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I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube. I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card. On my monitor the vimeo image looks better, it seems to have more details in the white water section. Here is the YouTube video: https://youtu.be/PgS_RUuPun Here is the Vimeo video: https://vimeo.com/464041748 Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider. Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy. This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together. I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW. But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio. For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.

Hey guys! I’m about to interview our very own @Andrew Reidon my podcast Golden Hour! Reply with any questions you have for him and I’ll try to get them in the show!

Frame grab from today's interview. Just made basic adjustments to balance the RGB parade, nothing else. WB needs a little tweaking and I feel like I never add enough contrast... Shot at 4k24p roughly 50mm and f/4 or 5.6, can't remember which one as it was getting brighter and my ND only went to 5-stops, so I had to stop down to prevent hotspots on the boats in the BG. Chris

I feel like the team that brought us all the good stuff in M43 has been moved to the full frame side and M43 has been handed off to a bunch of newbies. Nothing they've done lately has made sense. Who asked for this camera? I mean, really?

https://www.nikonusa.com/en/nikon-products/zcountdown.page So Nikon has launched a timer and in two weeks we will know not about mid life upgrade in the S designation but a second Gen Nikon Z6ii and Z7ii. I post below what Nikon Rumors posted as possible specs. So it was before Nikon confirmed a 2.0 model and not S. It is quite interesting because as an S update the changes where quite big, so now it is more in line. For video we see 4k 60 fps 'More new video features'. My guess as it is 2.0 version, I am a bit optimistic that we will get 10 bit and log internal. Even if they are using same sensor, which is debatable as same megapixel doesn't mean necessarily exactly same sensor. As they state faster shooting speed it could be a faster version which would be good in video for less rolling shutter. Now what I would like them to do for the z6, without being out of this world spec, is to give the full sensor 6k raw video readout for external recording at least for 24 to 30p. It would put the z6 again at the top of the ML cameras. Because it already has great IBIS, viewfinder and tracking for video. Some more and higher choice of bitrate would be great. My guess they will at least double the bitrate from 150 mbit 4k 30 p to 300 mbit for 4k 60p. But at least these 300 mbit are also available for 24 to 30p 4k and any slowmotion mode. Those 2x Expeed processor is also a strong indicator that they want to be aggressive for AF etc. If they do all the above they will lack only 4k 120p compared to the A7s3 and Canon R5 but for 1000-1500 less, which would be very competitive. https://nikonrumors.com/2020/09/25/updated-rumored-nikon-z6s-and-z7s-camera-specifications-2.aspx/ The new models could be called Z6 II and Z7 II instead of Z6s and Z7s (still not sure) Incremental update to the current Z6/Z7 models The camera shape is almost the same as Z6/Z7 Same sensor as in the Z6/Z7 Same EVF as Z6/Z7 (previous rumors indicated EVF with 5.76 million dots, the current Z6/Z7 have EVF with 3.69 million dots) Improved AF (Face/eye/animal detection) Dual EXPEED processor Will use the new Nikon EN-EL15c battery USB power Dual memory card slots: CFexpress and SD (XQD/CFX type B, SD-UHS-II) Faster frame rate More buffer memory 4k 60p video More new video features Improved user interface Support for vertical grip with release button/controls (optional accessory) Improved functionality expected with firmware update after release The expected announcement is around October The Nikon Z6s will be the last Nikon camera with a 24MP sensor Higher prices than the current Z6 ($1,797) and Z7 ($2,497) models

Check the Anamorphic Shooters group on Facebook. Someone might sell theirs if you offer the right figures. The last time I saw one of them got sold for almost two grands. Keep in mind that you'll need the FVD-35A to avoid vignetting.

Looks really good. Nice job despite gear issues. chris

Because they want to keep the price low and target a large audience in need of quality webcam, remote video, streaming, live event. If you look at the specs with a GH6 replacement in mind it's confusing. But as a new product to cover Covid19 streaming demand, it could be a "smart" product. A GH5s sensor in a box to keep R&D low and that's it !!! Target is not C70 or Komodo users.

