FHDcrew

Shame my Nikon Z6 does 10 beats then lol! But I could always shoot 8 bit internally in Nikon Flat, and disable autofocus/IBIS. Would that count?

You have some good points here! The tripod is very underrated. You know what else is underrated? A good old fashioned camera slider. You can’t get that look out of a gimbal no matter how hard you try. I do agree there is an element of organicness in manual focus! And I know old Sony color is hated upon by all, but back in the A7iii days when all we had was 8 bit S-Log 2 it still looked fine, things did seem to hold together and many of the downfalls to 8 bit became invisible when uploaded to YouTube…or should I say the benefits to 10 bit did, because either way even if you upload in 8k and shoot it in REDCODE RAW the final product still ends up in banding city! With all that being said, I think I do notice the difference of log, especially for us run-and-gun event shooter who like to control their lighting, but can’t always and often have to shoot an outdoor event in the middle of the day without a cloud in the sky. Standard or “flat” picture profiles fall apart in this setting while log helps hold things together. It’s no substitute for proper lighting but I personally see the difference.

I literally don’t understand what you mean.

EM1 X also does Prores RAW via the Ninja V if you want more color info. Excited to read the article!

It’s so unique

Please don’t end the forum.

If there is a good F mount to L mount adapter, another option would be to repurpose my Tamron 45mm 1.8 lens which I use with my Z6 and the FTZ. It is image stabilized so it would fix the problem.

HLG seems like a good alternative for S1R users. Could even do a CST in Resolve to get it into log space.

I guess I’m thinking for me I should consider sucking it up and going back to manual focus. It becomes easy with skill, and opens up many options that would otherwise be a non-starter if I continued to be like I am now, mainly relying on autofocus. I feel if one needs autofocus he needs to make other often undesirable compromises at this price point. Such as stepping down to a smaller sensor, rigging out an external recorder all the time (Nikon Z6) or giving up super high quality internal RAW. (BMPCC4k and Sigma FP)

How viable do you think manual focusing on the Sigma Fp’s built-in screen would be? Using that Fotodiox adapter paired with both the Canon 24-105 and the 35mm IS would be nice; two great lenses both with image stabilization, as well as singe shot AF if I want to film myself.

As I’ve said in another thread, I’m wanting to move away from the Nikon Z6 and Atomos Ninja V. I hate having to assemble a big heavy rig just to shoot log, and I don’t like the internal image. Contenders right now are the Panasonic S5, Sigma FP, and if budget doesn’t allow the former, the Fuji XT3. Do you feel image-wise, the XT3 could hold up well against the Panasonic S1 or S5, given I will use fast 1.4 Viltrox primes on the Fuji?

I’ll agree with @MrSMW I personally deeply miss your long-form written articles and reviews. I feel that is where you shine and I prefer it to the YouTube content (though I like the effort you put in!). Nowadays it’s either a politics article or a very occasional filmmaking-camera-related article. It’d be nice to see you back in action regarding articles. I recently re-read an old 1DC review of yours; I loved how thorough and well-thought out that review along with so many others are. While I just recently joined, I’ve been an avid viewer of both the forum and the site since 2017. And back then your articles were a major selling point. Lately up until now you have seemed less active. I know you went through some 2020 struggles and whatnot, but I think a key to the forum’s success is for you to do the following: A: Be very active in the forum, creating topics and engaging with others. B: Crank out the high-quality articles and written reviews you are known for. I feel you do it better than do most YouTubers at making videos.

Thanks for the input. My work consists of a LOT of lit, controlled talking head sceneries (which I light myself) along with b-roll of events. In these cases, I feel like I could work within the limitations of the S5’s Autofocus. Though I would want to shoot 4k 24p Full-Frame V-Log. I’m very pleased about this, because that means I can get 99% of the Sony A7IV featureset plus some extra goodies for much cheaper. @MrSMW is the pulsing usually only about as bad as the worst-case scenario in the video I posted earlier? Do you have an example of some if the pulsing you ran into?

Very true. And I’d like to avoid rigging it, aside from just the cage. So maybe a Panasonic S5 or Fuji XT3 is a better option. But IDK despite all the quirks, the tiny size and true cinema dng raw is really attractive!

