FHDcrew
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Posts posted by FHDcrew
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I fell in love with the R5 as I got to film multiple recap videos with it. I will be honest, DIS is incredible and supercharged the IBIS. I can use an adapted EF 16-35 L or 24-70 L and consistently achieve stable tracking shots once I add warp stabilizer. IBIS + DIS in this camera is that good. And @Andrew Reid I agree the ergonomics are great. Not insane for video assists but it has zebras and a solid view assist which I find helpful. It’s on my radar as a potential upgrade but the z6 iii looks awesome and would make it easy to keep my original Z6 as a b-cam.
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All depends. My Nikon Z6 8-bit 420 is pretty solid.
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Shilling at its finest.
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When they say you don’t need this or that and can use cheap gear, and then proceed to use and advertise expensive gear. These guys annoy me greatly.
- Mr. Freeze, Juank and Ninpo33
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3 hours ago, Andrew Reid said:
The Ninja Star was relevant in the old days when electronics needed a larger box and more power simply to do a 1080p ProRes recording,
Now we have such insane power in our portable cameras and even iPhone, the market for this has completely vanished.
In fact it wasn't really much there in the first place because with the Ninja Star - yes you got ProRes - but no you still didn't look proper at work, because you'd be turning up with a tiny GH2 and no chonky cabled up gigascreen to pimp it out.
So it didn't sell very well and that's what makes me think that the codec capabilities offered by Atomos were never the main reason for their original success... It was the $500 bolt on that gave a basic rig vague credibility on a hire.
Agreed. Despite them being useful for the camera I currently own, I agree they are pointless in a lot of circumstances. Even my current setup right now, if one were to buy a used Z6 and a Ninja V, it would be approaching prices of cameras that can do an identical image internally. My setup made a lot of sense in early 2021 when I bought it; I already owned a Ninja V so the Z6 was the cheapest way to get 10 bit full-frame 4k and phase-detect autofocus. Very different landscape now. I really do agree that the market for external recorders is shrinking rapidly. I probably won't sell my Ninja V if I upgrade to a camera doing internal 10-bit; the resale value just makes me prefer to keep it. Besides, at least it will help me get Prores RAW out of a variety of cameras, which I can convert to CDNG if I really want to.
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I’m technically an atomos customer cause I have a Ninja V and a Ninja Star. Only have them because I still shoot with a Nikon Z6.
The Ninja V is a fine product, just seems unnecessary for any new camera anymore. Yes beneficial to mine but I don’t feel like I’m getting a better image than a canon r6 r7 or r8 going straight to the card.
The Ninja Star is awesome but discontinued and I doubt they will ever make one again.
Resale value is kinda lame on the Ninja V, Ninia Star I could probably flip because they are very hard to come by. Again, they work well but I don’t love Atomos as a company. Needing to activate ProRes RAW and tell them the date I purchased the product etc etc is just weird and unnecessary in my book.
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Some 8-bit stuff I shot a few months ago and finally got around to editing. Graded with one of the Fuji film-luts in Davinci Resolve. I got my white balance pretty close which helped a lot. I've found the 8-bit color to be pretty solid as long as my white balance is good and I'm not underexposed. Need to get better at nailing those things for run-and-gun stuff. Whenever I shoot 10 bit I get less strict with spot-on WB because I know I can tweak in post lol.
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49 minutes ago, Andrew Reid said:
So I went with the A7R III of course 🙂
The reasoning goes like this... It was 1160 euros, and the A7 IV would have been 1750. Quite a big difference.
The A7R III is a 2018 camera, and in those first EOSHD reviews it remember feeling it was a big step up from the already very good A7R II, because Sony had introduced new ergonomics, new battery, new colour science... And now they have done so again 6 years later, and the a7 IV of course has completely new Creative Styles and menus... plus 10bit and S-Cinetone, which you'd think I would consider a must-have. Thing is I don't. The new menus aren't a selling point, they're a bit of a mess. The new colour profiles are pretty decent, but I am more used to maximising what you can get out of the old ones with EOSHD Pro Color. And the A7r III when set up right has some serious mojo... Maybe a bit of a harsher highlight roll off than the A7 iv, and it doesn't grade as well in S-LOG3, but there is a part of me that doesn't care and just wants to shoot.
I tested both side by side for about an hour in the shop, sat down around a table... The a7r III autofocus was as good as I remember it... Can't really see any major improvement on the a7 IV. I tried the Clear Image zoom for Super 16mm c-mount lenses and the Super 35mm mode on the a7r III and again there was no shortcoming, and no clear advantage for the a7 IV. That's quite an important feature for me as I like the look of my c-mount stuff.
When it comes to 10bit and more dynamic range I have the GFX 100 and S1H. When I need really good AF in video mode and stills - the a7r III does the job admirably. My a7r III will be mainly for personal stuff, stills and video - with emphasis actually more on stills whereas the S1H takes up some video duties.
The video mode on the a7r III really is no slouch... I find the image really very nice in 4K full frame and S35. It also has 1080/120fps which is a nice bonus for such an aging model.
The a7r III also has a small edge over the a7 IV in low light, in both video and stills, even thought it has a higher megapixel count (42 vs 33) and is 6 years older... quite surprising.
