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Zeng last won the day on March 6

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  1. Yes, their LUT is no good. I wonder who did it for them. Don't want to be hard on Nikon, they are new to this, but still. They should hire some knowledge into their team regarding video. Neutrals not staying neutral is not that bad in my book though... At least in my attempts to match Alexa I couldn't find a way to come closer without some cast in the neutrals. Your LUT, Attila, stays true to the neutrals, but leaves too much of the Z6 N-log inherent "greenishness", at least to my liking. And I prefer even gentler roll into the shadows.
  2. I believe all attempts at [pseudo] log at 8 bit sacrifice too much color..
  3. This one probably hasn't turned sharpening down in camera.
  4. Hi. Right now the only advantage you'd get with Panasonic S1 versus Nikon Z6 is shooting 10 bit 4:2:2 internally. That is, if you want to be extremely undercover with your gear, just a small camera in your hand, no ext. recorder etc. Oh, and that 4K 60p that is so important to some. Not me. Other than that they share the same sensor. Contrary to what some guys keep repeating here, Nikon's Z6 external output is very high quality 10bit, giving 12 stops of dynamic range. Color science is actually excellent. I've yet to do a comparison with Panasonic S1, but I managed to tweak Nikon N-log colors to a LUT that matches Alexa colors very closely. Skin tones look great. Overall, this is a great camera that is unfortunate to be built by Nikon. Which is not regarded as a company you'd associate with video. It's amazing how Sony's A7RIV manages to get attention while offering nothing even close to Z6 in video dept. Apparently it's all about brand names...
  5. When I asked Atomos about this at Cinegear in June, they pointed to a Z6 on their stand with Ninja V attached and showing "prores raw" in the corner of the screen. The guy told me "I don't know, it's ready and up to them when they release it". So it could be all sorts of things - like Andrew pointed out. I for one would hope it's just waiting for the competitors to announce their stuff first.
  6. Alexa rec709 based monitoring luts that is. I'll try to shoot some side by side Alexa and Z6 over the next week. Was asked to do this over on dvxuser.
  7. It could always be better, I guess. But seriously, how many of you have expected we would talk about any kind of raw video in a mirrorless so soon? 12bit prores raw out of a full frame mirrorless camera - I'd say this is the "good enough" line I draw.
  8. I could never understand trying to rig those small DSLR/Mirrorless into a shoulder rig -type configurations. With new products from Tilta, etc. now things can remain small, and yet have everything included. With different style handheld, that is :).
  9. It's 9 frames, not 9 seconds :). But still too much. Here are a few LUTs with subtly varying curves. We are dealing with 12.3 stops of DR vs 14-15 on Alexa. So alexa rec709 contrast curve is too contrasty for Nikon, of course. Although one of the LUTs is almost same curve. Also Alexa's response in low mids is pretty unique as well. To get a similar response on Z6 you have to rate it at ISO400 (lowest on Z6 is ISO800, just overexpose a stop). But then you loose a stop in the highlights of course, which if exposed correctly come to 6 stops over middle grey on Z6 (versus 7.5 or so on Alexa). Had to tweak the neutrals though, which means they have a bit of a color cast and saturation to them. The work is still in progress. I'll be doing Alexa look library based creative looks as well. Z6_alexa_based_LUTS.zip
  10. My 2 cents... Z6 for video could be an excellent camera... used with Atomos Ninja V. N-Log is very very good. Color science is extremely good. We made some LUTs based on Alexa, and Z6 color comes very close. Skin tones, etc. I personally couldn't get this close on any other mirrorless cameras. But there is one huge BUT - they have to fix the HDMI delay which is currently 9 frames (!). Unusable for anything narrative. Looking forward to the firmware update with prores RAW, hopefully they fix the delay. At least Nikon told they are looking into it. I can share the LUTs if anyone's interested.
  11. Like I said, this is very subjective. For instance, based on how Geoff Boyle discards the stops under, overall X-T3 wouldn't have any more stops beyond the charts. However, if you find acceptable strong color loss you may say X-T3 has more controlled noise with less chroma in it, and thus a bit more in the shadows. I'd say, total range is about equal with Fuji having less color and less noise, and Z6 having better color and uglier noise.
  12. I've uploaded test for X-T3 and Z6. It was based on cinematography.net testing method. Highlights range is clear there, while the shadows range is open to anyone's interpretation...
  13. OK.. seems like it's somewhat sensitive thing.. To get back into perspective, what usually matters to cinematographers is the picture they get. And in this particular case I just wanted to say that none of 8 bit cameras I tested looked good enough with their log picture. While Nikon Z6 and Fuji X-T3 look really good. But this is subjective guys, I'm looking at the picture, testing where it breaks, evaluating this for myself, and only then looking at what numbers/bits it has. Let's not start a war over it. In normal conditions with careful exposing one can make any of these 8 bit camera look just great, no questions.
  14. Zeng

    z6 vs XT3

    Don't get me wrong, slo mo option is nice to have. But I just feel like finally, and only now we have small cameras available which don't bring along that feeling of missing something compared to high end cinema cameras or photo capabilities of those same small cameras. I'm surrounded by Alexas and Reds though my job at a rental house, but those cameras are not meant to be carried around by single shooter without a crew. And while testing various DSLRs and now mirrorless I'm finally finding these to reach the level where they are so good as to not miss the picture from their big brothers anymore. As for the slo mo, I'd be much happier if the manufacturers would implement under-over cranking in fine steps. Right now it seems that BMPCC 4K is the only one doing this.
  15. Probably you're right, 11-12 stops limited by ADC.
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