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Seems to do quite a lot doesn't it ? Good to see ProRes internal. Fuјіfіlm Х-Н2Ѕ Dіgіtаl Саmеrа Воdу Кеу Fеаturеѕ: А bасk-іllumіnаtеd 26.1МР Х-Тrаnѕ 5 ѕtасkеd іmаgіng ѕеnѕоr Nехt-lеvеl реrfоrmаnсе frоm Lіghtnіng-fаѕt Х-Рrосеѕѕоr 5 Ехраndеd lоw lіght сараbіlіtіеѕ аnd uр tо 14-ѕtорѕ оf dуnаmіс rаngе 3.0-іnсh, 1.62 mіllіоn dоt vаrі-аnglе tоuсh Ѕсrееn LСD mоnіtоr 5.76 mіllіоn dоt rеѕоlutіоn еlесtrоnіс vіеwfіndеr Uр tо 40 frаmеѕ реr ѕесоnd uѕіng thе еlесtrоnіс ѕhuttеr Uр tо 15 frаmеѕ реr ѕесоnd uѕіng thе mесhаnісаl ѕhuttеr 4К/120Р, 6.2К/30Р аnd НD/240Р vіdео rесоrdіng fоrmаtѕ Rесоrdѕ Аррlе РrоRеѕНQ іntеrnаllу іn 10-bіt аt 4:2:2 Nеwlу dеvеlореd Flоg2 еnсоdіng fоr grеаtеr dуnаmіс rаngе Uр tо 7 ѕtорѕ оf Іntеrnаl Воdу Іmаgе Ѕtаbіlіѕаtіоn (ІВІЅ) Оffеrѕ ехtеrnаl rесоrdіng оf РrоRеѕ Rаw аnd Вlасkmаgіс Rаw Ѕubјесt dеtесtіоn wіth dеер lеаrnіng АІ аdарtіvе аutоfосuѕ Іdеntіfіеѕ аnd trасkѕ саrѕ, рlаnеѕ, trаіnѕ, bіrdѕ, hоrѕеѕ аnd mоrе Соnѕіѕtеnt АF реrfоrmаnсе thаt wоrkѕ іn lіght lеvеlѕ аѕ lоw аѕ -7ЕV

Here is a pretty nice deep dive from an actual pro Fuji shooter. 6K Open gate + Sirui anamorphic test included:

More impressive than the camera (which looks great) is that XF18-120mm. Parfocal, minimal breathing, weather-sealed, and a power zoom built into the lens! Fantastic. Lenses make or break a system and Fuji just laid down the gauntlet to other manufacturers. Sony and Canon have some impressive cine options, but no lenses that are equally at home in photo and video mode. This XF18-120mm is a new breed. Panasonic have some incredible lenses in both m43 and L mount, but I sure do wish the Lumix division would work with their video division and turn some of their beautiful stills glass into cine versions.

One more thing, if you can live with inferior AF, the S5 I think is a better video tool. Having internal 10 bit is mighty convenient. Better IBIS, V-log DR is probably more than N-Log, you get 4k 60p, etc. But the Z6 plus an external recorder is the cheapest full frame 10 bit camera with useable autofocus. Can’t think of anything cheaper. Keep in mind Canon R6 and A7iv used prices are barely a deal over the cameras new anyways.