Between the previous VLog L and the Full VLog. It's apparently increased Dynamic Range by 1 stop, which is what everyone was saying the GH5s' sensor is capable of. 13 Stops. The autofocus also seems to have something different from DFD (which I am guessing has some sort of ToF/Laser autofocus module to circumvent the Sony Imaging's Monopoly). HDMI is full sized, and it has fast enough Type-C usb. Looking pretty impressive, if you ask me. Autofocus, ergonomics and price seem to be the questions left, for now.

Were you in CLOG on the R6? That makes a big difference, I've read it is 8 bit H.264 footage until you turn on CLOG. I didn't test 4K30FPS at all or non CLOG. H.264 should be fine because NVIDIA cards can HW decode but need the CPU for H.265, my CPU was hovering around 70% and DR was playing the footage at around 5FPS until I created proxies. I do think Canon needs to add an option to use CLOG with H.264 like the C200, this would be the best of both worlds as long as you properly expose and WB on set. Speaking of CLOG, it really needs CLOG3, my Canon CLOG3 to REC709 LUT did not work on this footage, it was way oversaturated and the colors shifted a bit as was expected, so now I'm hunting for a good Canon CLOG to Rec709 LUT. Even with my terrible setup (kit lens, probably not properly exposed, no proper CLOG to Rec709 LUT), the colors, ease of grading, final look, skin tones, and highlight roll-off, was better than anything I have gotten out of the GH5 except under perfect conditions. Below is a quick screen grab from the shoot. For exposure I just turned on 95% zebras, watched the histogram, and dialed it down right below the zebras for the sky, the sun was setting in the background and in the display the sky looked blown out, on the WFM it shows clipping but I was able to bring back some of the details in the sky anyway. With the GH5 I'm pretty sure I would have lost the sky and it would have been difficult to match the skin tones. I wish I had a side by side but this was very quick and impromptu. The shot below was using CLOG, 4K60FPS, on a 1080P timeline cropped in by 60% in DR for framing, and the finishing LUT was from Noam Krolls LUT pack

So by the rumors it seems that it will definitely have a second card SD slot. The first objective in these new camera was to fix what most have been complaining about, that is dual card slots and true grip. I think these will sell very well at least to Nikon users that have not moved because of dual card slots etc. I am very encouraged since the z6 launch they have added so much to the Z6 in firmware update.

Good points! Treat the Nikon Z5 as a FF stills camera, but also.... a S35 filming camera.

That's what you want to feel in your camera! Did you hear about the Komodo which got stolen at gunpoint? If he'd had an S5 instead, then he could have fought back!

