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Is N-RAW = intoPIX TICO RAW? What settings are in-camera? What is available at launch in terms of ProRes RAW / bitrates / ProRes 422 flavours? I have a look into it here but more info welcome in this thread from quality sources. https://www.eoshd.com/raw-video/what-are-the-details-of-nikons-new-cinema-8k-4k-raw-codec-on-the-z9/

VNDs can be useful when you're shooting video with stills lenses that don't have clickless apertures; they can also be useful if you're in a hurry. I have the SLR Magic 77mm VND and the B+W 77mm VND and haven't noticed any problems with them at low stops; if I'm in a very bright location I'll use single ND filters to avoid any risk of X-vignetting or stronger color casts. I do have a set of single ND filters and those are my first choice, but I still use the VNDs in the situations mentioned above (when I know I won't have time to switch filters or when I'm using stills lenses whose aperture rings haven't been declicked). When shooting stills I use the single NDs exclusively; for some reason I find the VNDs have a more noticeable impact on the image.

There are a couple of head-to-head comparison videos out there. I will link to one (or two) below. I think that pretty much any and every ND filter is going to have color / tint shifts. I have been using a three-stop Hoya MC (HMC) ND filter and it definitely results in a blue temp / magenta tint shift. I always have to adjust my white balance slightly amber and slightly green. That's a filter that costs amount $45 for a 77mm size, so it is what I would guess you would call "mid-tier" in terms of pricing. In doesn't seem to affect sharpness in any noticeable way. Haven't noticed any vignette with the filter and there isn't too much added flare, but there is some increased blue ghosting when the sun is in frame or just out of frame. I use it outdoors when shooting in LOG (which requires ISO 640) so that I can open the aperture from f/22(where diffraction would be heavy) to f/8 (the sharpest aperture for my lens). Three stops isn't all that heavy of an ND, so maybe others who have shot with heavier ND filters will provide better information for you. Slightly Off Topic: For cameras that DON'T have a built in IR filter (or have a very weak one) you will want to get an ND filter with IR filtering, too. I know that Tiffen makes some. I am not sure what the R6 IR filter situation is. It might be great (most likely it is). I based my choice of the Hoya MC based on Griffin Hammond's video directly below. Also, I just watched the slanted lens review of some of the more expensive variable ND filters (Polar Pro, Syrup, B+W, and Tiffen) and their conclusion was that the best variable ND was to... use a couple of non-variable ND filters stacked. In THEIR conclusion, cheap Amazon single-density ND filters looked better than the most expensive variable ND filters.

Sony Semiconductor manufactured the Z9 sensor.

Any mention of open gate video?

When everyone and thing i can find, says to stretch it by 1.33, That's all i do. You may have some sought of argument there. I have seen some other vids where they report the squeeze is more or less than advertised, perhaps its a bit remiss of me, taking it all too literally. Now I'll have to do an experiment to settle the debate. Don't have a billiard ball, i do have one of those 150mm glass balls that get used for lensball photography and i been meaning to incorporate it into a video... maybe i can kill two birds with one stone. Its all relative, considering my budgetary constraints, its peak cinema to me. Your setup and what you choose to emphasis is unique to you as well, and thats ok. Anyway you should however take anything i say / write. With a grain of salt , maybe two grains of salt. I'm not above or beneath, stirring the pot occasionally, if i think there's a laugh in it. 😉

DJI Mavic 3 Prices Chinese prices were leaked via OsitaLV today ¥‎13,888 for Mavic 3 ¥‎17,688 for fly-more combo ¥‎32,888 for Mavic 3 Cine At 6.41 Yuan to the dollar, the rough US equivalents are: $2299USD for Mavic 3 $2799USD for fly-more combo $5199USD for Mavic 3 Cine

You are missing the subtleties of the LX100 producing an organic diffuse image that it is rendering with a soft film like grain. No, hang on, scratch that, I was missing the stupidity that I had chosen to export a duff frame out of the sequence where the focus was off.