Well it’s 2022 now, and seems like I’m the only person using this camera for video. Everyone likes to use a Sony a7sIII or a Canon R5C. The Z6 provides an interesting feature set for those who cannot afford a more expensive option. At an affordable price it has what I call the “triple Goldilocks” featureset. That is, this camera is full frame, has 10 bit 4k, and has very respectable phase-detect autofocus. This camera desperately needs an external recorder. Without one the camera seems pointless for video. You lose both 10 bit and log, a big smack in the face. The internal files lack dynamic range. I’ve gotten decent results with the neutral picture profile and the contrast dialed down a tad, but lighting needs to be optimal. Highlight rolloff is terrible and I’d honestly prefer Sony A7iii 8 bit because we at least have somewhat useable log. However, if you do hook up an external recorder, you are in for a treat. You get full frame 10 bit 4k. You get a really nice log profile with solid DR, great highlight retention, and a gentle rolloff. You can pick up a Ninja V plus a used Z6 body for sub $2000. This puts you in similar territory to the S5, but you get better autofocus that I think is very useable with the right lenses. N-log grades quite well in post. It responds well to overexposure. For interview shots I put middle gray at 50 IRE instead of the recommended 35 IRE. For run and gun I just look at my scopes and make sure the image is overexposed by a good amount without clipping. For grading, Nikon’s 3D LUT is horrendous. It’s better than nothing, but it seems to ruin the solid highlight rolloff of N-log. You also get a purple tint thrown in for free. It is much better to use the color space transfer in Davinci Resolve. This gets you clean, accurate color. If you overexpose the shot, a great way to bring things back is to use Resolve’s HDR panel by setting it’s color space and gamma to rec2020/N-log. Then use the “global” slider to bring your exposure down. You don’t have to use any other HDR wheels, just adjust your exposure here. Then go back to your primaries in a new node, and grade as normal. Voila! There is a hidden feature of this camera. With an external recorder you can get beautiful over sampled 1080p. By default the 1080 is pixel binning trash. Looks like an EOS R. But set your record setting to 4k, and then in the HDMI settings select 1080p. Now it’s downsampling the full sensor readout further, to output a 1080 signal. This works with the Ninja V, giving you easier times in post and 1/4 file size. It also opens the option to use the lovely Atomos Ninja Star. I just bought that thing. Paired with the oversampled 1080 hack, this is a killer combo. You still get the full frame 10 bit log, good autofocus, and detailed image. But now you have a tiny external recorder that sips through battery and adds little weight to the camera. The camera feels more compact and is much lighter. For me I’m happy with a clean 1080p image, and slo mo is rare for my work. As such, this setup works well…if you can manage to find a ninja star. I could fit a whole day shooting onto a 256GB CFast card, no problem. I use the ninja star most often. When I need 4k or slow motion, I switch to the Ninja V. The camera landscape has changed since I got it. When I bought the camera, if I wanted the aforementioned features and internal 10 bit, I would have been forced to pick up the overheating Canon R6, which was out of my price range. I could have sacrificed autofocus and gotten the Panasonic S5. That camera is better in every way, except for the autofocus and it’s micro hdmi. The Z6 has a somewhat better mini HDMI. I could have also sacrificed sensor size to get a Fuji XT4. That honestly would have been a good option, I sometimes wish I went that route. Nowadays, if you can afford a Canon R6 or A7iv (and can get decent glass and lighting equipment so your stuff doesn’t look crappy) I would get it over the Z6. I’m not a fan of being tied to an external recorder, and the Ninja V adds too much weight for me. However, if you can’t seem to afford a R6 or an A7iv, and you want one of the best full frame images WITH GOOD AUTOFOCUS, a used Z6 and an external recorder is worth considering.

Kinda late to this but its a subject I can definitely relate to and comment on. Clients are more and more educated/savyy about gear. Not only do they know most mirrorless models, they even know about lenses, audio, rigs, gimbals etc. Especially the younger ones, i.e. juniors, interns, assistants in their 20s/30s. I think it's mostly thanks to Youtube. Not always a bad thing, especially if you've got nice gear. Nice glass often gets the most respect, justifiably so. So I won't front, we do tend to overdo it a bit, especially with new clients: cine cams, big lenses, cages, rigs, gimbals, lights, tripods in fancy pelican cases. It's part of the show, even if sometimes less than half actually gets used. It can sometimes backfire though, because more equipment means more setup time etc. And clients aren't stupid, if all that gear isn't backed up with adequate footage, or you're inconsistent with what you're bringing, they'll see right through you and you're just an overpaid clown eating up their time. I've never actually experienced that but it's always on my mind. There are so many more elements to get right on a paid shoot. More gear also means more things to manage and higher risks/mistakes. I've done some dumb shit by overdoing it. Sometimes less is more. I won't hesitate to go monopod, handheld over tripod or gimbal, or even whip out an action cam if timing, shot or location constraints demand it. Same thing with bringing a ton of people on set of a bigger budget crew type project. Rookie mistake. More people, more problems. Keep it down to the essential. In the end only, only respecting the time frame + footage results really matters. Show some creativity and confidence with your shots, composition, direction, decision-making, time management and human skills and even the toughest client will respect you no matter the gear..

