FHDcrew

Panny has been in the video, camera and broadcast market for very long. Canon had no broadcast cameras for decades. 🙂
2014, Panny started the 4K revolution. GH2 had lotta charisma, Lumix still has to me. Sometimes our assumptions and conclusions become a bit shaky after series of posts and replies.  @FHDcrew posted a spiffy video shot with Nikon z6 to external prores. Looking better than 99% of youtube stuff. Some of the best looking stuff on this forum regarding colour and overall craft of the finished video. Solid!

First attempt at grading Vlog.
Well first proper attempt and with the S5ii because I have tried in previous years with the S5 and S1H and always ended up going back to first the Natural profile and then the Flat profile.
This was with Gamut's (old, I need to download the latest version) re709 conversion and then my grade on top.
4k 50p S35 crop footage shot with Sigma 18-50mm f2.8 APSC lens.

An attempt at a more "filmic" grade with the Z6 NLOG image.  It’s actually pretty darn simple. In Davinci Resolve I converted the image to rec709 with basic exposure/contrast adjustments. Then I transformed the color space from rec709 to cineon (designed for this specific LUT). I applied one of the film LUTS built into Davinci resolve.  Then I add a glow effect to bloom the highlights. I increased saturation and adjusted the  color temp to warm it up.  That's pretty much it!

You can push and pull Nikon FLAT a decent amount!  Obviously will still break if you push it too hard but it does well for not being a LOG profile

Yeah just filmed some z6 8 bit and it has more flexibility than one would respect. For 8-bit lately I’ve actually done a CST to Arri LogC and then applied the Arri Rec709 LUT. Liking the results, and the camera can be had for like $850 if you look hard enough 😮 

An attempt at a more "filmic" grade with the Z6 NLOG image.  It’s actually pretty darn simple. In Davinci Resolve I converted the image to rec709 with basic exposure/contrast adjustments. Then I transformed the color space from rec709 to cineon (designed for this specific LUT). I applied one of the film LUTS built into Davinci resolve.  Then I add a glow effect to bloom the highlights. I increased saturation and adjusted the  color temp to warm it up.  That's pretty much it!

Sorry - Red One - released in 2007 is really the first... so, technically Red should be thanked for the 4K revolution. If we are talking about affordability... sure lets bring Panasonic in the picture... but it has to be in the same space as Chinese knock offs (I'm sorry if I'm triggering some people - but the truth hurts) and we all know Chinese knock offs are cheap.

*cough* Canon 1dc *cough* released in 2012 *cough*

Pro job! Would love some z6 8bit stuff in the good old artsy fartsy gh2 style. It's always easier for me to ask than going out and film and edit some myself:) @FHDcrew

Here is the 4k upload 🙂

I wanted to share this recent project with you guys!  Also I guess this counts as a face reveal lol.  Shot entirely on a Nikon Z6 with the Tamron SP 45mm 1.8!  NLOG graded in Davinci Resolve.   Some footage was shot using the Ninja Star, others the Ninja V.  Most of the footage was shot using the oversampled 1080p mode I spoke about earlier in this thread; the AROLL was definately shot in this mode.  Just wanted to share, because one I want to share some of my work and what I do here, and two I wanted to give a good example of what this camera can do in 2023!

Other than a quick test of an early eos-m ml build, the 50D was my first real foray into Magic Lantern Raw and the image was amazing. It was the first time I was getting an image I was pleased with after putzing around with cameras for a couple years.
That said, the 50D has a ton of limitations which include overheating, the LiveView freezing at will. Usually the fix was as simple as shutting down the camera and ejecting the battery, but it became a major pain. Also the lack of audio made the camera kinda unusable for any real production because you kinda need a scratch track, at least, to synch audio from an external recorder.
So, if you just want to mess around with ML Raw, then yes for the price, it's a great camera and an amazing feat since Canon's original firmware didn't even offer video.
But if you want to shoot with ML Raw and have zero issues, the 5D3 is king. The 5D2 is also nice with a slightly different color science than the Mark III and also not too expensive.
Beware though, if you're anything like me, and you get a 50D, you'll be selling everything else and saving up for a 5D3 very soon. 