This is a great comment. I prefer to do the first type of shooting, and when the goal is to get the best photos without caring about documenting the event, I will almost always chose a 50mm prime. From my experience, my photos simply turn out better with a 50mm than a 35mm or zoom, but I have to admit that a 35mm is considerably more versatile and a zoom even more so. When it comes to video, the argument becomes even more important.

Yeah, more like 5.2K. I’m using this function when I want to be able to crop or pan afterwards in post. Sadly it’s only limited to 30fps but nevertheless a useful feature.

Sadly, S5 is limited to 5K internal, this is the "6K" photo mode but the resolution is "only" 5184x3456 with no way to use things "like IBIS Boost". Only the S1 can do 6K and 5,9K internal.

It does only if you need: - external monitor - better, faster codec for editing - 4K 60p unlimited In terms of picture quality can't see any difference. Both internal 10bit 4:2:2 h264 and external 10bit 4:2:2 ProRes have the same dynamic range and colors. S5 can shoot 5.9K internal but with time limit and in 10bit 4:2:0 h265. This codec is difficult for editing, so I never use it. 4K is good enough for me. I had the Ninja and found the round trip from Final Cut to Resolve time consuming and cumbersome. So after Panasonic gave us BRAW external, sold the Ninja V and bought Blackmagic Video Assist 12g 5''. In BRAW color science is slightly different , Panasonic provides second color space conversion LUT additional to the one that does V-Log , V-Gamut -> Rec 709. Colors are slightly better, richer and you get the ability to set White Balance in post. For me 10bit internal recording is good enough most of the times. But have this maximalist kind of "Only the best is good enough" mentality. 😀 So I often use Video Assist and like it very much. First because I like having a bigger external monitor with cage and top handle. It makes my shots and camera movements smoother, better and easier. And second I like the extra flexibility in post (set white balance in post mostly). If I have to be nimble and don't want to draw too much attention, Blackmagic Video Assist stays in my bag and there is only a small cable hanging from the camera. Or simply shoot internally. If you have the Ninja V, just try if a small rig with Ninja V on top, or just the monitor on top is OK for you. And ideally rent Video Assist for a weekend if you can. I have found that trying equipment myself is critical and has no substitute. No amount of reviews or advice from colleagues can help me make a decision better, then trying it myself. We are different and have different needs. Found both Panasonic S1 and S5 second hand at a very good prices (around 1100 Euro per camera) So now have both and like them both 😀

Here's a couple of time lapses from the trip, both sunsets, one of Uluru and the other from ellery creek, big hole. Ellery creek is a permanent waterhole in the the northern territory and quite pretty, and in the middle of a heatwave one of the best places to be. Over 8000 k's in two weeks. The trip should have been longer, however we didn't allow for a heat wave, so early in spring or the prices of fuel in outback australia. I did shoot some footage of the devils marbles on the p4k, but have yet to look at it. The em-10 got a work out as well. I have yet to at the photos from it as well. The time lapses are from the gopro 9 , and there's a clip of us passing a road train. Probably not best cinematography ever, but it could make for a change, if your stuck in lock downs some where around the world.

I'll throw a matt granger video into the ring, but please don't hate me for it. 😳 I like to watch a few different vids to see if i can find a general consensus. i'll also throw a link in for uv filter comparison as well, just the summary page but it might be handy for someone. I thought these guys were pretty thorough all in all. https://www.lenstip.com/113.4-article-UV_filters_test_Description_of_the_results_and_summary.html

Well, I just found the solution to my problem. The Drop Frame (DF) option on GH5 must be activated to compensate for the delay of the HDMI connection. The point is that I used PAL system frequency and under this frequency the DF cannot be activated. So you just have to switch to Cinema or NTSC frequency system to unleash that option.

