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. 

Personally I’d still go MotionCam RAW as it’s still more organic of a look, plus it’s achievable on less expensive android phones. 

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

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.

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.

Yes, the video from the iPhone is no match for the RAW android video.
I suspect the BM camera app will be subject to all the same image processing that the normal app is subject to, just with adjustable compression ratios.  I'd love to be proven wrong, but I haven't seen any examples of third-party apps having less processing than the default app.

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

@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.

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

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'm also starting to see the benefits of gyro stabilisation in the newer cameras.
My preferred camera is the Panasonic GX85 but if they released a successor that had internal gyro data (and the tools necessary to utilise it in post) then that would be an attractive feature for me - far more than 10-bit or log or other more technical upgrades.

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.

Funny thing about this…
It was harder to shoot and edit a movie in this day; forget about the price of equipment too.
Even harder to shoot a “good” movie, forget about an “amazing” movie… with amazing characters and scenes…
But, once it was said and done… it was easy to sell… there was always a major buyer/distributor.
Fast forward to today… easy to shoot and edit, hell you can do it all on your phone… you can do it well too… it might take some time to write the script, storyboard and even find decent actors - go to a drama school and take your chances with auditions etc…. Nonetheless the price of admission is super low… again you can do it all on your phone. 
 
However!!! You will have a hard time selling it.
 
 

I found this video to be a breath of fresh air.....

I think that's why the C100 is so good in log despite being only 8-bit 1080p; the 4K downsampled to 1080p gives you more flexibility in grading than if the sensor was 1080p.
I helped a buddy film with three C100s a couple weeks back and the image still holds up. He upscales it and it looks really good. I wish the C70 had kept that form factor, because the C100 is possibly my favorite ever. It's such a pleasure to use. Heck, I wish more companies would copy it!

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. 

I just shot my first couple of things in nlog.  Can anyone point me to alternative luts I can check out?  The nikon lut is contrasty, and the skies are a bit fluro-turquoise.  I've just had a go at grading it myself without the lut and I need something in-between mine and the nikon one.   I'm in premiere for now.  I've tried turning down the intensity and tweaking the HUE/HUE controls in premiere but its a bit limited. 

Have you tried the Flat profile?
I’ve read and seen some good stuff coming from that.
Last day of a semi-working break and been doing some musing as you (I) do and the pairing of Z8 & Z9 are back on top (had a short dalliance with an imaginary gal called R3 and for her body alone, she would still be my pick, but lenses, less attractive), especially now that the Tamron 35-150 has been officially announced.
I wish I could try one but as none seem to be available in La belle France…

Of all the high-end jobs I've worked on using Arri's, not one of them was shot in raw. And I've never shot a single raw clip on any of my ZCams. You'll get a much better end result by spending extra time focusing on production design and lighting than you will by switching in to raw mode - and bigger productions know this.

Prores is good enough for 95% of professional use (or 99% if 4444 is available). The people here who complain about any new camera that does not shoot raw are out of touch with reality.

If only Andy Lee, @webrunner5and our other old friends would resonate with us about that legendary Andy Lee G7 thread. Btw, getting a serious hang with the LX15 colour now. It's up there with the GX85 for me now. Maybe not in latitude and dynamic range but in receptional regard. The lens is a true gem. Love its characteristics. Trick and key element is to take the digital edge out of the footage with some digital diffusion. Davinci is really getting the best out of these cameras. Would love a LX20 with HLG and the astonshing 10bit h264 interframe codec from the Lumix G9, GH5/6 and S series cameras. Best would be with hard stops for MF like the Oly 12mm F2 or 18mm F1.8. So for me a LX20 instead of a A6700. 😅