FHDcrew

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made.

This is awesome. Finally a cheaper Nikon option with internal 10 bit. Might be my next camera. And I could keep my Z6 as a b-cam.

Yeah that is the biggest hurdle with iPhone video. No matter what app you cannot undue the horrendous oversharpening. And the "log" profiles feel very fake with no real benefit. I've been tempted to switch to Android for both the increased OS customization as well as the DNG RAW video which trumps anything the iPhone does.

@IronFilmYeah it's going to be 5 years old pretty soon.

There is an app called "Sensor Logger" for iOS that works well for me.

Agreed.

Haven't been super active in a while, so I hope you are all doing well 🙂 Two big reasons I might consider this camera instead of sticking with my Nikon Z6 are: 1. 10-bit internal 2. Internal Gyro Data #2 is big for me. I've realized how convenient gyro stabilization is, at least for me. Allows me to get a wide range of awesome motion shots while having a convenient shooting experience. Less weight, less setup time, no need to balance a gimbal or steadicam. Well...it would be convenient if I had a camera that recorded internally. I've done some stuff with gyro data on my Nikno Z6 by using a smartphone as a gyro logger. This works and can work extremely well, but the workflow is a pain because you have to keep track of all the gyro data on your phone and match all of the files, not to mention having one more thing you need to attach to your camera. The Sony A6700 as well as pretty much all of Sony's recent offerings seem very appealing to me for the sole reason that you can quickly get perfectly synced gyro data without needing any external devices. You can process this footage in Gyroflow to get a lot of power, and can even use the Gyroflow OFX plugin in Davinci Resolve to get a very streamlined workflow. The 10-bit internal is nice too. Of course a billion cameras now offer that, and that feature is solely convenience-based for me. I think I could rock the Sigma Contemporary Primes and sacrifice a bit of lowlight for these features. IDK. We'll see.

I too have gotten good results from Nikon FLAT (on my Z6). Try doing a CST to Arri LogC followed by the Arri rec709 LUT in davinci resolve. Set the tone mapping to none. Add contrast prior to the conversion. You'll like the results:

I’m telling you. Color Space Transform. 1000% better. You can export the CST as a LUT in Davinci and use it in Premiere. I do that to monitor NLOG on my Atomos.

Ok...99.87%

Same here. 60% of the YouTube camera space has become a giant ad.

Interesting. I'm curious, how are you converting to rec709? Are you using Nikon's 3d LUT? I shoot in NLOG frequently on my Nikon Z6, and i find that Nikon's 3D LUT has pretty bad highlight rolloff. I get significantly better results if I use Davinci Resolve's Color Space Transform to go from Rec2020/NLOG to Rec709/Rec709. Seriously, looks wayyy better than the LUT. You should be able to get great results from NLOG; give Davinci's CST a try.

We also have 2 Panasonic FZ1000s which are solid camcorder replacements in their own right.

I have a Panasonic G7 collecting dust after upgrading to my Nikon Z6 + Atomos (haha)....I should probably put it to use as a B-CAM or something. Still a great camera. At my church we livestream with one of these, using a Tamron 14-150 MFT lens, giving a wide zoom range and image quality that blows a comparably-priced camcorder out of the water. Clean HDMI up to 4K...can be hacked for no internal record limit...has microHDMI but that is easy to clamp...such a great live-streaming camera and/or a camcorder-killer.

I have seen the 50D go for under $100 on MBP these days…if you truly can afford nothing I think either the 50D or a GH1 are the ways to go.

Speaking of OG cams… Nikon Z6 - 1080p NLOG (oversampled)

To add to my post, external recording is the biggest thing I would give up. Being able to record 12-bit RAW internally would be idea. I wish camera manufacturers would add uncompressed CDNG recording to their flagships. Compressed RAW is such a mess…patents and external workarounds…and then one does not necessarily have freedom of choice when it comes to what NLE to edit the RAW footage in…unless one converts. Give us uncompressed RAW to the card. Or give us Prores 4444 12-bit. The codec everyone has forgotten about 😆

I would give up all three as long as DR remained in the 12-13 stop territory.

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.

“Crappy” 8-bit 420 non-log.

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.

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.

And in Davinci Resolve you can use the chromatic adaptation mode to get color-space-aware WB changes.

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.

In my opinion, camera companies should be giving their $2,000+ uncompressed internal RAW recording in a simple manner. The Canon 5D II can do this but the $2000 Panasonic S5 II cannot.