OK lets talk about this. First of all like I've said: AF isn't magic. There is skill involved in using an AF system, no matter what kind. Especially with challenging scenes, subjects and fast glass. AF is there to help but you should always be in control of it. DPAF absolutely allows you to choose who's in focus, that's absolutely crucial and the whole beauty of it. The most common method is simply to move your AF box with either joystick or touch & drag gestures or just tap to focus on your subject and it will not only lock but track. R3 can even do Eye-AF selection right inside the EVF (a tech developed on EOS 7 DSLR). Point being that you have total control on who it focuses on. That's absolutely essential and always the job of a solo operator. You can also do rack pulls or even allow DPAF to guide you using rack focus tools to manually pull in between subjects. Here is a break down on the old DPAF: There are a bunch of settings and tricks to make it even more effective. And DPAF2 brings faster, better settings. It isn't at all limited to talking head content either, its actually most practical when R&G handheld or on gimbals doing dolly shots. Not limited to pro usage neither, use it for travel, family, hobbies, whatever. Most challenging things to track is action/sports, animals & kids. There are AF tracking modes for each. Now it isn't fail proof but if you know what you're doing, your hit rate and motion shot creativeness will improve tenfold over unreliable contrast AF. That said never go full retard and let the camera on Af autopilot. I always have one finger on disable Af and the other hand on the focus ring when using AF on a paid job. It rarely disappoints though and is so much less stressful than punching in to check focus every time your subject moves or coming home with those unexpected OOF shots. Like anything, your mileage may vary and I have tremendous respect for manual focus which will always be what I prefer when conditions allow it. DPAF can be almost too perfect, the MF Guide mode is brilliant for that though, especially as it works on manual-only cine glass.

Nikon Z6 plus an Atomos ninja star, along with the right HDMI settings, gives oversampled 1080p 24 or 30p, full frame 10 bit with a nice log curve and tons of DR. That should be a 1080p contender.

Well from all the later posts on this thread it looks like just a simple task of shooting a 20 second clip of your dog ends up with footage looking like your cat instead. 😬

It is an odd world we live in. Originally cameras were made a certain way to serve a purpose. It's definitely got to a point where you question the necessity of much of what you see in the video world today.

Dunno what's a game changer, but almost 15 years ago the SI2k Mini was winning people Academy awards for cinematography. Incidentally, the SI2k is a camera that's relevant in this thread for other reasons. 🙂

1/180s, so around 5.8ms! Wow! @Django Thanks for posting! Some interesting infos. Despite that zapping through the video give me the impression of a sales video, lotta stuff about the cam in the video. Bob De Niro might wonder, if the guy is selling cars, but who cares.:)

1/180s 12bit readout speed (Film sim, F-log, F-log2 >30fps) 1/94s 14bit readout speed (F-log2 <30fps) It's the first cosumer camera to use 14bit readout for video, however the DR improvement is very little based on Gerald Undone's test (less than 0.5 stops improvement).

Some tasty treats. Young kids behind the cameras. Oly OM1 video remake made better.:) Tons of detail and equipped with what appears to be a fast readout. I like the colour palette and subtle tones. Shadow fall off looks a bit less impressive than the rest of the images attributes. Postwork will have plenty to play with. Impressive.

