FHDcrew

Agreed, if we can't have SDI or full-size HDMI, mini HDMI is the preferred option. I work with a Panasonic G7 and 2 Panasonic FZ1000s for a live-stream setup. The micro HDMI is just so fragile, i have the full-HDMI smallrig cage bolt on the FZ1000s. The G7 as with you, is double-clamped. And I just never ever touch the micro HDMI. I notice mini HDMI, while not perfect and i still get a bit nervous, is 1000 times better than micro HDMI. Honestly as long as you are careful and only run short cables to monitors i don't even think you need a clamp.

On my Nikon Z6 I mean.

But even though mine is mini HDMI, I’m worried the constant plugging and unplugging will wear on the port.

Do you have a micro HDMI clamp on the FP? On my Z6 I don’t, because I got worried and just unhook it each time I put it in the bag.

Old post I know. But do you leave this little setup rigged when placed in your camera bag? Do you leave the HDMI clamp in place?

Well one of the viltrox lenses might just be next on my purchase list. From online reviews both the viltrox and yongnuo perform quite solid.

Native Z lenses give the absolute best AF performance so you should be set.

To be truthful I’ve been a bit surprised at the latitude and dynamic range Nikon FLAT offers. Maybe not as much as NLOG, but there is definitely info in the shadows if you dig deep enough. It handles highlights terribly, so it’s best not to overexpose. And the shadows still do have limits, if I have to dig too deep then I hit a threshold where yes there is detail, but it’s undersaturated and some color-noise/mud is introduced. That being said so far I’m impressed with how much I can pull back from the shadows without destroying the image. Then again, lighting conditions were nice on my most recent shoot. I’ll have to do some mid-day stress tests and comparisons, and I’ll let you know what I find. I may start a new thread where I compare NLOG to Nikon Flat.

It definately can. FYI I currently only have 1 lens, a Tamron SP 45mm 1.8, being used through the FTZ adapter. AF works well enough for talking-head purposes, but it can hut a tad bit at times, and the lens will occasionally lock up, warranting a restart of the camera. I believe it is specific to this lens however; I was able to try some native Nikon F-mount glass through the FTZ; autofocus felt snappy and confident without hunting issues. Even with the Tamron I trust it for simple talking head footage.

I can agree; I use one on a daily basis. NLOG grades very easily using a Resolve color-managed workflow. Dynamic range is solid, nice highlight rolloff and you can overexpose the image to make things clean. I've been playing with the flat profile and it isn't too bad; definately worse than NLOG, but in Resolve I can do a CST to Arri Log C and then back to Rec709, to make the image behave more like LOG. And I can then raise the exposure while it applies a highlight rolloff, which in turn allows me to dig deeper into the shadows and fully utilize the Nikon FLAT dynamic range. Also with a cheap Ninja Star and the right HDMI settings, you get that 10 bit NLOG image in oversampled 1080p, full-frame with usuable AF.

Agreed, it is an easy indication of talent.

At 1:40 in your video, did you bloom the highlights in Davinci? The highlights look clipped but not destructing. I’d like to start using Nikon Flat on my Z6 more often, as I don’t want to keep rigging out an external recorder all the time. I know highlights will inevitably clip, but my hope is even if my sky is completely blown out, I can bloom either via Davinci or using a promist filter, so it still looks attractive and not harsh.

Wow the XH2S DR looks insane

I mean uncompressed raw

Looks like it’s a no go then.

Well I found another guy who did it; this person figured out how to make the settings persistant. I'm annoyed though; he won't just release the instructions for us all to know. We have to email him, and from the look of the comments it looks like very few people actually received this file sadly.

I honestly wish camera hacking could return to what it once was. Just imagine, if people could crack into the firmware of modern cameras with their fast SD/CFExpress interfaces, we could have beautiful uncompressed RAW video on all sorts of cameras, instead of either having to deal with external recording crap, or paying a premium for a Canon R5 or Nikon Z9 to get internal RAW, or settling for something like a Sigma FP but then lose autofocus, image stabilization, etc.

Yeah I can’t tell, nor do I know how to execute their script

Sounds like an awesome buy, though even with it’s CINE features, a bit hard to justify givin you can get a similar, full-frame image out of the A7IV for the same price.

Looks like nobody really saw this video. I don’t know everything being done here, but it appears some sort of a script or text string value was created that enables the Nikon Z6 RAW update without needing to physically send in the camera to Nikon. Anyone have info about this? I don’t see a trace of this on the mentioned website.

Indeed, very underrated. And for those who are cool with 1080p it does so internally, in 10 bit color. No bulky rigging needed. I think the 1080 may be oversampled.

I mean if you buy RSMB and have time to kill waiting for motion blur to render, you can just add it in via post. Also gives you the option to use a higher shutter speed as a “built-in variable ND filter”

This sucks

I mean as far as Davinci resolve. Do I use the global HDR slider, matching the color space/gamma settings to my log curve of choice? And then how do I adjust the white balance accurately?

Cool. How should I go about obtaining these proper controls?