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The Dancing Babamef

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Everything posted by The Dancing Babamef

  1. In my field of work I couldn't get the Z8, even if it wouldn't overheat, but it's the batteries for me that sealed the deal. I used a Z6 for enough time and worrying about taking extra batteries on a 3 hour shoot and interrupting video recording to replace a battery. I was ready to move to the big boy. I'm not a hardcore professional but even now as just a hobbyist I need the Z9 more and multiple times I've had to switch to the vertical shooting position with my 200-500 and twisting my hands with the same lens on the Z6 was enough for me to realize that there is a better way. And now I only have 2 18C batteries with me. 1 is enough to cover a day with ON/OFF 8.3K RAW video recording.
  2. I shot a bunch of footage in the summer and the files were wonderful. I haven't tried shooting in low light nor in grey cloudy weather because if the weather is like that then I don't even bother to take the camera out. Every picture tends to look flat and ugly. I was able to work with the colors and it wasn't hard to create a faithful look even when I didn't have a correct WB/tint during the shooting because I use a 200-500 and I can't go somewhere to meter the correct values. I work with a calibrated PA32UCX and I output SDR. Nothing major just before and after grades and for myself and social media. I have however used a RAW video from an R5 and it was really noisy even as it was shot on a sunny beach. With the Z9 you can lower the ISO to 200 from 800 and in Summer it was really helpful to get closer to the 180deg rule. The Z9 will be a good camera for years to come. It has internal RAW at 8.3K and its RAW format is natively supported in Resolve. I have my trust in Nikon. Only issue I would have is the lens mount as getting a PL to Z was quite tricky but eventually I found an online shop with 1 in stock.
  3. I haven't shot with either R3 nor R5 but I have shot with Nikon 5100, Z6, Z6_2 and finally with the Z9. I chose Nikon because the Z glass in my mind is the perfect system. You have affordable 1.8 glass that doesn't look, feel or render as a 50$ kit lens. I have shot with the 50mm 20mm and 85mm wide open and can be 100% satisfied with the results. I have also used the 85 1.2 but I only bought it because I need the extra light. I have also shot extensively 8.3K NRAW, ask me about it. 60fps and 24fps (23.98) clips and graded them accordingly. For me it's the perfect camera, even more as the switch from photo to video takes under a second (in my test case with fast Angelbird media). Also I have shot in H265. If you watch Camera Conspiracies that guy must be editing on a laptop or something because the H265 from my Ninja on Z6 and on Z9 were not a problem and I didn't create proxies. Without the Z8/Z9 the R5 would be a no brainer because of the internal 8K RAW but now a basically R5 but with a bigger battery, no overheating and fast switch. I think it's obvious.
  4. there's a guide that's quite clear on what to do. I have reinstalled the LOG on my Z6 multiple times and never have I got it to not work. Perhaps read the instructions, carefully this time.
  5. the what off the where? I didn't know the A7S3 shoots also R3D πŸ€”
  6. Photo camera first. I would ignore this as the price is only made up of the 60MP sensor which is utilized by cropping in video settings.
  7. I was hyperbolizing it a bit but what I said is true to an extent. 4K to 1080p is what you do when you are playing the file locally but uploading to Youtube it's better to leave it as 4K and add a slight NR to it.
  8. People. When uploading to Youtube, ignore all the downsampling crap. It only applies if you're not compressing the footage again and again. It sounds good on paper but even scaling 1080p to 4K and then watching that "1080p" as a 4K video on youtube gives it a higher visual quality. All the pixel binning and noise reduction gets washed away because the compression that youtube uses makes the fine detail into mush anyway.
  9. Yes. but I also think that having high bitrate for 10bit 422 will account for the missing information in color, comparing to 444. But all of this circles back to the use case: are you filming a talking head or in a forest with lots of trees and moving micro elements that take up the bitrate so even thou the files are large it's justified as the utilization is high. But just like Andrew said in the original post: "- ProRes 422 HQ in GH6 and Nikon Z9 is too big, not practical in my opinion - may as well shoot raw?" Go watch DpReview's episodes and ProAV TV. Their shows might as well be audio only except the actual image comparisons.
  10. I think it's great that they brute force the quality with "excess" bitrate rather than have you suffer from macro blocking at the highest quality 422 HQ. IF you shoot LT then you probably know the risks.
  11. that would be amazing. If that would work with the Z6-2 also 🀩 2 years old video doe, I wonder if they have made any progress
  12. the sensor output is lineskipped. There is no "internal Prores" in any of the Nikon Z cameras except the Z9. You get 1:1 ProRes RAW if you shoot in DX. There is no crop in ProRes RAW. Personally I wouldn't bother with the PRR upgrade and spend it somewhere else. You will find the convenience of P&A the footage in Resolve and not having to spend time transcoding.
  13. Yup. I have a Z6 with PRR upgrade. I take videos of my dogs and it would be nice to just take your camera out of the bag and be ready to shoot RAW out of the box without adding a second brick on top of your camera.
  14. it looks like a beefy S1H'd R5 but the one thing that bothers me is the battery life. To get a rig with acceptable shooting times you have to put money into a dedicated battery system.
  15. That is correct, although they don't pump out reviews that often. Their reviews are often followed by ads or product showcases.
  16. I'd like to add that the content that Chris and Jordan make is largely audio except when you want to see example shots and possible cons of a lens or a camera to get a better view of what they're talking about. I am in the small minority that talks about the color palette being too drab across all the videos of DPR TV and it's not that they have to make every shot interesting by grading it to look more vibrant and exciting. But when I see what they're using to record the reviews it makes you think: are they lazy? If I'm shooting a review and have my name basically as the editor I would then put my best foot forward.
  17. Well, at least Jordan Drake from DPReview didn't grade these, the shots look exquisite!
  18. It's not all about the grading, no one had a gun to his head forcing him to shoot and grade this exact shot. He should have enough experience to know what looks great and what doesn't. If there's no light outside then maybe shoot the same internal RAW showcase inside with lights? Jordan has worked with cameras and different equipment while making videos for a decade. I am holding him to a high standard because he should know better.
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