Maybe a hint of what's coming: S1CK A.F. https://www.l-rumors.com/lumix-ambassador-makes-another-easter-egg-teases-the-launch-of-a-new-camera-with-sick-af/ If Panasonic wants to survive in photo/video mirrorless camera world, good tracking auto-focus is a must. Having in mind that inside Leica SL-2 and SL-2S is most likely the same Panasonic processor that is in S5/S1/S1R/S1H, IBIS and so on, it is more than just Panasonic survival but Leica's also. Announcement makes sense. Happy with my Panasonic S5 and S1 but it's good to know that L mount and system has a future. It would be great if Blackmagic joins the alliance. Blackmagic need a mirrorless mount covering FF for their next gen cameras.

Almost want to get a Ninja V just to see how crazy this is!

Probably means Panasonic is going to start making Rangefinder cameras and give up on the rest of it, they seem incapable of making a camera with AF. Joking, but it seems logical.

The FAN-001 calling accessory is an interesting idea. Acknowledging that under very hot conditions and long recording times, there will be issues. But also being ready with a solution for the user! An easy to integrate fan. Seems like a somewhat smarter idea than building it into the camera itself? As stills photographers don't want that! Neither do the 99% of us who don't shoot for hours and hours in the Sarah Desert. But they have this slick looking "fix" for those who do care about this. Even has internal ProRes like a Blackmagic!

Well there is our GH6 killer!!

I use Premiere. And I feel outdated 🤪

It would be interesting to see a side by side comparison between the FP-L and the S5…and I could have done that with my loaner last year, but didn’t. Playing around, I felt it was about comparable, ie, the S5 when fine-tuned is reasonably decent whereas the FP-L, at least on original firmware (and I don’t know if there have been tweaks since?) wasn’t as good as my old XT3.

Will check that once I am back from the office. If this is turns out to be true, the solution might be as simple as adding that V-log to Rec709 LUT on the Ninja V…

It is really hard to say, but the display might be V-log since 0% black is at IRE 7.3 and 90% white is at 61 IRE. The rest of the range above that is highlight information, probably up to 85-90 IRE in V-log depending on the sensor. Middle grey is at 42 IRE which is convenient because this is pretty much the same as what you would expect with a Rec709 LUT. So it's possible Atomos just made the decision to use V-log to display Sigma raw since there's no Sigma log, which would mean that the V-log metadata tag it adds is not superfluous. One way to check would be to add the standard V-log to Rec709 LUT on the Atomos and see if it matches V-log to Rec709 in FCPX, assuming that you first interpret the linear raw files as V-log as well. https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/support/pdf/VARICAM_V-Log_V-Gamut.pdf

I personally think it's possible to use the v4 firmware false color feature on the camera, but I don't have it yet to verify that. I've just been playing around with test footage.

Yeah, that was kinda my joke. The Nikon D2H for instance came out years before the RED ONE, and the Nikon D2H had voice memo feature. https://en.wikipedia.org/wiki/Nikon_D2H

Thank you. Highly appreciated! Will take a look on this later. Maybe the fault is the not so great color management in FCPX. Possibly it would be way easier with Davinci Resolve taking BRAW as base. Do not have such a recording device at hand for testing though. The native mode is quite similar to something I would expect the V-log to look like. However both black and white points are weird. Black at about 10 IRE and white about 65 IRE. Should they not be at the full scale, so 0-100? The middle grey though is at its correct position for the respective ISO setting as far as I can tell.

Easy enough to find a Nikon Z6 for sub $1K: https://www.ebay.com/sch/i.html?_from=R40&_nkw=nikon+z6&_sacat=0&_sop=15 But yeah, if only they did a firmware update for 10bit internal then the Z6 might be untouchable for its price!

Pro trip, if you are fucking good enough you hardly ever have time for new clients, and even if one leaves plenty standing by to have you. If you can't get to that point in a few years find a different way to make a buck. You sleep a lot better when you are good at something. You can charge more and not have to kiss ass to get it. I suggest changing professions every once in a while anyway. Life gets boring as shit doing the same stuff over and over. Not really a challenge after awhile either.

