FHDcrew
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Posts posted by FHDcrew
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“Crappy” 8-bit 420 non-log.
- BTM_Pix, newfoundmass, ntblowz and 2 others
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Just think…these cameras, the original S5, FX30, Fuji XT3/4/5/XS20, Nikon Z6 + Ninja, current gen bodies like the FX3, ZVE1, R6 II, these give us all of the image quality we need. We literally don’t need better until sometime comes out with Alexa-level DR and color. Nowadays I view upgrading cameras as just quality of life improvements. Because my setup can achieve as good of an image as I will ever need. 10-bit, full frame 4k in LOG…is all you need. You genuinely don’t need better.
- newfoundmass, ac6000cw and MrSMW
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33 minutes ago, newfoundmass said:
As someone that is using two S5 bodies and a GH5 for a multicam set up...
If you don't find yourself in a situation where you're struggling with something that the S5ii would do better, then there isn't really a compelling reason to "upgrade."
My plan is to upgrade to the S5ii (or S5iix) in a couple years, when a successor to it or the S1/S1H is released and the used price goes down. I made a post a few weeks back talking about how I am done buying new and am perfectly content with being a generation behind, because all of these cameras are so good at this point that it doesn't really matter. Yeah, there are definitely quality of life upgrades but none of them are worth the cost for me. The S5 will produce an excellent image for years to come, and ultimately that's what matters to me. When the used price becomes compelling enough I'll start planning to upgrade, but I'm done investing thousands of dollars into camera bodies that won't retain their value much at all. I'll let others take that hit and just wait. 🙂
I love this approach. My mentality has really been shifting. To one of maximizing and being content with what I have. Some gear upgrades are awesome. A good lens. C-stands. Diffusion fabrics and floppies. Quality audio gear. I’m tired of looking towards the latest and greatest camera. Because the pursuit of that is endless. Where does it stop? It doesn’t. You get a perfectly great camera, and then a “better” one comes out and you just have to upgrade. And that mentality gets pushed so hard on YouTube. Even on this forum sometimes. I’d prefer to just get to know my current camera better and become better in skill. I’ve been seeing this happen. What I get out of my Nikon Z6 8-bit flat footage is better than what I used to get out of 10 bit NLOG Prores. I’m not going to upgrade my camera for a while.
- MrSMW and newfoundmass
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1 hour ago, PannySVHS said:
It is a bit of a different lensing and approach than the one I am interested in @kye 🙂 Thank you for the warning. Anyway, I don´t wanna distract from the topic of this thread, of course.:)
So back to topic. If Sony was only to give the FX3 and the ZV E1 an option to turn off the gruesome noise reduction, it would make it a compelling option for me to consider. But just knowing there is some mambo jambo kicking in at a certain point makes it so much less attractive to me than my S1, despite FF 4K 60p-120p vs S35 60p. I like the colors and image people are able to achieve with the FX3 and sofore showing off the potential image of the ZV E1. Common Sony, give us zero noise reduction and you gonna make some good extra money by that decision alone. Would share the crown with your fX6 for lowlight queen then. Maybe that´s what you are hesitant about, dear Sony.🙂
You could stick a ninja v on top of the FX3 to record Prores raw, then convert either to Prores 4444 or CDNG RAW. Then you get rid of all noise reduction. But setup is bigger, and I understand how that could be annoying.
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39 minutes ago, Django said:
Its also why Sigma chose not to implement internal 10-bit compressed on their ultra compact FP. Its either RAW or 8-bit.
Yes, and the beautiful thing about how Sigma handled it is it’s uncompressed CDNG, so it’s literally reading the sensor and dumping the raw feed to the card, wrapping it up in the DNG format. Couldn’t get easier. Whole reason why old canon cameras can do 14-bit RAW continuously without overheating (ok not in a .DNG format straight of the bat but still)
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1 hour ago, Django said:
So when the Sony shills on YouTube are out there spinning the ZV-E1 is an A7S3/FX3 for almost half the price
Dude I'm literally sick of Sony shills. Ruins Youtube for me.
