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Andrew Reid

Nikon Z6 features 4K N-LOG, 10bit HDMI output and 120fps 1080p

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41 minutes ago, Django said:

It's easy to transcode files / fudge metadata. and yes people do it all the time to get around broadcast requirements. again the approved camera list ensures no funny business is going on.

fortune-teller-black-and-white.jpg .... timeframe seems to indicate somewhere before Tokyo 2020 Olympics.

You're speaking for Netflix now and no place does it say internal recording.  That means even if you use a Arri out to Atomos the footage is not valid for Netflix. 

I appreciate the response but it's you're opinion and not Netflix policy. 

14 minutes ago, anonim said:

Frankly, I think you would simply waste a time with anything besides Arri or RED. 

Not in my budget right now. Lol

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
34 minutes ago, Skip77 said:

You're speaking for Netflix now and no place does it say internal recording.  That means even if you use a Arri out to Atomos the footage is not valid for Netflix. 

I appreciate the response but it's you're opinion and not Netflix policy. 

2

Lol looks like you still didn't get it... I was attempting to explain to you why they have their strict camera policy.  Nevermind.

 

1 hour ago, BTM_Pix said:

Another one to add to the list then along with the A7IIIs, the Sharp 8K, Canon Pro Mirrorless, Nikon Pro Mirrorless and the Kodak Box Brownie 8K.

At this rate Tokyo 2020 is going to be four weeks of camera launches with the occasional athletics event thrown in.

It is certainly expected to be a major showcase of Japanese high-tech superiority, just like PyeongChang was last year for South Korea (most expensive Olympics ever).

Lot more at stake than gold medals ;) 

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5 hours ago, Skip77 said:

For the price the EVA-1 looks very good. Would you pick the EVA-1 over the FS7?

On paper the EVA 1 is better at just about everything other than 4k 60 not being 10 bit. FS7 name carries more weight bc it's industry standard.

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Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony.

Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments..

Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection.

BMD remains the only real pro budget cinema ecosystem alternative to ARRI/RED which is a different market then what the Japanese are going for.

 

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2 hours ago, Django said:

Lol looks like you still didn't get it... I was attempting to explain to you why they have their strict camera policy.  Nevermind.

 

It is certainly expected to be a major showcase of Japanese high-tech superiority, just like PyeongChang was last year for South Korea (most expensive Olympics ever).

Lot more at stake than gold medals ;) 

I know what they have the guidelines but you didn't answer the question about Atomos and it keeping meta data with the files. You made the statement that Netflix sys no external recorders and they don't say that. 

11 minutes ago, Django said:

Yeah but it became the industry standard for a reason. again the ecosystem. By the time FS7 was getting popular, most low to mid videographers had moved over to Sony Alpha mirrorless system. Same E-mount wether APS-C, FF or S35. Metabones/Adapters for every lens possible. Sony also came out with the cheaper FS5 and all that created strong incentive to rent/buy an FS7 when moving up. Very clever of Sony.

Canon however was very slow to adapt to the mirrorless game with ageing outdated DSLRs and especially 4K. They missed that boat with until recently only the C300 mk2 & 1DC as the cheapest 4K options which were astronomically expensive and exclusive to EF lenses.. They are back in the race now with EOS R & C200 providing a strong combo and upgrade path. a RF C100 mk3, pro EOS R & 8K C300 mk3 will possibly put them back on the map. Videographers will always have a soft spot for Canon CS and their glass despite recent disappointments..

Panasonic are trying to go after that market with GH5/S1/EVA1 ecosystem. Problem is those 3 cameras have different mounts & sensor sizes. It's a mess and not really taking off.. they alienated their own MFT user base by going EF mount on EVA1.. and now expensive L mount for S1. Folks that'll switch systems easily need a consistent solution for their lens collection.

 

EVA seems to be the bottom of Panasonic cine line and the GH5 is not cine no matter what GH5 owners say.  

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11 minutes ago, Skip77 said:

I know what they have the guidelines but you didn't answer the question about Atomos and it keeping meta data with the files. You made the statement that Netflix sys no external recorders and they don't say that. 

2

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements.

Quote

EVA seems to be the bottom of Panasonic cine line and the GH5 is not cine no matter what GH5 owners say.  

Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters.

Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

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11 minutes ago, Django said:

 

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements.

Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters.

Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

Panasonic marketed the GH5S as a video camera. 

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9 minutes ago, thebrothersthre3 said:

Panasonic marketed the GH5S as a video camera. 

GH5 users think it's equal to a cine camera.

21 minutes ago, Django said:

 

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements.

Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters.

Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

How is the GH5 broadcast ready? and the S1? So this means the Z6 is broadcast ready.

24 minutes ago, Django said:

 

You misread me. Never said Netflix don't accept recorder footage. Just that they filter out potential transcoders (among other things) by requiring cams that fit their minimum requirements.

Lines are more blurry when you consider ecosystems. GH5/EVA1 and soon S1 are all broadcast ready which can suit certain types of shooters.

Besides GH5S shares same sensor as BMP4K which is clearly "cine" oriented.

No the GH5s is not the same sensor as the BMP4K. Size doesn't match up.

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3 hours ago, Skip77 said:

GH5 users think it's equal to a cine camera.

How is the GH5 broadcast ready? and the S1? So this means the Z6 is broadcast ready.

No the GH5s is not the same sensor as the BMP4K. Size doesn't match up.

Broadcast requires 10 bit 4:2:2

The GH5s is the exact same sensor as the BMP4k, the sensor size is exactly the same.

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4 minutes ago, Geoff CB said:

Broadcast requires 10 bit 4:2:2

The GH5s is the exact same sensor as the BMP4k, the sensor size is exactly the same.

But 10 bit 4:2.2 internal or external is still 10 bit. 

I thought he BMP4K sensor is not the same dimension as the GH5s. 

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17 hours ago, BasiliskFilm said:

Canon now have a low end RP model, and Sony is still selling the A7 and A7II low prices. Nikon may still have the best value full frame hybrid model in the Z6 (as Canon still doesn't do full frame video on mirrorless), but they don't want to vacate the sub £2000 market altogether. Sony is offering a similar discount on the A7III in the UK. 
The mirrorless market has suddenly got very crowded, and price competition is a new and mostly welcome thing. It doesn't mean they won't make it back with overpriced lenses though (as was always the case with e.g cheap inkjet printers and expensive cartridges...)


Waiting for Nikon to release a "Z60" DX mirrorless to take on the Fujifilm X-T30 and Panasonic G95 etc, then Nikon will have a very attractively priced sub $1K camera to fight against everyone in the sub $2K market as well. 

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10 hours ago, Skip77 said:

What's the lifespan of the FS7 before it's replaced?  

What would "force" the FS7 to be "replaced"?

It won't be 8K any time soon. The FS7 is a very solid camera which I bet will be a work horse for years to come. 

8 hours ago, thebrothersthre3 said:

If you are doing something for Netflix I don't know why in the world you want to use a Nikon Z6 in the first place. Renting a C200 isn't really a big cost. 

I wouldn't rent a C200!

Would be nothing less than a C300mk2 or FS7 (with XDCA back) or EVA1

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