Ok, so I couldn't just keep sitting here thinking the R6 might work for what I need and the C70 was overkill so I came up with the perfect plan that ended up with me owning an R6. I have the C70 on pre-order but it won't ship until Nov. The R6 was available at a local retailer and the retailer lets you return the R6 for up to 30 days after purchase with a 15% restocking fee. So this sounds perfect to me, I get to "rent" the R6 for a fraction of the price of a normal rental house for 29 days which gives me time to cancel my C70 pre-order if the R6 is perfect for my needs, or I can take it back before the 30 days is up and still be on the list for the C70. Anyway, I've now had it less than 4 hours and there are already some things I don't like about it that I thought I would be able to live with, and some other surprises that no one on YouTube mentioned Overheating - yes it really is a thing. It was 78F today and the remaining available time on the timer hovered around the 10min mark for most of the day. I was doing a lot in the menus, taking a few images, and shooting a few clips and had had it set to CLOG and 4K60FPS which is my normal shooting setup on the GH5. I never hit the overheating limit but staring at the timer completely ruined the shooting experience for me. I can't imagine being on a paid shoot and all I can think about is if it will overheat. It shipped with FW version 1.1.0 and I upgraded it to version 1.1.1 after shooting during the day so I will test some more over the weekend to see if it gets any better. For everything I liked about the camera, the overheating was just this huge problem that overshadowed the whole experience. Electronic Level - I am a bit of a fanatic about having a perfectly level horizon so I didn't think anything of it when the electronic level came on in video mode as expected. What I truly can't understand however is why it turns off when you start recording. This completely blew my mind.....while recording is the main time I need to know if it is staying level. Also, a lot of other useful information leaves the screen as well. I like to verify right after pressing the record button that all of the settings are set properly....well a lot of them disappear from the screen while recording, things like frame rate, color space, etc...things I like to glance at while recording in live view. XLR Audio - I tried to tell myself this wasn't that big of a deal but I literally have a weekend of shoots lined up and all of them require audio. I'm already trying to think how I will handle it for the weekend. With the GH5 I just throw on the adapter, put a wireless lav on the client and we are set. Editing - Just like everyone else stated, editing these files are a nightmare. You will need to transcode. I have a 14 core CPU, RTX2080Ti video card, Davinci Resolve Studio, and NVME storage....doesn't matter, DR couldn't play the files until I created proxies. Dedicated Buttons - I found myself really missing the dedicated ISO button from my 5DIV and especially the MF switch on the lens. I know you can remap buttons but I don't like doing that, I like to keep everything default and use the Favorites menu. I also miss the flip switch that immediately got you into video mode or photo mode on the 5DIV instead of rotating the dial past all of the other presets that I'll never use. Build Quality - The build quality is also lower than I expected. I expected it to be on par with the GH5.......its not, let alone the 5DIV. For the price I paid the build quality is a disappointment. The video image quality does look amazing, I'm sure I didn't expose properly and I didn't have a Canon CLOG to REC709 LUT so I did some quick hand grading; oh and I had the crappy RF 24-105 F4-F7.1 kit lens, but what came out of the camera despite all of this was nothing short of incredible. I also took some quick images with it and of course they were what I expected from a 1DX sensor, so no complaints there. Speaking of photography that side of the house is rock solid. No complaints there, and thanks to this camera I am finally sold on using an EVF for photography. The EOS R had noticeable lag when panning and just didn't look right to me; the R6's EVF had no noticeable lag and felt a lot more natural. I truly do not know what I will do yet, I can say without hesitation that with my very limited testing the R6's video quality blows the GH5 out of the water....but there's so many compromises in so many other areas especially with the overheating that I don't know if it is worth it. Lets not even talk about the fact that it does not do dual slot video recording and still has a 30min recording limit. It also seems like even after all of the discussions about overheating I still don't understand....from a cold start the R6 only shows 15min of recording time for 4K60FPS. I did test it and the overheat warning came on at 20min but it kept going until it hit the 30min mark. After turning it back on it refused to let me start recording again and did not return to 15min available until about an hr later.

I thought the same thing about the EOS R. Why do Canon's expensive mirrorless cameras feel like toys? Sony's A7 series does too, as well. But man, the Panasonic cameras are built SO NICE. Love their design, the way they look, feel, operate, and how they feel like professional tools.

I am in the same boat as you, I hope they pare with black-magic to be able to use their recorder. This situation of the BM vs Atomos is a bit ridiculous, I also don't understand how what can be called the industry standard grading software cannot use PRORES raw. I hope big studio's start to put some pressure on BM. As for Nikon they have devised all there Z lens for video from the start, so no noise and breathing, but linear focusing at least in the very good 24-70 F4 is not as with manual lens. Now all there lens are firmware up-gradable, perhaps in the future. They are somehow stellar, Nikon is showing how using the biggest mount and shallowest flange distance is paying dividen. Even the kit lens are phenomenal.

https://www.bhphotovideo.com/c/product/1566077-REG/z_cam_e1511_e2_m4_4k_cinema_camera.html?sts=pi&pim=Y Actually its 1500$ for basically the same camera. That's a very stretched out rumor. Nobody will plan a camera release based on that possibility.

