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Everything posted by Zeng

  1. I can attest, it's definitely not great in C200. In my experience it was no better than AF in Z6. Which is not bad, but there are better options for sure.
  2. Please let us know their answer. Sony’s marketing was “16bit linear recorded as 12bit log” which is very different from 12bit linear - as used in case of other mirrorless cameras.
  3. Hi, it never came back. Shot quite a bit on Z6, everything in prores raw, @100, 200, 400, 800 ISO, no flickering whatsoever.
  4. Well, one of the reason I like z-mount is that theoretically it's the only mount you could adapt any lens to. I mean it's the shortest flange distance of 16mm, and the widest diameter (55mm). Techart already has a sony e to z adapter that works. And Even Canon RF and Panasonic L mount could be adapted.
  5. Amateurish af on z6? I don’t know why this myth continues. AF in video mode is actually excellent. And native s lenses don’t breath (almost). Strangely, Nikon somewhat showed they really cared and understood the needs of video shooters, and then sort of left things in the middle of the road. Lenses need linear focus mode as an option (was mentioned they were to get it, but when?), z6 was the first with prores raw, but the wait was too long, processor appeared to be too weak (they had to compromise it a bit with pixel binning, although the quality is still great), internal rec was just 8bit. Co
  6. It can be 10bit, I’m totally fine with this. But there is a difference how you get those 10bit in acquisition - from 12 bit adc, 14bit adc or 16bit adc. And dr is one of the attributes affected by adc bit depth.
  7. What about the claimed 16bit external output which apparently could be recorded as 12bit log raw (vs linear in the case of other cameras) to Ninja V? DR comparison tests are needed.
  8. As much as I love Z6 and have hopes Z6s brings certain improvements, it's going to use same sensor, which means 12 bit ADC. Which gives 12 stops of DR more or less. While mostly this is ok for me, Sony's 16bit output could bring 1-2 additional real stops which is tempting. Hate to say this as I never like Sony cameras. Well, up to now...
  9. Have you actually used prores raw in Z6? It has far less issues than presented by some youtubers. And I find AF on native lenses very good in video mode. In fact I was shooting on 2 cameras, Canon C200 beside Z6, and AF is actually tracking better on Z6. Believe it or not. No hunting, smooth transition. They really made those S lenses great for video. There's really little not to like about them. Lack of linear focus is the only thing I can think of. Maybe people judge too much by the looks these days? They might lack solid look (although I dig it), hence they are not good?
  10. Z6 has about the same DR as S1H. A little over 12 stops. Tested myself. Well, depending on what's acceptable to you in the shadows, maybe 1/3 to 1/2 stop more on S1H as it uses NR.
  11. My personal conclusion - it's great. Well worth. Image quality is amazing, the image "thinkness" I get is great for grading. Just shot a project were we risked using 3 different cameras to capture simultaneously. Z6 with prores RAW, bmpcc 4K and GH5. While all are realtively easy to bring close ( I use Sage's Bmpcc and GH5 to Alexa LUTs and convert Z6 prores raw to logC to apply Arri Alexa LUTs further), Z6 image stands out imo. Yes, it's pixel-binned, not pixel-for-pixel full readout, but there are only very specific situation where you'd notice some artefacts. Never in normal shooting condit
  12. Zeng

    Fuji X-T4

    Screen delay when recording externally to Ninja V was improved. Was around 8 frames, now around 4. But only for Prores Raw.
  13. Zeng

    Fuji X-T4

    Absolutely underrated. IBIS is on par with S1H. And I fell in love with it's autofocus using Z lenses (have 50mm and 24-70 f4). Never thought I would, but they did it right definitely giving video shooters some thought - lenses practically don't breath, focus absolutely silently, and there's no hunting, transitions are smooth. There was so much hate and misinformation about Z6 from the beginning. And Nikon are so incapable of marketing the strengths of their products, it almost makes you cry...
  14. In my experience and tests Arri are the only ones keeping their DR rating more or less real. All others are counting nonexistent stops digging them out in the shadows. There will always be controversy as to what counts as a useful stop in the shadows vs the noise floor, especially given all the NR processing almost everyone is using. So one can find an additional stop in the shadows at the cost of chroma, etc. And it quickly becomes religious with the brand fans. Best advice - test your camera of choice, find its DR limits as acceptable to you personally, and forget the numbers.
  15. No, it's linear RAW, just like Nikon Z6. It will be interesting to see how Panasonic handled all processing things. Supposedly it should be a stream without any processing applied, which S1H log internal does quote a lot to give you clean shadows, etc. It is mostly apparent when I compared S1H to Z6 RAW - they both share the same sensor. As Panasonic does full sensor readout, this should be without some artifacts found on Z6 image. Currently I work on Z6 raw differently than suggested by all these tutorials. I open them in Assimilate Scratch, interpret as Rec2020 gamut and assign Arri Log C ga
  16. have you tried keeping your camera and recorder on for longer time and retesting. It seemed to disappear last time I checked. Will retest again. And yes, this could only be observed with artificial light.
  17. Noticed the same with the first few shots using prores RAW. But it seemingly disappeared after a while as if the camera needs to "warm up". Will test again. Weird. And flickering was at different ISO settings compared to mrtz's findings.
  18. This discussion looks similar to Sigma Fp topic regarding their raw DNG having some issues. Problems in downscaling 6K to 4K Raw? Very interesting. Still waiting for my Z6 to come back from Nikon. Will do some testing. Although I don't have a pro resolution chart at hand either.
  19. Arguably, film still has better color than ANY digital camera at any bit depth. So using that argument to justify 8bit camera is rather weird. But of course, you're free to shoot on 8bit camera, especially IF you like its sooc image :).
  20. I'm powering it from the nucleus M handgrip which is attached to the camera cage and also used to control the motor. I made a custom USB to lemo cable for it. Maybe Tilta has a ready made cable now. It gives 7.2V. The higher the better as the torque depends on the voltage. So standard 5V is not the best solution.
  21. Sorry, but if one doesn't see advantage/difference in using 12bit color then I guess one is better to keep using something like Sony A7III with its glorious 8bit log.
  22. Looks very very good. And this given that a non-optimal path is used - footage converted to Sony log with LUTs intended for Sony cameras applied... Nlog support is said to be coming to FCP soon.
  23. Amazing job. Wish you could do it for more cameras. I could provide you with samples of most of them side by side with Alexa, and you just do the math. How about it? :).
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