ghostwind

Your questions have already been answered here. You're simply just trolling at this point, and not very well at that. Not sure what exactly is is you ARE looking for..

Mostly shot on Sony Venice with the 4D as a B cam at times. Not that it matters at all with colors and the main point here.

Unless you're shooting broadcast or live-streaming, I don't see any point in shooting non-log out of any camera. Use a simple CST (or auto CM) in Resolve and you'll spend 5seconds getting the log to look good in 709.

I'm not sure what you're so angry about today...Which of my posts sounds silly? The one stating that N-RAW on my Z9s is better than H265? Or the one asking where how you concluded that N-RAW will not be on any camera "soon"? I've read the thread - it's about Adobe "dropping support" for something they never had to begin with and otherwise just speculative talk. Sorry I joined "late"...Calm down... Yeah, things will probably change. That doesn't mean Nikon will remove N-RAW and replace it via firmware with a new RAW codec in existing cameras. That was my second point. As far as the comparison with NRAW and H265 on the A1 - yeah, very useful....

So you think Nikon will just remove it from the Z cameras that have it and replace it?

Dunno what tests those were, but I've shot in all formats on my Z9s, and N-RAW is definitely better than H265. More latitude, less/no NR, less/no sharpening, etc. Not to mention, of course, the freedom to change WB and exposure in Resolve in post.

The two Z9 bodies I got a few months ago have already gone up in price.

With today's news, I feel like I made the right choice going with the Z9s, not just for now, but for the future.

"out of my way" "let us" lol. I'm not bothered in the least; just interested to read how folks obsess over this.

Just because I disagree with you doesn't mean it bothers me lol, and yes, it IS ironic r.e. my second point. As for lots of folks losing jobs, that's how it's always been with technological advancement. Adapt, be relevant, or die. Lots of useless jobs out there...

There's a difference between ignoring it and obsessing about it like in this thread and in the news in general. Too much obsessing about the unknown is a waste of time. Be open about it, changes, educate yourself, but no need to panic and put things "on hold" because the "AI" monster is coming. As an example, I read some folks talking about leaving this field and going into IT, and I found that a bit ironic, as a lot of those jobs will be automated pretty fast. To me that's panic, not rational thinking.

We hope it happens on page 24.

I searched but couldn't find details anywhere. Does anyone know how the Z9 (or Z8) outputs 4K when in DX mode? For stills, it's clear you're getting smaller 19MP files using a smaller portion of the FF lens/sensor, but I'm not sure what it's doing for video. If I'm shooting 4k/24p ProRes 422 HQ in FX and then punch into DX mode for more reach, I'm still getting a 4k ProRes 422 HQ file with the same bitrate. Any ideas or details on what the camera/sensor is doing?

That field is being "taken over" by AI a lot more than the video and photo stuff everyone here seems so worried about.

I've looked some more into the Aputure and Amaran lights, and it seems like the 60x S/100x S/200x S models have the best SSI scores and thus the best color accuracy at 3200K and 5600K when compared to the 150c/300c, which are not very good, especially at 5600k, but of course more versatile if you want colors. So, I must decide between the 60x S/100x S/200x S and what combo to get. As the 100x S is the same size as the 200x S, I don't see a reason to get the 100x S. So, the following combos make the most sense: 1. 2 x 200x S + 1 x 60x S (I can use the 200s as key and fill and the 60 as fill/rim/back) 2. 1 x 200x S + 2 x 60x S (I can use the 200 as key, one 60 as fill, and the other 60 as rim/back *OR* in smaller/tighter spaces, I can use just the two 60s as key and fill. Option 2 seems more versatile but has less power if I need more fill from the 60 for the 200 key.