If I had no money I would be shooting with a Canon 50D. People keep saying the EOS M is the budget king (valid) but this camera literally costs $109.98 with shipping! That is freaking cheap for 14-bit RAW video!

I don't know man I think it looks great. Looks very organic and the colors look vibrant. I think it is a winning combination. 

That's really strange that the H.265 of the A1 is coming out ahead of Z9's NRAW! Now that internal recording has been tested, what about testing the external RAW of the A1 against NRAW and the external 8K of the Z9 to see how that measures up? Also, despite the issues present, how do the clips hold up in post? Perhaps there's some attribute to NRAW that can be fixed in post correction? Lastly, could there have been any kind of setting on the Z9 that could have altered these results?

Looks really good @FHDcrew

Here is the 4k upload 🙂

Here is the 4k upload 🙂

The sensor in the z9 is designed for speed. I've found Nikon flagship D4/5 cameras lacking in dynamic range.  It was the first thing I googled when it came out: what the video dynamic range was like, and from everything I could find it wasn't great. And yep the odd video sample with gnarly highlight rolloff. Say that itqs dynamic range is limited in a Nikon group and people go slightly nuts 😆.  I'm a Nikon shooter, im used to waiting: so I'm waiting for the z6iii or z8, and Nikon hopefully getting back to the 14 stops of the d8xx's

You could say it's a bit of a dogs breakfast?

This is a superb article! Very, very useful. Would it be possible for you to upload the camera original clips somewhere? I would love to play with them in Davinci.

I haven't shot RAW since switching from the 5D3 ML to GH5 in 2017. For me, 10bit log is enough. And with an ACES workflow it's easy to make RAW-like linear corrections to exposure and white balance, which was a big attraction of RAW to me.
Yes, there's probably more textural detail in the RAW files. But keeping file sizes down means a lot, especially at higher resolutions.

Now the prompt is ridiculous: "Explain dynamic range to a 4-year-old, adding in facts about American History."
 
Hi kids! Do you know what a camera is? It's a tool that helps us take pictures and capture memories. But have you heard of "dynamic range"? Well, let me tell you all about it while we learn about American history!
Back in the days of the American Civil War, photographers had a hard time taking clear pictures because the cameras of that time couldn't capture all the details in the bright sunlight and dark shadows. But, over time, cameras got better and better, and dynamic range became a big part of that.
Dynamic range is the amount of light that a camera can capture. Just like how the American colonists fought for their independence and the right to control their own lives, a camera with a high dynamic range can capture both the bright parts and the dark parts of a scene, so it has control over all the details in the picture.
Think of it like the American Dream - the bigger the opportunity, the more you can achieve. Similarly, a camera with a high dynamic range can fit in more light and capture more details in a picture, just like how Americans have the opportunity to chase their dreams and achieve their goals.
So the next time you take a picture, remember the spirit of American history and look for a camera with a high dynamic range, so you can capture all the details and make your own memories, just like our forefathers did!

It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is.
Check out a new novelty on the web... with my WRITTEN BLOG POST!
https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd
 

I do think what's interesting is that video is finally starting to become equally if not more important than stills for the general public. surely the influence of YouTube, social networks etc. Everybody wants to get into it, do slomo, grade their footage. This has the beneficiary effect of camera manufacturers putting higher video specs than previous generations inside low-mid tier bodies. Its a real change in policy for companies like Canon & Sony that used to really cripple hard on video specs to protect cine lines. I still think FF4K60p in 10-bit with Clog3 is quite a nice surprise in an entry-level FF mirrorless. Yeah its no big deal for all those of us with R5's, A7SIII's, S1Hs etc but think of the little guys 😉