I must admit that I haven't kept up with your discussions on this, but I got the impression that you can't use the False Colour mode on the FP to accurately monitor things across all the ISOs - is that correct? The way I would use this camera would be either manually exposing or using it in auto-ISO and using exposure compensation, but I would be using the false-colours in either mode to tell me what was clipped and where the middle was. I'd be happy to adjust levels shot-by-shot in post (unlike professional workflows when working with a team) and know how to do that in Resolve, so I'd be comfortable raising or lowering the exposure based on what was clipping and what I wanted to retain in post. If the false-colour doesn't tell me those things then it would sort of defeat its entire purpose..

I looked up online at the raw to log conversion options available in FCPX in the Info Inspector, and I can see that you can transform to Panasonic V-log/Vgamut which is coincidentally the same default log curve added by the Ninja V to the FP file metadata. This is similar to Arri LogC, but I created a LUT that transforms from V-log/Vgamut to LogC/AWG (attached) as a next step so that it's more accurate. It is just a slight shift. Then you can later apply the FCPX built-in Arri to Rec709 LUT, or download the LUT from Arri, or use any LUT that expects LogC/AWG as an input, which is many of them. So it's convenient and helps quickly wrangle the raw footage with predictable results. This is kind of a workaround for a lack of a managed color workflow in FCPX. You want to break apart the linear to log then log to display transform into separate operations, rather than apply them in the same operation on import in the "Info Inspector", so that you can grade in-between. https://www.dropbox.com/s/43qwzizvbid79c1/vlog_vgamut_to_logC_AWG.cube?dl=0

You don't need to convince yourself because it's true. I already posted a wedge test in an ACES project where I did the same thing with the Sigma FP footage posted. I equalized the input image just by doing exposure shifts in linear space and the result is the same image with different clipping points and levels of sensor noise. Which is why shifting the range towards highlight capture will give Arri-like, or really, film-like rolloff at the expense of more noise obviously. And it's important to know that it's not the Arri Rec709 LUT in itself that is the Mojo. That LUT expects the LogC/AWG input. Using ACES gives the same kind of result too with the basic display transform. Both can prove as a starting point and then other kinds of look modification can be added. And then obviously people like Steve Yedlin are doing an accurate film print emulation instead, and have their own managed workflow that is not specifically ACES, but it's the same idea. It depends on the show and the people involved.

That LUT is a default example of how well the rolloff can be utilised. Re: ML Raw, yes it's really the same workflow as with any raw footage. At some point, the raw footage needs to be transformed to log to apply a film print style LUT. In ACES that transform is built into the reference rendering transform/output device transform. If doing it manually, it's the process of transforming to, for example, LogC then to Rec709. Those are the two basic, most common examples.

The thing never discussed in these debates is "who". Who should it focus on? Very early on in the AF game you could program your camera with photos of your family and then it would look for those faces specifically and focus on them, not whatever face happened to be most convenient at the time. I've never heard features like this mentioned in these debates. Sure, AF from Canon / Sony are phase detect, which means that it can focus on the object it chooses for you. Sure, AF from Canon / Sony are face / eye detect, which means that it can focus on the face or eye it chooses for you. I've used some of the worst AF systems ever made and had many many shots ruined by them. As often as not, they were ruined because it focussed on the wrong thing or wrong person. AF is great if you're trying to keep a talking head in-focus on 100mm at F1.2, so I guess it's good enough for professional videographers, but as someone who shoots home and travel content, it's no-where near sophisticated enough for my needs.

Same. You gotta get that camera rigged up to shoot something with! If I could find one for the right price, I'd buy it in a heartbeat. It goes against my compact, run and gun preferences, but the IQ is undeniable. I regularly look at the video with the classical music and beautiful red headed woman. It's one of the nicest images I've seen on an accessible camera.