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1 hour ago, D Verco said:
Good move. Most of the F mounts are really good. I'd just look at a 3rd party option for the 50mm. Nikon's F mount 50mm was never as good as their other lenses.
Well I already own the Tamron 45mm 1.8. Which is an awesome lens for how cheap it is on the used market. But even with the firmware update on the lens itself the autofocus performance is disappointing. It works but will frequently lock up, and the focus motors are not the fastest either.
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Me I’m fully investing into the F-mount system. Because I need cheaper options than the Z mount and I already own the FTZ so why not?
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Just bought an older Nikon 17-35 2.8 IF-ED lens, adapted to the Nikon Z6 via the FTZ adapter. Only got to use it for a very brief time, as the focus motor gets stuck at infinity! If it were not for this problem the lens would have been awesome; be weary of Adorama's "good" rating. Have to return it now; such a bummer as the lens itself is excellent.
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4 minutes ago, MrSMW said:
But otherwise good call I think to invest in what you have. Becoming ultra-familiar with not just your tools, but your entire workflow is very important.
Yep because just investing in the system I already have gives me the least obstacles standing in the way of investments (lenses) that will give me more creative possibilities. Also interesting about people preferring the image from the Z6 and Z7. I assume the Z6 external 10 bit is competitive with the Z8/Z9 internal 10 bit, because both have an identical log curve which is quite good with DR from my own experience, though I’ve heard there is potential for a better curve that squeezed in more DR.
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24 minutes ago, mercer said:
I know you're in school, but is it your end goal to be a videographer or a filmmaker?
Camera choice aside, if your end goal is to make films... either as a cinematographer or a director, or both, you may want to consider building a collection of manual focus/aperture lenses. The Nikon F mount is a great option with a long history of amazing lenses. I recommend trying to get the fastest lenses you can. They're a bit more money, but in the end, when you've decided you need them, you'll be happy you didn't waste any time with the slower lenses. To start out, the 28mm f/2 and 50mm f/2 are great lenses that can be found pretty cheap if you go with the non-ai or ai versions.
If you decide not to stick with Nikon cameras, Nikkor lenses will adapt to any camera you may upgrade to.
With that said, if you are considering filmmaking (narrative or other) you may want to look for an inexpensive camera that you can experiment with for short films, music videos, docs, etc... perhaps an OG BMPCC or even a P4K as it seems the prices for them are coming down on the used market.
Good luck with your choice.
Well the goal is technically videography as I plan to work in the corporate space. But I'm trying to approach it with a cinematographer's mindset when it comes to how I handle the overall style, lighting and color grading, etc. And yes I still have a long way to go but am seeing steady progress in my abilities.
So I'd say in technicality: Videographer
In terms of style/technique: Cinematographer
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On 5/10/2023 at 10:00 AM, homestar_kevin said:
You're in a good spot in that F mount glass is so damn cheap at the moment.
I have the z5 and and have been using my F mount glass on it as well as slowly buying Z mount glass over the past year or so.If I were you I'd poke around and find a Z mount 24-70mm f/4. It's a pretty awesome lens and can be found around $400.
If that's too pricey, but the F mount 24-85mm f/3.4-4.5 VR, it's a very similar lens but can be found for like $200.
The other F mount lens that is always going with my at the moment is the latest nikon 70-300mm AF-P. Super sharp throughout the range and works so well on the Z cameras.
I'd grab or look into those two lenses, though there are truly some other great F mount lenses out there like the 16-35mm f/4, the 70-200mm f/4, and all the telephoto stuff. You can also get a v1 or v2 70-200 2.8 for really cheap too.
Going EF or E mount is another viable option for sure, but I'd probably target the Z 24-70 to start. If you buy it used, you won't really lose any money if you go to sell later and get out of the system and will most likely be able to bundle it with your camera.