Some posts back I made the comment that people only share the images that look good, or situations that paint them in the best possible light. I got a little bit of that from those two videos. The first video was a guy standing next to a volleyball court on one side of the net and taking shots that are all within the width of a volleyball court. This is great, and if you're only ever going to be shooting full-height or mid-shots of people playing volleyball then that video shows it's all good. However, if you will ever: shoot something other than volleyball shoot something other than those compositions (full or mid shots) stand anywhere other than right next to the court Then the video doesn't really cover what happens then. You might find that this guy went out and shot 2000 images that were all terrible for a variety of reasons, but managed to scrape together a dozen or so nice images and then tell a story of success in order to make himself appear like a pro, get paid work, drive people to subscribe, or use his affiliate link (or whatever motivation he has). Sadly, these things happen and it pays to be skeptical. The other guy took some nice shots, but think of all the other compositions he could have taken. I don't know about your role in shooting, but there are two kinds of shooting situations. The first is where you shoot what you shoot and you get what you get and you enjoy that. The second is that you must capture what happens. I would imagine that if you're shooting sports in any systematic way, then each player will want a selection of shots of them doing cool things, and it's not acceptable to deliver spectacular shots of some players and crappy shots of other players, regardless of where they were standing. Nice shallow DOF looks great, but if it comes at the expense of the composition or coverage you get of the other players, or that great moment that happened, then it's too high a price to pay. Renting is a great way to get quick feedback, but don't rent the good ones. If you rent a 24-70/2.8 and 70-200/2.8, take them and use them, then you'll get great results but probably won't have learned anything. Only by actually shooting with limitations will you understand what impacts that limitation has, what options you have to overcome it, and if you can live with that. Every equipment purchase I have made has been based upon trying to go without, trying a lesser solution, trying a workaround, and only buying the expensive things when I tried to shoot real projects with lesser equipment.

@herein2020 raises an excellent point about shooting with a potential crop mode in your camera to gain a new focal length. Does the R6 have such a mode? In terms of the wide end, how experienced are you with using a 24mm prime? The reason I ask is that 24mm has a certain look that you would effectively be stuck with unless you changed to the 70-200 which is much much longer and huge and conspicuous. If you've filmed many different events with just a 24mm then you'll know what you're getting into and that's fine, but I'd be cautious about that. In my own personal work I use a 35mm equivalent lens as the default walk-around one on the camera, which combined with a 2X digital zoom feature (which doesn't lose resolution or quality) gives pretty good flexibility, and I don't have to change lenses much. However, I also carry a 15mm equivalent for landscapes/vistas/interiors, and an 85mm equivalent for portraits and details, which suits the travel work that I normally do. I'd suggest that keeping your options open on the wide end might be a good idea, for example leaving enough budget to add a 35mm or 50mm prime later on if you find that the 24mm is too wide. Certainly, I find it too wide for people shots because as soon as you want a shot tighter than a mid-shot and step forward to reframe then the width of the lens starts dominating the image. Have you filmed entire events on your phone? it's an easy way to trial having a single 24mm (or 28mm) prime. Considering the price difference between a 70-200/2.8 and 70-200/4 I'd suggest @SRV1981 confirms that the extra stop is required under the typical lighting. I'd make sure to include tests about raising the ISO and using noise-reduction in post too, which can have more of an impact than you'd think. This is actually a really significant point - cinema cameras are often very noisy, even at their base ISO, and professional colourists often have NR as their first node in the colour correction. It's regarded as normal and a base-level skill in post for professional cinema and TV, yet amateurs act like noise will escape from their images and kill their family, so seem to spend thousands of dollars buying cameras that can see in the dark and lenses that look like mechanical owls, and cart around huge cases of equipment in order to avoid the slightest noise which could be eliminated in post for free in 2 minutes. Dropping a stop on the zoom, would save a huge amount of money and free up more funds for more compact primes at the wider end. It's definitely worth confirming that you *really* need that 2.8 aperture.

I look at those images and I think: what on earth did this individual do with the export settings and what settings were used on both devices?