I'm a photographer who started "going hybrid" doing video work a few years back, primarily corporate interviews and b-roll to match for 5-10min videos with 60-90s versions for social media. I've been using Nanlite Forza 60 LED monolights (key, fill, & back) with success, but that's because I've only done a handful and for the same, repeat clients every few months. I've done plenty of other video work, but with natural light/reflectors. And in those spaces I had full control of room lights and could shut all lights off and use my lights without needing to color balance for ambient. And for head and shoulders/upper body, the light output was sufficient with a Nanlite Forza 22" softbox on. But I will have more projects in the upcoming year, and I want to expand and have more freedom as well. So this means getting bigger lights and bi-color or RGBWW for matching ambient and having more versatility / creative options. My budget for 3 lights with softboxes is $3000. So that's the background. I've read this forum and and looked around, and I'm trying to decide between a set (or combo) of Aputure lights - 100x/200x/150c/300c for key, fill, and backlight. It's important that they are very quiet and that the color accuracy is very good - especially for white. As a one man show, it's also important to have something that's easy to set up and not crazy heavy to haul around, and these Aputures look nice. I'm not sure for example if the 100x/200x have better color accuracy for skin tones or can do a better daylight white than the 150c/300c for example. If not, the 150c/300c seem the most versatile, but don't know. I'm also open to other brands. So I'm open to any suggestions and recommendations. If you had to build a kit of 3 for that purpose and on that budget, how would you do it and why?

I'm finishing up my transition from 7-year-old Canon DSLRs and lenses to the Nikon Z9 bodies, lenses, etc., and I should be done by 2024, so yeah, 2024 will be a "no-gear year" for me as well, unless I forgot some small items. Also, it's a good thing for business tax purposes to get it done by EOY.

Do you know what else is outdated? Manual focus. It's so slow, man, it drives me nuts! This is 2023, not 1923! My iPhone can focus faster than any ALEXA, so what's up with that? Autofocus is true cinema and anyone telling you otherwise is just trying to keep their job as a focus puller or living in the past. Engineers are with me, let's go!

@Django & @MrSMW - I can't recommend the Z9 high enough. I've had mine for over a week, and I have zero regrets and am just loving it.

Man, reading this thread tells me we need more artists and less engineers. In the world AND in this thread.

Man I wish I was confused with a lot of money...

My son is 15 and plays a ton of video games. We watched "Gemini Man" a year or so ago on 4K UHD disc at both 60p and 24p. He thought the 60p looked like a video game, not a movie, and preferred the 24p version. I doubt he's the only young person who feels this way. My point is that saying 24p is for older folks because they are used to it is too simplistic an argument and simply not correct.

I need an on-camera monitor for my Z9 that supports N-log and allows me to upload a preview LUT to it. Some options and with caveats below: 1. Atomos 5" Shinobi: As I don't need external recording, this should be the obvious choice, but the OS is old and hasn't been updated in some time. I would love to have the new Atomos OS on it, mainly because of EL Zone. 2. Ninja: Has external recording if I should ever want it (more versatile this way), has the new OS with El Zone and new UI, but I'm not sure how LUTs are treated. I remember reading that any LUT applied on the older Ninja V also affects the exposure tools (waveforms, scopes and false color). This is not how the Sinobi does it. The LUTs on the Shinobi don't affect exposure tools/values. I don't know if the new Ninja has changed this behavior. 3. SmallHD Indie 5: It's not clear to me if this supports N-log, and I can't get an answer from them. If it does, this is the ultimate monitor in terms of tools and OS.

You shooting in 8k to deliver in 4k and have the crop room?

It's a nice lens, but it wasn't enough for me to go to Canon. Nikon has a 120-300 2.8 and rumors are they will make a Z version as well. For hockey I shoot both through the glass and through holes (at places that have them). It's college hockey, so it depends on the venue. In any case, I mostly use my 70-200 and my 24-70. If the light is good, I'll throw the 1.4x on the 70-200 and that's fine. Problem is, you can't use a 1.4x on the RF 70-200, and for me, that's a big problem TBH. Anyways, nice photos.