It's all good, we're all entitled our perspectives & opinions. And perhaps indeed splitting hairs. Panasonic is not for me for various key reasons but I respect the company & its users. I'm not attacking them, its pretty much factual that their AF system is lagging behind competition. They excel in other domains though like DGO sensor & ProRes in GH6 which is fantastic. Now wether or not AF is important is definitely subjective. I try and not use it as a crutch, it's not magic neither. It's actually always off by default and I dedicate an on/off toggle button. I have a whole DPAF technique I've developed. Its really more of a safety net for challenging situations. I'm actually not much in favour of the "dumbing-down" of skill brought by tech. fortunately I learned a few things the "hard way" i.e. pre-digital. And I still keep myself in check by doing full manual shoots and 35mm film photography whenever possible. I love shooting shoulder mount on the FS7, I love that real ENG look over super steady floating gimbal look for example. But I'm not fighting tech either. Its all about finding that right balance that works for you.

I am talking my specific market in Detroit, where RED seems to be universally hated unless you shoot hip hop videos. I do recall it being used on the Matrix 4. Probably due to the extremely small size of the komodo compared to anything else on the market and maybe the global shutter. Matrix 4 is one of the worst looking movies I have ever seen recently, though I wouldn't say its due to RED.

I mean, it's not nothing - clearly they get used, but this doesn't really represent the top flight of Hollywood releases...

Well it’s 2022 now, and seems like I’m the only person using this camera for video. Everyone likes to use a Sony a7sIII or a Canon R5C. The Z6 provides an interesting feature set for those who cannot afford a more expensive option. At an affordable price it has what I call the “triple Goldilocks” featureset. That is, this camera is full frame, has 10 bit 4k, and has very respectable phase-detect autofocus. This camera desperately needs an external recorder. Without one the camera seems pointless for video. You lose both 10 bit and log, a big smack in the face. The internal files lack dynamic range. I’ve gotten decent results with the neutral picture profile and the contrast dialed down a tad, but lighting needs to be optimal. Highlight rolloff is terrible and I’d honestly prefer Sony A7iii 8 bit because we at least have somewhat useable log. However, if you do hook up an external recorder, you are in for a treat. You get full frame 10 bit 4k. You get a really nice log profile with solid DR, great highlight retention, and a gentle rolloff. You can pick up a Ninja V plus a used Z6 body for sub $2000. This puts you in similar territory to the S5, but you get better autofocus that I think is very useable with the right lenses. N-log grades quite well in post. It responds well to overexposure. For interview shots I put middle gray at 50 IRE instead of the recommended 35 IRE. For run and gun I just look at my scopes and make sure the image is overexposed by a good amount without clipping. For grading, Nikon’s 3D LUT is horrendous. It’s better than nothing, but it seems to ruin the solid highlight rolloff of N-log. You also get a purple tint thrown in for free. It is much better to use the color space transfer in Davinci Resolve. This gets you clean, accurate color. If you overexpose the shot, a great way to bring things back is to use Resolve’s HDR panel by setting it’s color space and gamma to rec2020/N-log. Then use the “global” slider to bring your exposure down. You don’t have to use any other HDR wheels, just adjust your exposure here. Then go back to your primaries in a new node, and grade as normal. Voila! There is a hidden feature of this camera. With an external recorder you can get beautiful over sampled 1080p. By default the 1080 is pixel binning trash. Looks like an EOS R. But set your record setting to 4k, and then in the HDMI settings select 1080p. Now it’s downsampling the full sensor readout further, to output a 1080 signal. This works with the Ninja V, giving you easier times in post and 1/4 file size. It also opens the option to use the lovely Atomos Ninja Star. I just bought that thing. Paired with the oversampled 1080 hack, this is a killer combo. You still get the full frame 10 bit log, good autofocus, and detailed image. But now you have a tiny external recorder that sips through battery and adds little weight to the camera. The camera feels more compact and is much lighter. For me I’m happy with a clean 1080p image, and slo mo is rare for my work. As such, this setup works well…if you can manage to find a ninja star. I could fit a whole day shooting onto a 256GB CFast card, no problem. I use the ninja star most often. When I need 4k or slow motion, I switch to the Ninja V. The camera landscape has changed since I got it. When I bought the camera, if I wanted the aforementioned features and internal 10 bit, I would have been forced to pick up the overheating Canon R6, which was out of my price range. I could have sacrificed autofocus and gotten the Panasonic S5. That camera is better in every way, except for the autofocus and it’s micro hdmi. The Z6 has a somewhat better mini HDMI. I could have also sacrificed sensor size to get a Fuji XT4. That honestly would have been a good option, I sometimes wish I went that route. Nowadays, if you can afford a Canon R6 or A7iv (and can get decent glass and lighting equipment so your stuff doesn’t look crappy) I would get it over the Z6. I’m not a fan of being tied to an external recorder, and the Ninja V adds too much weight for me. However, if you can’t seem to afford a R6 or an A7iv, and you want one of the best full frame images WITH GOOD AUTOFOCUS, a used Z6 and an external recorder is worth considering.

