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I just wanted to share some footage I captured recently to demonstrate the quality one can get with a used Nikon Z6 and an Atomos Ninja Star. Oversampled 1080p, 10 bit prores, nice log curve with good color and solid DR, and a really good grading workflow in Davinci Resolve. A few shots were with the internal FLAT picture profile but the majority of the shots were in NLOG. This camera combo is really awesome for the price, and the Ninja Star keeps things light and compact! Also useable autofocus, full frame IQ, for pretty cheap!

There's a lot of opinions about how good YT is or isn't, but I'm not so sure. Here's a video from ARRI that is "only" uploaded in 1080p, but just looks fantastic... I own both the OG BMPCC and BMMCC cameras which are native 1080p sensors, and even shooting in RAW or Prores HQ and processing them in post, I still seriously struggle to get an image as detailed as the above, even though the above has been seriously compressed by YT. The BM 1080p cameras have a slightly softer pixel-to-pixel transition, simply because they're not 1080p 4:4:4, whereas downsampling cameras are all going to be 1080p 4:4:4, and YT has enough quality at 1080p to show these differences. With my GH5, the difference in resolution between the 4K mode that's downsampled from the 5K sensor and the 4K 1:1 mode is definitely noticeable, even though the 4K 1:1 is a very small crop and even if you adjust ISO, SS and aperture to create the cleanest and sharpest images possible.

Plot twist time... Not only was the footage oversampled 1080p and not 4k, but much of the 1080p source footage was stabilized in-post and thus scaled up further. Still looks solid on my end.

I picked up 3 of these when they were on sale for $175 last month and called it a day. https://www.bhphotovideo.com/c/product/1681499-REG/smallrig_3470_rc120d_cob_light_us.html I'm very happy with them. They came with the V-mount adapters free, too, though I've yet to use them.

Looks beautiful. Downsampled 4k to HD is hard to distinguish from HD imo. I'd recommend rendering in 4k to get that extra YouTube bitrate.

I am waiting on Adorama's brand CLAR to put something out in the 1000w range. I have found their lights to be excellent in durability and light quality wise.

Yes, the oversharpening is definitely showing with every kind of lens I tried. I really hope for a lower sharpening setting with a newer firmware update. Already talked to Panasonic about this issue. These slashcam charts really show how bad it is GH5 II GH6 The GH6 looks quite crispy despite the lens I'm using. Not great, especially with skin, hair, foliage etc.

OK, I just popped outside the back door and pointed the camera at a street light at night at base ISO 250 and DR Boost 2000 and there was no streaking visible in the viewfinder. Honestly, it's such a non-issue. Don't let it put you off. Like I said, I had totally forgotten about streaking until now, because I simply haven't seen it since the time I succesfully attempted to reproduce it.

My vote is for Cinemartin 🤪

Here's a handy little tip for, I guess, any V-Log shooters. If you use the default V709 monitoring lut using the V-Log View Assist function then you still get a relatively washed out image. Not only is the contrast level quite mild, but the black never becomes true black on the LCD or viewfinder. It makes it a bit harder to eyeball exposure as two stops under or two stops over still looks decent on the screen. I made a VLT file (link below) with much stronger contrast - around 7.5 stops, which is the average scene brightness range. If you stick this on your card and load it up in the menu and use it you will get true blacks. But it also makes it much easier to eyeball if you're slightly under or over as the contrast level is quite higher than the Panny default. https://drive.google.com/drive/folders/1qYrz5lq4CUgWkKgudGI24f2VWp3CdkCu?usp=share_link Note: it does make banding more visible as it's a low resolution LUT. That banding is "there" in the default View Assist LUT as well, it's just not as noticeable. But obviously it has no effect on the footage recorded.

Based on my limited experience with the camera I would say that in daylight you will probably not get streaking but that at night you might. I think that it arises when you have a clipped highlight area adjacent to a shadow area. A clipped area adjacent to a midtone area is probably (and I don't know 100% because I haven't done tests) not enough to show streaking. In daytime you're not really going to see so much of bright whites against dark blacks, but at night you certainly will. I haven't shot at night, only in daytime so far.

Nope, no streaking, but I do get flares, so I do try and find an optimal place to stand. Anyway, you should really test it, just rent the camera, if possible, as everyone has different needs and use cases. My ONLY problem with the GH6 is battery life, 4k 60p 4:2:2 runs for around 1:15 hours, when the battery starts flashing, and I still havent found a reliable way to power the camera on the go without using the usb-c port.

I definately agree. Sure there is a small difference, but it's quite small, and if anything that difference is more like in 4k you can see too many pores on the skin, with oversampled 1080p it looks almost the same but just enough softness to add a bit of organic mojo to the image.

I have found that to be true in the past. I've shot quite a number of resolution tests with the GH5 and have struggled to be able to tell which shots were which, even when I knew which were which, until I found a particular tiny detail in the frame that was the giveaway. If I wasn't pixel peeing then there's no way I'd be able to tell. I've also found that you can easily compensate for quite significant resolution differences by just adding some sharpening in post. The resolution purists are mostly just judging sharpness, not resolution.

Yeah, I may re-upload. I realize that. Except I deleted the RAW footage, I plan to upload another example and will upload in 4k, then will post it here.

I shoot in some challenging dynamic range scenes, hard light/sun backlit scenes in forests etc, and haven't encountered any streaking. I am sure I could make it appear if I wanted to, but on real life it is a non issue. I do expose correctly, if that is helpful.

