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M Carter

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M Carter last won the day on September 24 2016

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  1. While that lens is impressive, if I were doing editorial stills at an event like that, practicality would probably cause me to choose some sort of 70-200 2.8. the framing control of a solid zoom seems like I'd get more shots. I'd gran that 200 for fashion or editorial portraits every time though... And the NX1. Damn, 6 years on and it's still kickass. The tiny 16-50 kit zoom (not the bigger "S") makes for a monster gimbal rig with reliable AF. You can literally run around a location with that thing and nail 95% of your shots. I do find the 8 bit pretty limiting though, and the low-light performance isn't stellar. There's a Z6 in my future. We'll see if I keep it though!
  2. So you're saying you don't believe Nikon will release the battery grip they've announced for two of their full-frame pro bodies? Like, are battery grips that rare in the market for full-frame cameras? The Nikon MB-N10 battery pack for Nikon Z mirrorless cameras has been registered with the Korean Communications Commission, which suggests it will have some sort of wireless or Bluetooth connectivity (the registration is for communication-capable devices). Both Atomos and Nikon have announces ProRes raw from the Z cameras to the Ninja V. Talk is indeed cheap, but two major companies partnering in R&D, showing demos and announcing it will be released is kinda-more-than-just-talk. Just be prepared with a cool drink and a chair when the grips are released though, we don't want you going into shock!!
  3. All good news for the Z. By the time I'm ready to pull the trigger I should be able to rent one for a few days and try it out. I don't use grips for video but I do for stills; the Z grip is in production, Nikon says it will be a dual-battery grip - not sure what you're thinking?
  4. In decent light, it's really something - at least with the tiny 16-50 kit lens - I generally use it on the 16mm end so granted, it's not a lot of work for the AF, but still... shot a music video last week and I used the gimbal to basically do a dolly shot, but I RAN from 20 feet away, right up to the singer. Nx nailed focus the shot is just "WTF?!?!?" My main-squeeze Nikon lens for video is the huge old 28-70 2.8S which should work fine on the Z adapter (but it's too heavy for how I use the gimbal). I'll probably spring for the wide Z zoom as I don't have a really wide S lens. If I'm not on the gimbal I'm using a follow focus though, and I have some really nice screw-drive and AIS glass. I get a lot of stills work with my D7100 (AF) mixed with the NX1 (Just stick Nikkors on and shoot manual), so if I go the Z route I can sell both bodies and put it towards glass. And man, Prores and Prores raw with an affordable recorder - if the AF performs for me, this just covers so many bases, as I keep thinking of buying something like a BMC for higher-bit shooting and just keeping the NX for corporate gimbal stuff.
  5. So later this year, it's time to replace my NX1 with… what?? I do lots of industrial/business/medical stuff, talking heads in the office, then manufacturing or process in the big facility - a music vid every month or two. One-man-band. It's a great gig, I'm happy as a clam. The big NX1 game changer for me has been video AF on a gimbal. Never thought video AF would mean jack to me, but the NX1 with the cheap little OIS kit lens is the biggest game changer I've encountered in a decade of doing this. I can literally run around a factory and get killer shots. Clients think it's drone video. My killer-shot-count has gone through the roof - hardly ever bring the Kessler crane any more. I can try a dozen angles and moves in the time it takes to set up one crane shot. I can play that rig like a guitar. On a tripod I use Nikkors, the footage is beautiful. But the NX1 has its cons: no Prores, no RAW, blown highs, noise at higher ISOs. [email protected] 60p would be nice. I have tons of lights for interviews/planned shots, but too much of my work is in dimmer environments. The Nikon Z6 sounds like a no-brainer - but it sounds like I'd take a big step down in the AF I rely on for motion shots. So what would you do? What's the best in mirrorless AF these days? (I love the NX1 EVF for shoulder rigs and no fiddling with an external - I'll never go back to a DSLR). I'm really happy with APS-C, full frame would be fine for me though, not thrilled with smaller sensors, but for my AF shots I'm usually pretty wide, so I could go smaller sensor with a native lens. What's out now, what's coming down the pipeline? Thanks for any ideas.