Took your advice and decided to hang on to my Z6 for a while longer. I bought a Nikon 17-35 2.8 for $350. It's the older screw-type but it does have an AF motor and saw an autofocus test with the Nikon Z7, performance was solid.
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58 minutes ago, BTM_Pix said:
Meike have now entered the E to Z mount adapter game.
At under €150 it is cheaper than the Megadap one.
Full details here
Well dang. I just ordered a 17-35 2.8 F-mount lens...but maybe I should cancel and go with this and a cheap samyang ultrawide...this adapter is very affordable.
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4 minutes ago, kye said:
I've found that the more I learn about colour grading the better my cameras become.
I don't know if it's Resolve or just my experience but I've had a bit of a breakthrough in the last couple of years by using CSTs to change the cameras colour space to Davinci's Wide colour space, grading in that colour space, and then doing a CST / CST+LUT to get back to 709. I use this workflow even if the camera shoots in 709.
This seems to give a process where WB changes and exposure changes work as intended instead of ruining the images, and you end up with great and consistent contrast and saturation, even between cameras of different manufacturers.
I always struggled to get good colour from the GH5, and found the colour from the newer FF models to be much nicer, but Resolve now basically fixes this, it really is incredible.
I’ll have to give it a try! So you CST into DWG, then CST back to 709 and grade in the middle? Do you CST back to Rec709 or Gamma 2.4?
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6 minutes ago, Django said:
F-mount glass is definitely a good incentive to remain in the Nikon ecosystem. We often gush over new bodies but its the lens collection you wanna be thinking about longterm.
Yep except I have barley invested in glass. I literally just own a 45mm F-mount prime. It’s moreso the question of do I invest in more F-mount glass or no cause maybe I will switch systems…
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13 minutes ago, kye said:
I totally understand why people are trying to buy their way to better videos, it's a much easier experience to research cameras and discuss (dream) about what cool new things you could buy, and it's brutal to admit you don't know much about a subject and start studying it (forcing your brain to work hard) and to do that for months and months.
Unfortunately, that's what it takes to actually become a better film-maker. I posted over in the "Once in a lifetime shoot" thread about the Tokyo episode of Parts Unknown that won a bunch of awards, but long story short, the cinematography didn't include any shots that were amazing in a grandiose kind of way, but it had a huge variety of solid shots from creative angles the editing and sound design were absolutely spectacular - end result.. awards and nominations, and a great viewing experience that is far from the pedestrian nature of most professional content, let alone us mere mortals.
The innovative nature of that episode alone is enough to make you crawl into the foetal position under the blankets, but the news is actually tremendous... most of the content in the world is so bland by comparison that to create solid professional-level edits you don't have to get to knowing 80% of what the greats know - a solid 20% will do just fine.
100% agree with you here. And it’s like my mind has been split. A good chunk has consistently been in the mindset of stop worrying about gear. Just keep progressing and learning as you go. And I see the results; what I make now in all aspects is better than what I made 2 years ago. When I was shooting with the exact same gear. I really see the impact learning various skills such as lighting and color grading have really amped up my visuals. But yes I still struggle with the very tendency I know is awful and tell people never to get into. The tendency to obsess over gear, having those “if only” moments.
I spoke to a friend who shoots on a Nikon D850. Told him about how I wanted to upgrade from my Z6. He asked why, I said because I don’t like how long it takes to use the Atomos Ninja V / Ninja Star each time I setup.He asked how long it takes to setup, I said maybe a minute at the longest
His reply: “Isn’t it funny how just 60 seconds can seem so long?”
Anyways, thanks for the therapy session @kye. I need to not worry about upgrading my camera because I genuinely don’t need to do so.
- inspiredtimothy and kye
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Panasonic S5 II (What does Panasonic have up their sleeve?)
In: Cameras
Posted
Yep and there is also the S1 which gives a bigger body and full size hdmi, also an awesome cheap alternative to the S5 II. If I weren’t already using my Nikon Z6+Ninka V & Star, I would probably be shooting on the S1.