Ergonomics wise, the a7r III is smaller, slimmer, and has an equally good EVF - you don't notice the higher res panel in the A7 IV very much as the resolution of the live-view feed doesn't quite make use of it.
So I feel good about saving the 500-600, and will one day get back into the modern Sony cameras... but for now the a7r iii does the job perfectly fine. I'd like to get an a1 again one day... When it comes down under 2.5k then I will strike. It's hard to see how they will ever better it, without a complete change in concept and technology.
By the way, I really do prefer the tilt screen on the a7r III over the social media friendly twizzle screens of late. The a7 IV just didn't feel as good to shoot with somehow, when the screen is opened up at the side off axis.
There's also no advantage in RAW quality for stills.
I appreciate the image in video mode is that bit better... A bit more dynamic range in the creative styles, a better codec, and S-Cinetone is nice to have as well.
So a pure videographer's needs may differ and that extra 600 might be worth spending.
Let's see if I regret the decision by this time next week 🙂
I filmed recently on a Sony a7iii with modified slog2. Color mode set to ITU709. Graded with. Resolve CST. Nail your white balance and your skin tone is honestly really solid. Sony 8 bit does have legs in 2024.
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3 hours ago, Eric Calabros said:
Please test the new Rec.709 LUT too.
"The LUTs for N-Log, which were previously provided for each individual camera, have been consolidated into a single file and optimized for video production based on color science developed by RED (Red Digital Cinema, LLC). The Technical LUT converts the N-Log color space to the Rec.709 standard, making it suitable for general viewing."
Will do. I always hated the older Nikon rec709 LUT, opting to do a CST in davinci instead.
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I will be playing with these and will report back results!
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https://www.nikonusa.com/content/red-luts
Excited to try these. RED color (or maybe RED-ish color) for Nikon is a win in my book. The fact that these work on my 6 year old OG Z6 is awesome. That camera truly has aged like fine wine.
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On 8/29/2024 at 3:49 AM, MrSMW said:
it's probably comparable at least with Canon
Man Panasonic must have utterly insane IBIS. I used a canon r5 this summer and consistently filmed with IBIS + EIS on. I found if I heel-toe walked and then applied warp stabilizer it consistently looked like I filmed with a gimbal or used gyro stabilization. If the Canok R5 is that good I can only imagine how impressed I would be if I held an s5 II or a gh7 right now. Thinking of switching to an s5 II or a g9ii paired with very fast glass for that very reason.
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Biggest caveat is I find them to be rather cheaply built. Micro HDMI sucks too.
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Can confirm these are awesome. My church has 3 fz1000s being used in a multicam live-stream setup I built. Great image quality, awesome zoom range and clean HDMI out that is good except it doesn’t have the lowest latency out there. The lens so good especially on the long end.
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I tried using just pure gyro logging on my iPhone mounted to my Z6, but easily got lost trying to find matching gyro files, especially if I forgot to log for a take or whatnot which would throw off my sequential order of gyro clips. Having a visual reference is way better. Of course, in a perfect world we would get internal gyro like on new Sony bodies, blackmagic cams and reds, but this is a solid workaround. I also have played with both After Effect’s Pixel Motion Blur and Davinci Resolve Studio’s motion blur. Both are good; AE might be a bit more accurate, Davinci’s faster, but both work well. I will say for very fast moving stuff though it’s very hit or miss. And I am starting to realize the tediousness of the post-production workflow.
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21 hours ago, eatstoomuchjam said:
The poll needs an option for "seems to work well, but it is annoying to have the extra processing step" and "I hope they'll just add it to Resolve (if they didn't already and I missed it)"
Yep. I find the most efficient workflow for those who need external gyro loggers is to use either a phone with the GyroCam app or an action camera. This is because they record video as well as the gyro data. Then when you come across a clip from your mirrorless camera you want to stabilize, just find the corresponding video clip where the same action is occurring; then you just sync up the gyro.
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I need to actually film an example that I post online, but gyroflow is quite impressive at least if you film wide. Easy to get a steadicam look or a gimbal look, if you are going for more of a steadicam/stable handheld look you don’t have to crop in much. Only annoyance is with my Nikon Z6 there is no internal gyro recording so I have to use an external device (my phone). Cameras like the Sony fx30 look so tempting because they record internal gyro; seems like such an easy workflow.
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So cool to have this thread created. Hope everyone is well; haven’t been active in a while. Still love my Z6. Super nice 8 bit image and if you nail your WB grades very nicely. Neutral with I-dynamic on high or Nikon flat with I-dynamic (for very extreme scenes) provides nice colors, decent flexibility and range in post. Grades nicely in Davinci. Autofocus is usable, nowhere near what the latest Canons and Sonys can do but still really solid. If you can get an Atomos Ninja Star you can record oversampled 6k>1080p 10 bit 422 prores which gives a beautiful image and grades just as well as anything out there. One of the best 1080p cams for the money in that regard.
4k 10 bit out of the HDMI to something like a Ninja V looks great; the image holds up with really anything else (Canon R6 II, Sony FX30, etc) but it’s not my favorite setup in terms of ergonomics, weight or battery management. Nice to have as an option but I’d much rather have internal 10 bit log. That being said, the internal 8 bit is great most of the time.
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A-Roll is completely 8-bit
What is Lumix thinking?!
In: Cameras
Posted
Anyone who buys this over a used GH5 should be diagnosed as clinically insane.