What a load of crap, as said before this camera won't stay at 1400, it is at 1300 (body only) now on Amazon, price with different bundle has been between 1250 to 1300, with heavy discount on lens ftz adapter, cards etc. And by the way you can also have for 400 more the Z6 with actual 10bit to raw video. This thing is a baby Z6 with same viewfinder that trounce all the Sony camera until the latest A7s3, Beter IBIS, magnesium body (go and watch how good the construction of the Nikon Z cameras) and I am not comparing it to a 2016 Sony but to the current A73, which the Z5 beats handily. You look like those people that compare cameras on spec sheets. For now their is zero competition to the Z5 in what is a 1300 and by Christmas 1200 to 1250 FF camera.

LOL people always look at their needs as something sacred, just to be polite. That Z5 is lower cost than some APSC cameras, rendering the 1.7 crop about same size as APSC sensor size in 4k. Nikon did not go back, they are giving people a full featured FF camera for the price of APSC ones. Its a primarily FF great photo camera with 4k apsc video for about same price as APSC cameras. A photographer that does some video, it is much better than those apsc cameras,

I am fortunate that I do not do this full time or right now I wouldn't even be considering a C70 with the way the market is right now. Very few photographers/videographers in my area that I know do it full time, except for a few of the larger production shops there's just not enough money in it to quit your day job. I know what you mean about the cost of the C70, I've done the numbers; I guess it just irks me when I bring $20K of equipment to a shoot for a client that is complaining about $400USD. The only thing that pays real money in my area is corporate video work (interviews, promo videos, etc.) which doesn't come along that often especially now. Those are crazy numbers to me, I'm in the US and its definitely better here at least in the larger cities if you do it full time. Many days I feel though that photography and video really are a dying art. I think I have met maybe 1 or 2 total photographers/videographers who do this full time because there is just no money in it. The cell phone has completely killed this market and now pictures are rated by how many half naked women are in them or how popular the people are in them vs the artistic composition or technical complexity. A cell phone video horribly exposed with no audio of Kim Kardashian will be viewed by more people than a Hollywood blockbuster with a $50M budget. You think that until you are here in the US. I could technically afford those things but to me I still treat this as a business, and I know buying all of that gear that will not pay for itself would not make sense business wise. I do love gear as much as the next person and have to fight the urge all the time to buy new things; if customers paid more I wouldn't hesitate to buy more but the reality is most customers just aren't willing to pay for quality these days. Another bad trend in my area is that customers are more willing to hire a wedding photographer vs a videographer and when they do hire a videographer it is with whatever is left over from the budget for the wedding photographer. So these are the things I think about when something like the C70 comes along.

Here you have to earn at least 35,000 euros to have a net salary as a worker ... the average taxes are 48% I think that in Greece they have a lot of state debt to pay...

Bring it out for RF mount too. Plenty of C70 shooters would be happy to give up 20mm on the long end if they can go to 24mm on the wide end. (as 50mm tele is kinda doable for a general purpose S35 zoom, but 28mm max wide end is seriously pushing it!)

So far, I have not seen any magenta in my S-Log3 or 16bit RAW workflow, I have not seen that magenta cast thankfully. The little bit that needs correcting seems to be corrected with the Leeming S-Log3 corrective LUT. I'm loving the internal 4:2:2 10bit All Intra so far, with marginal benefits with RAW for what I do. Been working with Sony's 8bit for so long, it's a nice change. Especially paired with properly exposed and corrected S-Log3.

Ironically, you missed the irony and the joke. And the irony. As well as the joke.

Maybe not, considering that Z-Cam could be forced to stop their production very soon because it uses HiSilicon chips.

I'm not so much talking about making considered (though in my opinion, misguided) points like you have done. I'm talking more about calling everybody else cunts, and then trying to pass it off as 'ironic' or a joke when called out about it 😉.

Good to see Nikon still trying...how many feet do they have in the grave 1 or both? Nothing about Nikon feels like they will survive this one.