  6. M Carter

    NX2 rumors

    Seeing how this thread is populated by many NX users... what's next when the gear begins to fail, gets damaged, etc? For me: 4k for 1080 delivery is a massive editing gamechanger for corporate interviews; the NX1 4K works fantastically for this use. Footage is very clean, and I've grabbed B-roll in factories and offices up to 2000iso; sometimes needs NR that high, sometimes is fine - 4k to 1080 often solves many noise issues. APS-C looks fantastic with my Nikkors and even antique 1960's Canon FL primes. Really dislike going smaller sensor. AF with the kit lens is pretty amazing on gimbals and steadicams. Another huge game changer, my Kessler/monitor setup is getting dusty. I can knock out ten b-roll shots where I used to get one out with the crane. Fantastic stills camera for well-lit shoots; the EVF just kills for fast-moving action stills or changing light. Fantastic camera with studio strobes using the EVF and Nikkors, screen set to "framing mode" - when there's enough focusing light. In dimmer situations with packs and heads, Nikkors are a no-go if I'm shooting 5.6 or slower. Don't have one of the fast native zooms, but plenty of Nikon bodies for those situations. Still on the fence about finding the 50-150, it's still a pricey-ish lens, but would make the NX more useful with still gigs. But I do mainly video. But then when I do stills, I get hired for really tough gigs, lighting big factories, 5 packs and a dozen heads, stuff like that, so the more tech, the better. The main things for me are APS-C, that crisp 4K, 60p and 120p available, great for nonprofit/hospital kids/drama - and truly functional AF on a gimbal. The biggest issue for me is I'd love some Sony-level low light capability, that stuff is gorgeous. Wouldn't mind 4K at 60p, too. I could consider full frame, not excited about 4/3. Maybe I should be. So if my NX gets stolen tomorrow, what would make me a happy camper? Used NX? Sony-something? GH5S?? (My next camera may be the BMC 4K studio and a 4K recorder, for higher-end gigs and keying - but that's another shooting scenario, I'd still use the NX1 often).
  7. Everything I own has a custom WB button - even Nikon DSLRs do, but it's a little bit hidden. Keep in mind that custom white balance is different than just setting a Kelvin color temp (orange-blue axis) - it also adjusts the tint axis (magenta-green) and is far more useful, though I tend to keep an old 82A filter handy and balance through that to push the look a bit warmer. You can use a scrap of 1/4 CTB as well.
  8. I think you need to think about how you're defining "video" for this discussion. Kids are sending video messages with vertical framing, they don't care about bitrate, color rendering, how far the footage can be pushed, frame rate, color depth, or what the actual resolution is. "Staying behind" for a phone is a completely different thing than "staying behind for a semi-pro stills product you also want professionals to be able to shoot video with". Both phones and prosumer stills cameras have added video on, but beyond that your comparison doesn't seem to have a thing to do with this discussion. If the D7500's video sensor and specs appeared in a phone with HDMI and headhone and mic jacks and zebras and audio controls and so on, we'd all be freaking out about how amazing and forward-thinking it was. And 99% of kids would't even know what all that stuff means.
  9. Hey, I agree that people "demanding" Nikon release something like an NX1 or GH5 don't realize what a niche market they are. That said, I make my living in good part from corporate videos. Gigs in the range of $2-$5k. I shoot 90% of that stuff with the NX1 and Nikkor glass. If I have to catch some sort of live event stuff, I take a shoulder mount video camera. I read all of these new camera announcements, hoping something will come out the beats the NX1 or will be there when it finally dies. I don't care what an aging German TV guy says, I do work that clients love, they feel I overdeliver, and I use the hell out of the NX. 4K is an absolute gamechanger for interview gigs with 1080 or 720 delivery; I had no idea how useful 120fps would be for b-roll, manufacturing, emotional stuff, and shooting plates for effects and so on. Sure, it's imperfect, I'd be jazzed with a wired remote trigger for crane shots (I hear it's in one of the hacks) - but there's no "perfect" camera. The NX1 might have made it if it came with a Canon strap - the freaking strap is the #1 accessory for consumers that buy $1k+ cameras (that's why I use 1970's hippie straps form eBay). I've shot Nikon for stills for 2 decades professionally, nothing since the D7100 has made me itch to upgrade (but F me, the NX1 is a hell of a stills camera and I only put Nikon glass on it - I'll skip AF to have that amazing VF that shows what my exposure looks like. Game changer for me as a stills guy for sure. Raw IQ is dynamite). When it comes to digital stills, times are very very good indeed. At least Panasonic is trying to deliver a good 4K camera affordably with the GH5 (not thrilled with the tiny sensor myself). Ever since we all breathlessly awaited the D7200 (and watched that bubble burst), I don't think we should be expecting anything amazing from DSLR-form cameras (and yet Panasonic is offering higher bit rates to card, no idea how well implemented though). The BM micro is interesting to me, but the feature list I get with the NX1 seems yet to be matched in full, in one package - and yeah, I wouldn't shoot a broadcast spot with it that needed high-DR outdoor shots, but it checks a lot of buttons for me. If a camera that competent and forward-thinking couldn't make it on video specs, I don't see a lot of hope. Nikon and Canon heaved a big-ass sigh of relief when that died. The photo market is in a panic-driven tailspin and the water's not gonna clear any time soon.
