis, auto focus, handling ergonomic, build quality is mind boggling in such a small package. Now if I was first camera and I had a more compact Ninja V than my 7 inch one. I would have perhaps done more 10 bit shooting and use an external recorder. But even then, with mostly the 4k and 120 fps codec bitrate, I am stunned by the quality.
The last thing I don't understand is the supposed non cinematic image of the camera. I guess some people might understand that its not shooting in crappy light that will make their camera look cinematic or not, perhaps they should look at the meaning of the word. Because for me, my images are coming out great. There is not one people from the US team (photographer working for vogue etc) thought the image were crap. 

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production.
Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production.
Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

Here you are...
I went down to the station and filmed a few basic tests. This is a worst case scenario as far as setup... bad follow focus and lots of wind. But it's good to show what it can do.

Yes, Nikon is one of the top choices for video (arguably the #1 choice), yet their perception is not even "mid back" but "last" (ignored alongside with Pentax etc). 

Nikon has a serious marketing problem, and giving us raw video from a $2K full frame mirrorless exactly what they need to do to make heads turn and finally pay attention. 

I think offering full frame (no crop) 12 bit raw video on a US$2000 hybrid body pretty much meets the definition of going into complete and total overdrive.

There has been some management change if I am not mistaken. It is true that they have sometimes added  some functionality but never at this level. One reason could also be that other manufacturer have come with 10 bit video just after them and just like that they where just in the pack, with Pana and Fuji with 4k 60p. As a Nikon user, every time Nikon came out with some new video tech, but just at the same time someone came and just took the limelight out of them. Even if I know how good the Nikon video image is for quite some time, most people consider them as not good or only photographic centric company. This time would have played the same way, the Z6 would have been only for Nikon connoisseur. The rest would have still been Sony, Canon, Pana or even fuji video users. When you think the A73 was considered game changing like only 9 month ago and the z6 more or less beats it in every way, this tells you how low Nikon is in the video community. 
While now, with this RAW upgrade, they clearly make a Canon 5D move in 2008. All the others, except Fuji are scratching their heads. This would kill a lot of sales for Canon, Sony and Pana if they put RAW in their 2000-3000 mirrorless camera in their video camera line.

I don't think you can get even close to that much latitude or processing from normal  Prores.
 

WOW, I thought it was a joke, I am bewildered, I was hopeful Nikon would do some firmware update, but this one is out of this world. My z6 in arriving in two days, it is as if I am getting a new camera. I hope they do it for the 1080 version also. For those asking about raw 6k to 4k etc, Nikon has some lower rez raw format for photo already, they might use the same system for video.
This is another Canon 5d moment. I am sure people in Sony, Pana and Canon HQ are in panic mode. This camera will more or less beat anything below 30 000 USD. It will be a full frame Raw camera with at least 14 stop of DR, low light that will beat every APSC photo/video camera, very good IBIS and slowmotion etc. The only place it will be beaten is slow motion and Nikon is coming with a full set of video centric lens that will be a bargain in the video/cinema world. 
 
Does anyone know the different bitrate of prores raw. I have seen Black Magic ones but I don't know compression of Prores Raw.

I just finished my first shoot where I used the z6 for all the video shooting.  Was a bit painful to shoot (z6+14-24f2.8+ronin-s), but a total joy to grade.  The house was pretty easy to shoot though, nowhere near the dynamic range of some properties I shoot, it'll be interesting to see how it fares with them.  The ronin-s is miles better than the crane 2 for me. virtually no jitter even with the humongous cam and lens combo.  Good job too because the rolling shutter makes warp stabiliser a bit hit and miss.  I know some people have complained about the slomo, but I think its better than the gh5's. I spent the first few weeks telling my partner I was going to sell it, but just like the d5500, I'm loving the image.  Foibles: flicker from lights. I assume this is to do with the slow readout too.  Never had this issue with GH5. Its fine if I leave the shutter on 1/100 or 1/50th, but problematic if I want to use an auto mode.  I noticed some flicker on manual with auto iso. Have no idea why that should happen.  I know people dont post there own work a lot on here, I think more people should. 
 

Sincerely, people should chill out a bit. We are getting a Full Frame raw 4k camera, with very very very very  good low light, dynamic range, auto focus, IBis, viewfinder etc for 2700 USD. Less if you buy the complete filmmaker kit. There is nothing remotely close to that and people are still complaining. What is small enough for people these days. The Z6 Ninja V combo is smaller than my d7100 Dslr and a Flash. When you see the amount of active cooling something like the Pocket 4k needs for a sensor that is 1/4 of the Z6 people have to be a bit realistic. Another thing to consider is a user of a Ninja Flame, having an external recorder like this brings so much functionality for focusing, previewing and exposure tools that go so much beyond just a recorder.
 

REDCODE is compressed RAW for a dozen years, no one has complained in Hollywood included... Do you? :X

I hope your coffee machine can do actions photos like that. Care to give me the brand please so I can dish all my cameras. I prefer to take advise from actual professional than youtubers and website who never ever have any practical shooting experience and will spend one day with a completely new camera. Thtas his setting and feeling about z6 https://www.facebook.com/groups/NikonMirrorless/permalink/462911304234806/?comment_tracking={"tn"%3A"O"}
Here is another shoot with his account https://www.dpreview.com/forums/thread/4340957
 
 
I am sure that your coffee machine can also be used in the staples center to photograph Lebron. below is the account of the shooter, a known sport shooter and not some random dude on the youtube or those dpreview guy that can't even shoot outside of test chart.
https://www.facebook.com/robert.hanashiro/media_set?set=a.10156360392953025&type=3
Nikon z6 Metallica  , and his account on the Af in challenging lights  https://www.dpreview.com/forums/thread/4343245#forum-post-61973980