Along with ensuring you maximize the capture in the first place, ie, not hanging it all on fixing in post. But otherwise yes, pretty much all cameras for some time have the potential in this regard and the choices really come down to; badge, ergos, build, size, weight, price and yes, some elements of the spec, but otherwise…

Unfortunately, looking professional does matter to some clients. They have to look for something to justify hiring an "expensive" videographer. But I also believe it is more important to have a camera set up that works for you. Rigging up the camera to impress at the cost of usability is stupid, IMO. I don't really have this problem because I usually bring my FS7, but I've seen people rig up their mirrorless camera to a point where it is absurdly big and heavy to use properly. The client may be impressed by his look. I highly doubted the client will be impressed by the video he made though.

With bonus audio! For err... note taking

24 times per second?

The great innovation is "using common image compression algorithms before debayering"?, the world should worship RED forever.

My favorite doc I’ve ever made was on handheld LUMIX cams without stabilization.

I’m in agreement with anybody who agrees that you shouldn’t do anything or use anything just because it’s the latest thing to do. In fact, quite recently I had a word with myself to ignore even more what others are doing or what I am ‘supposed’ to be doing. I’ve tried the gimbal 3 times now and it’s just not for me. I’ve tried the action cam 4 times and again, no. I am done with that completely now. Even shooting log. Nope, it’s not for me. I won’t say never on that one and still may shoot my season finale on it, but to date, I have not found a single valid reason why I would need to do so. Certain cameras, particular lenses and current conventional ‘wisdom’ how to do (or not do) things… I’ll look or listen and then make my own mind up. And increasingly so. Most of it is just noise and distraction. Camcorders probably are unsexy these days, but if it does the job and perhaps even a better job, then why wouldn’t you? The bottom line is these are just tools and the artist is the person behind them.

After a little more into the menu, one correction and more observations: - You can actually lock exposure properly, other than stated above. This one is set in the video tab of the menu (not in the general function buttons setting) - in the video tab you'll find a separate menu with the option to assign a few functions to some buttons. - In stills mode, there a several options for auto exposure: matrix (whole area), center weighted, spot and highlight weighted. In video mode, however, you are limited to: matrix, center weighted and highlight weighted, means, that there is no way to measure an specific area other than than the center. - You can attach an usb-cable to the camera and to the computer, and it is possible to drag files from the camera with it. The camera is not a proper USB drive on Nikon cameras, which means you can't put files on the camera card directly. This means, you'll definitely need an (cfexpress) card reader (which costs around another 60€) in order to update the camera with a new firmware. - You can charge the battery while it's inside the camera with the help of the usb-cable. But you'll need a really powerful usb charger for that (5V, 15W). My Ipad charger didnt work, for instance.

Nikon is amazing if you do both photos and video. Beautiful image and great handling. If you're only interested in video there are better options, unless you don't mind using external recorder.

I think the panasonic s5 is the best price/quality hybrid atm.