FHDcrew

True, at the end of the day the story is what matters. But man you really get a sense of satisfaction when you make an image you are proud of.

IDK I feel it makes a difference. Maybe the viewer doesn’t look out for it, but I think the viewer might just say “it looks better” because they see the increased quality, but don’t know all the nuances to look for in what makes a *subjectively* pleasing image.

Yes, but still not perfect. But even more importantly, I don’t want to sacrifice dynamic range. Because when I am forced to shoot in situations where I don’t have control over lighting, say outdoors in the middle of the day shooting an event recap, having that dynamic range makes all the difference.

Of course for the GH5 I’d lose good autofocus, but even more than that, GH5 I find would be too much of an IQ downgrade. Don’t get me wrong, it’s great. But I’m used to the full-frame, high dynamic range, smooth highlight rolloff, beauty that is the Nikon Z6 + Atomos Ninja V. A Panasonic S5…that is tempting. Could maybe even make the autofocus work for my needs. But an XT3 used seems a bit more realistic budget wise, especially as I would be buying two lenses. Probably the viltrox 33mm 1.4, and the 13mm 1.4, giving me a 50mm and 20mm F2 full frame look. And I feel the XT3 FLOG dynamic range would hold its own against NLOG on the Z6. GH5 just has a bad highlight rolloff and is expect it to have noticeably less DR than my Z6/NinjaV combo. Since I only really need oversampled 1080p (I shoot this way frequently using my Z6 paired with an Atomos ninja star and a special HDMI output setting, I still get 10 bit NLOG) I could just say screw it, and buy a used C100 or C100 II, either way with the DPAF upgrade. But it isn’t exactly smaller or lighter than my Z6/Ninja combo now, is it ☹️

Mainly price. XT3 goes for peanuts these days. I think with a bit of post stabilization and a neck strap I could be ok without IBIS. Yes the current third party sigma and viltrox 1.4 primes are very tempting, bridges the gap between apsc and full frame. I’d be tempted to go the “Easy” route and sell my Z6 to Adorama or B&H. Though since I bought it used anyway, I could probably break even if I sold on eBay. Does it usually take time before someone buys a camera you sell on eBay?

Guess I’ve got to accept the facts. If I want the high DR look in even difficult evironments, I just have to shoot log. I’m actually considering selling my z6 and switching to a Fuji xt3, I think I could live without IBIS but having internal 10 bit log would be so nice for keeping things compact. I would use some of the fast sigma or viltrox 1.4 primes. How do you think the FLOG image would compare to my full frame NLOG image?

Yes, that does make a big difference. One question I do have though, is how close could I get things if I have to shoot in harsh lighting? On some events I have to shoot outside in the middle of the day without a cloud in the sky. Here, where I have no choice but to shoot where the subject is at, I find lot very much helps ease the harsh lighting.

I’ll play with color boost and the color warped. Now how should I go about artificially improving the highlight rolloff in post? I want to make the footage look like it’s been shot in log even though it hasn’t. Also, has anyone had experience with either EOSHD ZLOG or BeatLog II? Two custom “log” picture profiles for the Z6. People say they improve stuff. But I tried making the BeatLog II profile and ended up with very yucky skin tones. Shadows improve but highlights are no better. Wondering if it’s the same story for ZLOG. Not trying to bash on Andrew Reid or anything, just want to know if his profile exhibits this issue.

I’d love to see an example of one of the weddings you shot with this beastly combo. Particularly interested in the results you got with the flat profile. Is it manageable even in harsh sunlight? One thing I did notice is saturation increase behaves differently. With NLOG I can boost saturation and things look good across the board. With flat, to get background saturation at a similar level to NLOG when boosted, skin tones go a bit wild with over saturation. A simple layer node and skin qualification fix this, allowing me to adjust saturation of skin and everything else independently. I can then match the look of NLOG more closely. Another thing that is helping is using the “high soft” slider in resolve to add a bit of a highlight rolloff in post to the flat profile. Helps, because you notice a smooth highlight rolloff even when no highlights are clipped.

Good points! I suppose with practice I’ll get good results. Gotta be much more careful in camera lol!

I’ve been using NLOG consistently on my Nikon Z6. Paired with Resolve’s brilliant color space transform and the great grading tools, it’s been easy to get the hang of working with it. But I don’t always like external recorders and want to be compact. The Z6 doesn’t do 10 bit log internally, only 8 bit. But it does have the Nikon Flat picture profile, which I’ve heard good things about. I never liked it, but a lot of it is that I never really spent time with it, getting to know its strengths and weaknesses, and how to grade it. Any tips on how to maximize the results, from exposure techniques to grading processes, for getting the best results with Nikon flat? How can I within its limitations, mimic the look one gets from a good log profile?

Yeah but the optics in the DOF adapter often gives questionable results as far as final image quality.

Ok. If you have access to premiere, import Prores raw into there. Do your log conversion and edit any RAW medidata such as white balance. Then export each individual clip out as Prores 4444 12 bit, preserving everything for Davinci resolve (except RAW sliders).

The transition is going well so far; I’m able to do some basic stuff in premiere, a few projects down the line with some googling I should have a decent enough understanding of the program. Over time I’ll get better with the hopes of knowing premiere end-to-end later on. And I did decide that for the most part, other than some very small tweaks I will embrace the default premiere shortcuts. Thus I can have consistency if I have to edit on a computer not my own. Question: any good premiere-style keyboard mappings for resolve? Blackmagic’s included mappings do not seem accurate. I’d like to have consistency across both programs since I plan to keep using resolve for grading, and also some editing projects.

If you own a Mac, for around $75 you can convert Prores raw to either compressed or uncompressed CDNG. If you don’t own a Mac you can buy a cheap one. From very limited testing (I tried 1 a7siii Prores raw file) a 2014 Mac mini with a measly 1.4ghz dual core i5, integrated graphics, an SSD, and 4GB ram can slowly but surely get the job done. So if you are on windows you could probably get a way with a cheap Intel Mac and converting your files there, then moving things over to your windows PC to edit in Resolve.

Beautiful footage! Great camera, even greater talent🙂

Canon went back to its bad crippling habits. Once you have a habit it’s hard to break it. They tried breaking it, but they quit attending their EOSHD counseling sessions and went back to their old ways 😂 A real shame. I want an R5 now, but I do feel bad for all who held off on the R5 or bought the R5C because of this fake issue.

Dude thanks for all your hard work and great free resources! You just keep pushing stuff out!

True Andrew, I’m getting convinced it was a fake.

Is there a shutter speed higher than 1/50 that eliminates flicker for 24p or 30p footage? I need a solution for doing gyro stabilization indoors even if it is very run and gun with artificial, overhead lighting.

I get it, yeah electronics get hot. But I mean if it’s burning hot to the touch that sure sounds like uncomfortably hot temps to me! With that being said as long as there is no long term damage, I would prefer the unlimited times. As I’m sure you do.

Nice footage! What lens? How do you think a 20mm FF equivalent lens would fare for gyro stabilization? I have a 45mm FF equiv, but I feel that is just too extreme for gyro to handle. How much would I need to crop with 20mm lens, to get steadicam-style footage out of the gyro stabilization?

Thanks for doing the tests!

Well saying as the camera feels hot all over, the overheating must be true. Andrew, if it were false then surely the camera would not feel scorching hot after 30 min.