kye

Here's my recommendation for SOOC shooting - Sony AX100.  As Dave says "Sony AX100 looks better than your camera".
Just look at the nice contrast, saturation, and above all...  skintones!  and in mixed lighting no less!
Good luck getting that with a "better" camera - they all have far too much DR to give you a punchy image from their 709 LUTs or profiles.

I'm just wondering why you were posting a random YT video.
If I posted a new thread with every video I liked then the place would just look like my YT viewing history and not a forum where discussions can happen and people can share knowledge etc.
I don't know what experiences you had in high school, but I've been an adult a long time and I've become fond of talking to people.
I really don't know what you were trying to say?
What point were you trying to make?
Maybe if you actually typed something then there might be some communication....?
There are all sorts of interesting things in that video, so the discussion could be a good one.
Let's all leave high school behind and try and discuss things like adults 🙂 

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy!
I include an image of the point that was failing

Hey there!
Bad news, I’ve just realized the the IBIS in my GX80 camera doesn’t work as it should anymore. 😫
I bought the camera new in 2018 and I just noticed today that when I shoot a video the IBIS seems to be working correctly for 3-4 seconds and then it starts an awful jittery movement without me doing anything. Same thing on video and photo modes. Even if I turn off the IBIS it can still do those jittery movements but maybe a bit less pronounced. At first I thought I got some problem keeping my hands stable when I realized it does that also when sitting still on a table. It’s as though I was trembling when holding the camera.

Anyone had such a problem with theirs? I’m afraid that a repair could cost more than a new camera?

I especially love the second shot. @mercerLooks fantastic. I have not come around filming anything for almost a year now unfortunately. All my colabs have moved themselves into the shady hideaways of oblivion and my aspirations to be a full time crewmember have been very low after my accident I had on a job. But your posts are some of the very few on this forum which inspire me to start filming again. S35 is fine for me on my S1H btw.:) Also waiting for some more fine reads from @QuickHitRecord  😊

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)?
We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video.
When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

If you stare at them for hours and hours then you start to notice differences and they start to look normal.
That's how all the YT "cinematic" content now looks nothing like cinema.
I just watched Kill Bill 1 again, and yeah, it might as well be a different universe...


When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

If you stare at them for hours and hours then you start to notice differences and they start to look normal.
That's how all the YT "cinematic" content now looks nothing like cinema.
I just watched Kill Bill 1 again, and yeah, it might as well be a different universe...


When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

If you stare at them for hours and hours then you start to notice differences and they start to look normal.
That's how all the YT "cinematic" content now looks nothing like cinema.
I just watched Kill Bill 1 again, and yeah, it might as well be a different universe...


When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

I should have qualified my comment to say that it only related to my personal preference using 10-bit HLG and OMLog400 from the OM-1 - I've never used HLG or Log from other cameras. I'd actually prefer to shoot in a modified version of one of the standard picture profiles on the OM-1, but they are not available in 10-bit mode - HLG or Log are the only choices.
It's interesting how different the log transfer curves can be on different brands and cameras (scroll down the pages to the step chart images) e.g.
OM-1 - https://www.optyczne.pl/59.3-Inne_testy-OM_System_OM-1_-_test_trybu_filmowego_Użytkowanie.html
GH6 - https://www.optyczne.pl/62.3-Inne_testy-Panasonic_Lumix_GH6_-_test_trybu_filmowego_Użytkowanie.html
A6700 - https://www.optyczne.pl/79.3-Inne_testy-Sony_A6700_-_test_trybu_filmowego_Użytkowanie.html
FX3 - https://www.optyczne.pl/46.3-Inne_testy-Sony_FX3_-_test_trybu_filmowego_Użytkowanie.html
R7 - https://www.optyczne.pl/65.3-Inne_testy-Canon_EOS_R7_-_test_trybu_filmowego_Użytkowanie.html
C70 - https://www.optyczne.pl/48.3-Inne_testy-Canon_EOS_C70_-_test_kamery_Użytkowanie.html
S5ii - https://www.optyczne.pl/70.3-Inne_testy-Panasonic_Lumix_S5_II_-_test_trybu_filmowego_Użytkowanie.html
XH2 - https://www.optyczne.pl/66.3-Inne_testy-Fujifilm_X-H2_-_test_trybu_filmowego_Użytkowanie.html

Unfortunately, it is a consumer device. @kye I agree with you that they should do a pro model, ideally dual 1 inch, SD UHS-III, 800+ Mbits, 10 bit LOG and better DR.

With the revival of VR (Vision Pro, Quest 3) there may be more demand for VR180 and 360 content that may push Insta to create a pro model and maybe even 180 3D one.... time will tell....

Anyway, finally there is a noticeable step forward in quality after years of stagnation....

DR of course is not world leading....



In less-than-ideal light is not great, but I would say better than the 1 inch that is surprising.

You can see from the motion blur that probably it was 1/60 or less (no ND of course), but still some details in me and the bike..

 




Compared to 1 inch:








In quality is definitely a big step forward, I honestly did not expect this much. I think a combination of more pixel, double bitrate and improvement in processing made it possible.

Here an iPhone 15 Pro Max 4k screen grab.... 
 