  10. This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath.
  11. Hell, just paying for RX5 is no fun...
  12. I'd say if you can get your hands on one, try an AT4053b. Pretty remarkable mic for the $$ ($599 new, they do show up used). They're a popular studio mic for some so there seems to be more of them around. Hyper, good rejection and natural rolloff off-axis, nice warm-full sound with some "sparkle" to the highs. Popular when sound guys suggest a first "pro" microphone. None of the handling issues you get with the Oktava.
  13. With the Dr 60D, it's either phantom or mic power. OST makes an XLR barrel-extension type thing that drops phantom to mic power for about $100. One of the big names (AT? Rode? Senn?) makes one but it's like $175; there's also an eBay seller from Britain that makes one for about $65 (bought one, works great). Need to make sure that what you get is wired for your mic though. I feel ya, if you're one-man it's tough to deal with wireless with confidence. I tend to skip it whenever possible, an XLR-to-lav power solution is a great thing to have. I like the idea of using that Tascam belt-recorder and feeding the phones jack to a wireless to send synch to the camera though, seems like that could work very well when you just can't use wires and the camera is too far away for confidence in catching synch. I'd really like to have an assistant in charge of shutting the tascam on and off though, vs. having an hour-long audio track. But Plural Eyes doesn't give a flip about that sort of synch issue, it'll deliver the goods just fine regardless of audio track length. Interference and handling noises are two drastically different things. Interference has to do with how crowded the spectrum is where you're shooting. Pro-level wireless has methods to check for empty frequencies before you begin shooting, which can help a great deal. Handling and clothing noise is about technique vs. user error.
  14. I've been on shoots with cheap wireless and lots of problems. Even the Sennheiser G3s can get the occasional interference. My personal rule is "wireless only if you absolutely need wireless". If you want a really high-end lav solution for mid-level bucks, get an OST lav (they have a tiny button lav you can hide in a tie knot, and two side-address omnis, one has a treble bump that's nice under clothes) and their XLR barrel converter that takes phantom power from your recorder and converts to mic power, so you can use your lavs direct-wired, powered, and all-balanced XLR from mic to recorder. It's especially handy if you use a hyper on a stand but also want a lav, you don't need a mic power solution while using phantom (or if a shoot is going from lav to stand to lav, no messing with mic power settings). $200 or so and the OST stuff sounds like mics three times the price. There's one of those in my future for sure - it's a great idea, and I'm really pleased that (a) it has a headphone jack for initial level checking and (b) it's sennheiser wiring, so I can dump the (probably pretty cheap) included mic and use something nice. if there's a level control for the headphone out, it would likely be easy to run that into a wireless transmitter to get a synch track, for times when the talent is far from the camera. Two bodypacks on the talent (the recorder and the transmitter) and a short 1/8 jumper, but that's really not a huge issue, especially since the synch track doesn't need to be stellar quality. I've run music video synch from mixing boards to a G3 system with no issues.
  15. Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage? And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go? And I gotta agree, plugging a 1/8 mic into a DSLR, yet thinking an HDMI recorder is your next upgrade? I'd look into an audio recorder first if you want to upgrade what you're doing. And maybe look into a "shotgun or lapel" that uses XLRs too. I've found the camera out of my audio recorder (which has its own output level) into my camera via 1/8, often saves me from synching if all the gain is staged correctly. The preamps in the recorder really make the difference (and using quality phantom powered mics and good cables - this has been true for Nikon and NX1 cameras). I still have the recorder card if I need it, and the -6DB safeties, but I don't always need to synch. (Though I usually just throw everything into PluralEyes and go make some coffee or a cocktail. The Tascam recorders have been shipping with a free copy of Pluraleyes, nice bonus and PE now outputs ProRes).
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