FHDcrew

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.

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)

Dude I'm literally sick of Sony shills. Ruins Youtube for me.

I shot the AROLL of this video on my Nikon Z6 using the Nikon 17-35 2.8 adapter via FTZ. Such a great lens! (All the photos in this video were shot by someone else, not using my setup)

I’ll have to make a text video soon, but I got a working copy of the Nikon 17-35 2.8 lens. Adapted via the FTZ, AF performance is really good. Fast, snappy and stable on my Z6 when shooting 4k.

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.

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?

Sucks cause the image produed by the lens is really solid! I may try to snag one in better condition.

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.

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.

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