From my perspective of growing up as a kid in the late 60s/early 70s in the UK, the whole thing bemuses me ! It is now a fairly big deal in the UK too - although it hasn't quite become as ingrained in our national culture as changing Prime Minister every few weeks has - but it certainly wasn't the case until relatively recently. Our halloween consisted of three elements, all of which consisted of some sort of fruit or vegetable and an element of borderline abuse. The first was what was referred to where we lived as duck apple but was called bobbing for apples in other parts of the country. This consisted of about a dozen or so apples being put in a bucket of water, having your hands tied behind your back and putting your head in the water to retrieve one with your mouth. Putting your head in the water is a euphemism for one of your brothers repeatedly pushing your head in and holding it down until you'd completed the mission. Fair play to them, the skill involved in holding someone's head down in the water until just prior to the point of drowning was quite an art. Hidden amongst the selection of apples were ones that had had a small incision made in them by my Dad to secrete a coin but the downside to this triumph was that if you managed to survive the drowning attempts to emerge with one of these prizes you then had to eat the apple to claim the coin. These weren't your fancy dan French Golden Delicious apples, though, as these were the tartest inedible cooking apples that a 1970s UK grocer could provide so it was very much a pyrrhic victory. The second element of the 1970s halloween in our house, retained the cooking apples and the hands tied behind the back aspect but added a new one in the form of a blindfold. You were placed in a chair, bound and blindfolded, and you had to try and catch in your teeth whatever was swung past you on a piece of string and weren't allowed to leave the chair until you'd caught something. The "somethings" on offer were one of the leftover apples from the previous fun and games and a bar of soap. It was considered against the spirit of the game to not take a fulsome bite attempt at whatever wafted past so half hearted attempts were strongly discouraged using the clip around the back of the head school of correction. In an act of unexpected generosity, all of the leftover apples were loaded with a coin this time but the same rules applied regarding eating it whereas with the soap you were at least allowed to get away with just the initial bite. Either way, you weren't going to get away unscathed in the disgusting taste department. We may have grown up on the shores of Liverpool Bay but with the blindfolds, hand bindings and forced water immersion techniques our house was very much more Guantanamo Bay at halloween in those days. The final element is the one which most closely resembles the modern version of halloween in the UK, namely the carved lantern. Now, I'm reliably informed that pumpkins were introduced into the UK in the 16th century but let me assure you that in our local shops in the 1970s you'd have been as likely to come across pheasant or quinoa as you were to encounter a pumpkin so our lantern base of choice was the turnip. Due to its density, trying to hollow out a raw turnip and carve a face into it is something that should realistically only be attempted with the aid of power tools. The potential dangers offered by us using the one sharp knife we owned and its main role (carving the Sunday roast) being a protected occupation meant that we had to make do with regular table knives and a spoon. The process could be measured in days rather than hours which, combined with the rudimentary tools on offer, would inevitably lead to the adoption of the "fuck it, that will have to do" approach to fit and finish that is evident in this typical effort from the period. As for interior illumination of the lantern, again, if tealight candles were available in the UK at that time they certainly weren't available in our local shops so it was the workmanlike though more inherently dangerous standard candle that had to be put in them. As these never fit properly into whatever mounting hole that could be fashioned with a spoon, they would inevitably fall over and the smell of burning turnip was a constant in the atmosphere of the UK for the last week of October. Or every Sunday with my mother's propensity to burn the Sunday dinner. The nadir of the grim lantern years was 1973 when we didn't even have the candles as there was a shortage of them as people prepared for the power cuts of the impending three day week where frivolity of using candles for turnip illumination gave way to having to use them for illuminating offices as seen here. As regards, scary halloween movies, we didn't have any that come to mind but, truth be told, we were pretty much living in one anyway! Things are very different now and it does appear to be on its way to being on a par with what happens in the US but for my era it was completely overshadowed by Bonfire Night a few days later. Bonfire Night in the 70s took the danger levels of halloween to another level but as it was in honour of chaotic and ultimately doomed plots at the Palace of Westminster then it was actually very much on brand for the modern day life in the UK.

They also mentioned ages ago, 35 weeks ago, on instagram: "What if we ported the OCTOPUSCAMERA system software to a Raspberry Pi Compute Module 4? Well, you might get a 12-bit 4K RAW cine camera that costs under €150 and fits in your pocket! A little companion project we're investigating while other things are brewing 😉" https://www.instagram.com/p/CaaLmwyKNhO/

Funny we were just discussing Octopus above; they just made this announcement: Following lots of feedback, we have decided to consolidate our camera development work so far into a new camera product better poised for ultra-low-budget filmmaking — an underserved area. Internal RAW. 5K+ resolution. True pocket-size. Under 700€. We will make an official announcement of the product in the new year. The current high-end 8K model is still in development for bespoke client camera requirements.

The test videos from the still-unreleased Octopus Cinema Camera looked very natural and organic to me. Who knows if it'll ever materialize though.

Maybe the AJA Cion? (or the Blackmagic equivalents) So long as you light it carefully.

It really depends what people define the "film look" to be. The OG pocket gets close, but the Jello ain't it. The HPX and HVX will probably become more popular as the years go on. Especially for things like mixed medium etc. It has deep depth of field, but it has the caked on color look due to the CCD sensor. There's also nice look noise and really nice baked in looks. You can also just shoot film... There's more resources than there have been in the last 10 years. You can have processing and scans turned around in a few days.

Global shutter and the motion cadence were very nice on it. I don't expect to nail the look identically just see what gets closest to it. Because the big full frame, high resolution, noiseless, super-duper £6k stuff of today is miles off from that look, at least out of the box