FHDcrew

I hate that video. Hyper YouTubers. We all know you can match this stuff

Yep you have got to do more than just apply a rec709 conversion. Believe me I’m learning this right now with Nikon N-Log. We keep telling you it’s experience you (and myself lol) need. Please, please stop complaining over your Canon R6, which I am jealous of over my Nikon Z6 due to its internal 10 bit. So in my eyes your camera is already better, and I think the Z6 10 bit is beautiful. All bad results I get are totally my fault, be it the way I light or grade. You are just avoiding what will actually make you better.

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And I can’t wait to try out the P A nasonic g Roman 2 vario lens!

Wanted to point out some pretty funny stuff over in YouTube land. There are a decent amount of “spam” camera-related YouTube channels, with AI voices and stock footage, along with plenty of affiliate links. Just take a look at the comments section. They are so fake Check out this one. The AI voice and mispronounciations are very funny. Didn’t know Blackmagic came out with a BMPCC Fork! Now I can eat my meals in BRAW!

You gotta send us that video with Steve Yeldin. Would love to see it.

I meant to say I haven’t tried color depth yet. Don’t know if it’s 10 but, 12 bit, etc. I do know I get a video sequence with all hints of overprocessing gone. Very nice. I’ve mainly played with the iPhone 13 ultrawide and front facing camera. Dynamic range didn’t seem that great on the ultrawide. I expect the primary camera to perform better due to the larger sensor.

Little life hack for iOS users. Buy the Moment camera app and use it’s DNG “burst” mode. I don’t have an exact framerate analyzed yet but it’s somewhere around 12fps. Then use optical flow to fill in the missing frames to make it 24fps. Use RIFE or DAIN, state of the art AI-based frame interpolation, and the results are quite decent as long as there isn’t too much fast motion. This workflow gives a raw, DNG workflow for iOS users. Recording time, given enough free space, is unlimited, except that you get periodical dropped frames after a certain pint, maybe every 10 seconds if I guess. Clears up quick though. All camera modules work; recording is full-res and open gate. Haven’t checked but rate yet, but you can bring the DNG sequence into resolve, select linear as the color space in the raw settings, and then use a CST node to bring it into a log space like Arri log C.

What if a camera recorded 23 fps and then used optical flow to make the extra single frame? I think that would get around RED’s patent lol

How is video autofocus with the 24-105? Can you post example footage? The AF is really what I’m interested in.

How does the video AF compare to a Nikon Z6? Assuming optimal, non-adapted sigma or Panasonic L mount lenses are used. Basically can it smoothly track a face?

You mean you might bring back the AFX? And could it be made to work with the Panasonic S5 or a GH5? Any chance it will be available on Amazon or B&H?

Interesting to hear the AF can be that good. So what camera do you find it can compare with, when using L mount lenses? I assume best performance is found using Sigma L mount lenses. Andrew I encourage you to make a brief AF test and upload it to YT for us all to see; the AF tests I can find are usually all with the really old firmware. Is there a camera out you find the AF compares with? I know you had a Nikon Z6/Z7 (can’t remember which). Does it compare in AF speed/reliability (in well lit sceneries with optimal lenses) to those original Z cameras? Asking because I shoot with a Z6; if sigma fp l AF can compare than that’s all I need from AF.

Great. Do realize that will even take time, you’ll have to work at it for a while to get good results. Just don’t expect to be able to watch a few tutorials, and then instantly be amazing at color grading. In the world of filmmaking this stuff just takes lots of time to master. YouTube is great, and helps a lot a long the way, though even with all the YT vids in the world it will still take time to get good at color grading, exposing, etc.

Yes that is the situation on YouTube. Sony and Canon are good at marketing. Way more of the “big time” YouTubers talk about, and hype up, Sony or canon gear. It’s to the point where if you are on a different system, like a Nikon Z9 or a Sigma FP L, you almost get a little lost because there just isn’t so much *mostly* helpful content on these cameras. I ran into that problem with my Nikon Z6, have had to figure out a lot of stuff through trial and error. For example there are oodles of “how to grade S-Log 3 S-CINETONE LUT PACK” videos, but can hardly find videos on good exposure practices for Nikon N-Log, for example. I had to play around with that myself. I suppose that makes me more disciplined, but still. Then there is the whole “I will teach you how to be a professional colorist just like me. Easy solution. Sell all your lighting gear and buy my S-LOG PROGRADE MATTI LUT PACK!! USE PROMO CODE squarespace22 TO GET 2.3% off!” And then they don’t even teach FUNDAMENTAL grading principles. It’s like they want to hide the info from the users so they will just buy the lut packs and purchase Sony gear through there Amazon Affiliate Link!! Sorry for the little mini rant…

Agreed about the GH2. Special image. A YouTuber named OWLBOT, who used a c100 mark ii for a long time, has an interesting video which touches on the unique look these older cams provide. He filmed it on an AF100 to prove his point.

Real, natural grain, which trumps digital sharpening any day of the week, usually is only captured in a legit uncompressed raw codec like CDNG (probably not the “fake BRAW). It is just stupid pleasing when you are in a well lit scenario with low ISO, and the RAW codec captures all the fine, discrete noise in the image. You won’t see that in a PeterMcKinnon video lol. Glad ARRI is embracing this.

Maybe Megadap or Fringer can make a smart AF adapter with a drop in VND. They do impressive work at reverse engineering lens mounts. I’ve heard really good things about the fringer ef-fuji Z and EF- Z mount adapters

Very true…though that’s with a bulky external recorder. And C300 ii gives you DPAF as well.

The c300 ii seems like a 1080 beast with 12 bit 444!!

I saw the video example you are referring to. That’s all talent and styled grading. Your R6 can look great, just like that. Don’t think it’s just the camera,

If you are struggling to get a good image out of a Canon R6, you sure will struggle to do the same on basically any other modern hybrid. You still have to be good at the same stuff, lighting, grading, composition, things like that. Soak that info like a sponge and stop reading the camera forum debates. It’s a waste of time.

If you are struggling to get a good image out of a Canon R6, you sure will struggle to do the same on basically any other modern hybrid. You still have to be good at the same stuff, lighting, grading, composition, things like that. Soak that info like a sponge and stop reading the camera forum debates. It’s a waste of time.

Honestly, I don’t understand why you even feel limited by the Canon R6. The image is beautiful and the camera is extremely convenient. Don’t fall into the trap of “more buy = more gooder vidyos”. The stuff I shoot on my Nikon Z6 looks much better than the Panasonic G7 I started with, but a big part of that is that I’ve gotten much more real world experience and practice than when I first started out. Yes the camera helped, but what helps even more and is NECESSARY to truly benefit from a camera upgrade is to have enough knowledge and experience to be able to bend and twist the tools to your use. And 1-2 years from now, if I am still using my Z6 my footage will look even better. It’s so easy to get into the trap of needing that next “thing” to get a cinematic image. It’s really all down to you. Can you light well? I bought a large parabolic softbox thinking it would instantly improve my videos. Well I really underestimated the fact that I had to really PRACTICE with the softbox. It didn’t inherently make my videos better, it’s been me trying to figure out how to use it. I’m just now getting close to an “okay” result with my lighting setup. And there are people online that get better results than me, even though they are using even smaller parabolic softboxes that are technically less flattering. the point is, stop worrying about your gear not being good enough. Learn and practice as much as you can. Be patient. It’s taken me over a full year just to get decent color grading results from my log profile. Nothing wrong with the camera, it’s just i lacked experience and still have much to learn.

Might come down to talent honestly.