Don't get me wrong, I WANT these things to be good.
If they could make a 360 camera that was high-quality enough then it would be useful for filming in very busy situations and you could crop out the interesting moments in post.  The issue is that even if they had 27K resolution, the fact they only have 200Mbps means that any crop that isn't an extreme wide angle just isn't good enough.
I mean, 12Mbps of h265 is similar to 24Mbps of h264, but seriously...  imagine that someone released a camera in 2024 that was 24Mbps!
....and if you want a camera angle tighter than that?  You're practically pixel-peeping.
I'm not even asking for much - V90 SD cards are common these days and they can write at 720Mbps.  Having an EXTREME PRO mode in the camera that has a maxed out bitrate wouldn't be that hard - these things are premium products.

In good light the X4 is just on another planet compared to the 1 inch.

Is not apple to apple as is the same location, mount but different time of the year but still I could never get such details from the 1 inch or the R. Just look at the mountains in the background and the detail on me....


Unprocessed screen grab from 8k 30, 200 mbits, sharpening low


Processed X4




Processed 1 inch from 5.7 30



I will compare also in low light, but for a first quick look I feel they both look similarly bad 😉 

I agree that this is a huge market and definitely where Nikon should focus their attention, and an N-line of cameras would be a good way to do that, especially if it took advantage of the tech that RED has.
This doesn't really have much to do with RED making products for Hollywood though - that's a different brand making different products for a different market.  
Mass-market car companies do this all the time.  They use their tonnes of cash to buy an unprofitable sports-car company and get their techs to work on making hot hatchback versions of their cars, and perhaps a new premium line of sports cars under the mass-market brand, but they also help the sports-car brand to improve quality control and keep on making new models.  They don't just close down the sports-car brand.
Virtually all sports-car brands are owned by another manufacturer that makes family cars.

The first thing I checked?
....and the last thing I checked.
I've posted practically the same thing on every one of these releases, but the principle remains.  If you crop in to the image, like 99.99% of shots will be, then the resolution doesn't matter, the bitrate does.
8K at 200Mbps cropped to a 90 degree FOV (about a 24mm lens) is 2K at around 12Mbps.

The first thing I checked?
....and the last thing I checked.
I've posted practically the same thing on every one of these releases, but the principle remains.  If you crop in to the image, like 99.99% of shots will be, then the resolution doesn't matter, the bitrate does.
8K at 200Mbps cropped to a 90 degree FOV (about a 24mm lens) is 2K at around 12Mbps.

Good evening to all !!

Here is my very first try with handle hand video with my a7iv using Gyroflow.

I didnt go up at shutterspeed like 1/200 like other users said to avoid blur here and there

and the results at some cases didnt go well.

But for the first time i use it , i thing is a very powerful tool !

So , here is my pride, the Tenere 700 with a recent change in full body exhaust, filter and program.

+5.5 horses that didn't spoil us at all!

The sound from the camera does not accurately reflect the sound of the exhaust, but what did we do!
 

Vistek just dropped a pretty comprehensive video about how to test lenses, but it includes a bunch of really interesting stuff, ranging from what the various aberrations are, how to test for them, how to see them in the test images, and a range of other factors.
He drew heavily from the incredible book The Cine Lens Manual: The Definitive Filmmaker's Guide to Cinema Lenses which is basically the new reference for lenses and has a whopping 836 pages and seems to have come down in price to only $175 or so (it was a lot more previously!)
 

The answer is either putting in the time to learn colour grading, or putting in the time to earn money to buy multiples of the same camera so the image is identical.

I agree on the focus on the influencer kids.
In terms of if Nikon should let RED die, that's a tough call.  They could retain the R&D benefits of the RED team (which is likely to have a very very different internal culture to the rest of Nikon and would be best kept separated) but without the RED guys talking directly to folks in Hollywood their ability to do R&D would be drastically reduced.
RED definitely are a minor player, but they're not without any contacts.

You asked "what brands are you usually happy with color wise?"
Good colour in an image is basically skin-tones - get them right and the image is good and get them wrong and nothing else matters.
The way to get good skin tones is to film someone with the best skin tones you can find, use makeup to improve the skin-tones in your images, and to colour grade the skin-tones in post.
Great skin-tones (and great coloured images) aren't created by cameras - they're created on-set and in post.
Trying to choose the right camera to get good colour is like trying to choose the right paint and paint brushes that will make your paintings into masterpieces.  You're looking in the wrong place.

I agree on the focus on the influencer kids.
In terms of if Nikon should let RED die, that's a tough call.  They could retain the R&D benefits of the RED team (which is likely to have a very very different internal culture to the rest of Nikon and would be best kept separated) but without the RED guys talking directly to folks in Hollywood their ability to do R&D would be drastically reduced.
RED definitely are a minor player, but they're not without any contacts.

I think it would be a much easier task to develop into this market rather than try and tackle head on the established ‘Hollywood’ industry.
Pretentions of serious filmmaking?
Then have someone use your new Nikon NX3’s on the sequel to ‘The Creator’, but otherwise, gifting 100 units to 100 Kool Kids for their YouTubes is extremely cost effective marketing.