Well I think I’ve nearly decided on selling my Nikon Z6. I’m sick of having to rig it out just to get 10 bit log. The internal image isn’t cutting it for me. I tried a DIY internal log profile using the Nikon PC editor, but while it helps with dynamic range, skin tones turn to mush. And the flat profile while nice for tonality doesn’t hold a candle to NLOG with Dynamic Range So I’m considering giving up image stabilization and decent AF, for the tiny formfactor of the Sigma FP and its glorious, politics-free Uncompressed CinemaDNG workflow. I would plan to not rig the camera any more than just a tiny cage, possibly an SSD mount, and a niceyrig mini-grip. Alternatively I may go with a used Panasonic S5, and use native Panasonic L-mount glass. I feel that from what I have seen online, the AF, while not perfect, would suit my needs. And I feel I could live with some of the pulsing people complain about. Doesn’t bother me. But I only really mean the micro-pulsing as shown in this video (I can even stand the 4k 25p V-LOG). To any Panasonic S5 owners, does the pulsing ever get worse than this? If not then the AF system will work for me. If I am unsuccessful in selling my Z6 for the price I’m hoping for, I’ll probably end up with a used Fuji XT3 and the tiny viltrox primes.

At least a variant of Linux. Hope some smart people take notice.

Well this is truly insane. I bet we could see a Magic Lantern-style hack, maybe some form of internal RAW video. Even if it is the pixel-binned 1080p readout.

Would be interesting if the MotionCam team could get RAW video out of it!

The Sigma FP is a solid option. But we don’t get good AF or IBIS on the camera. I do really wish all of these large-sensor cameras with fast CFExpress throughout would allow us to access the raw feed of the sensor and just dump it into the memory card. Similar to what magic lantern did. But yes I suppose this whole burst-mode 2 video, isnt worth pursuing in light of the Sigma FP, let alone all the feature-packed 10 bit cameras we can choose from.

For a while I’ve been contemplating an experiment. Many cameras have burst modes where they write RAW stills to the card at a certain framerate. My Nikon Z6 for example can do 12fps at full resolution in 12 bit RAW. My thinking is as follows: Theoretically we could shoot in the RAW burst mode, and then use state of the art motion interpolation software, such as RIFE or DAIN, to fill-in the missing frames to get us to a usubale video framerate. Believe it or not, it works. I was able to shoot at the 12fps burst and interpolate the remaining frames, and the video sequence looked somewhat convincing. I was actually very impressed. Our problem here is buffer size. On many cameras, the high-speed modes only last a few seconds. This is the sad reality, as then the framerate slows down. A way around this is to shoot at a lower framerate to keep things continuous. My Z6 can do 5fps full-sensor RAW to an XQD card with no apparent limit. However, with tue current state of frame interpolation, 5 FPS just seems too low for anything other than simple slider/dolly moves. I filmed myself talking in the 5fps mode, and the result after frame interpolation was very unnatural movement. Where things are currently, 5fps is just too low. You really need at least 12fps to make things look decent. The other thing that could be tried, and I have tried this, is to lower the resolution/use apsc crop mode to basically shrink the file size down. I still couldn’t hit a sustained 12fps, but was able to get probably around 7fps continuous all-day. Sadly though, still not enough data to interpolate effectively. I’m curious if upgrading to a very fast CFAST 2.0 card would give me constant 12fps in this crop mode? I can think of cameras that would work well with this technique. The 1DX Mark II comes to mind, with an unlimited 14fps buffer using electronic shutter. That should bode well with frame interpolation. I’m also keenly watching frame interpolation advancements. I hope that within the next year or so, new advancements in the FOSS interpolation research unfold, so as very low framerate content (like that unlimited 5fps mode) can be interpolated with very natural motion. Curious to hear your guys thoughts. Manufactures are lame and don’t like to give us an uncompressed dump of the RAW video all of these cameras are capable of. Magic lantern proved all of these cameras could be giving us internal RAW video without stupid patents and licenses and proprietary codecs and Jeremy Youngs and bulky external recorders. Any ideas on not-crazy-expensive cameras that have a decently high burst-rate, without a buffer limit?

Hey, in a world of Peter McKinnon copycats, a cavern haunted by LUT packs, an abandoned forest cursed by lightroom preset packs… I’d say having a unique style and use-case is a blessing.

Seriously though, paired with the gyro stabilization it somewhat solves the two features the cameras have always lacked. Good autofocus and built in stabilization! If you don’t need great battery life then, it’s possible to have a pretty minimal or even bare-bones setup!

Makes me wish I got the 13 pro over the 13!

Good point, you certainly have a unique, fascinating use case

So you are saying there are no problems with the HDML cable clamp when on the bag?