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Nikon recently released a new universal N-Log technical LUT for all their cameras, which replaces Nikon's original camera-specific LUTs. The original LUTs handled highlights particularly poorly. In fact they didn't really handle them at all - they inexplicably clipped all N-Log values above ~68% to white. Here is my analysis of the new LUT. First here are the tone/gamma curves for both the original vs new LUTs, which I calculated by converting both 3D LUTs to 1D and graphing the resulting curves. Notice how the original LUT clips all highlights above 68% to white, whereas the new LUT has a nice, smooth roll-off. Here is a visual comparison showing the original vs new LUT in action. This is a high DR N-RAW capture from a Z6 III, with the original vs new LUT compared, along with a comparison to the same scene using Davinci Resolve's CST with tone mapping. For reference, here is how Nikon describes the new LUT in the comments at the top of the LUT file: # Development Color Space = REC709 # Output Gamma Curve = BT1886 # Output Tonemap = MEDIUM_CONTRAST # Highlight Rolloff = Rolloff 2 - medium

There are a lot of people talking about it online that didn’t get it for free. Obviously there was the first wave of influencers that got it early but after people started buying it and posting. I’ve seen 5 or 6 YouTubers that review stuff from their own purchases or rentals. As someone who shoots 75% video and 25% stills or so, the S9 is a perfectly fine camera. It now can be picked up new open box for around $1,100 sometimes with a lens. Mini 6k open gate anamorphic footage with amazing IBIS is a deal for that price.

I agree with @SRV1981. Totally fair for Andrew to decide what is or isn't posted in his forum by deleting content or adding editor's notes, but I don't think it's good practice to change what a user wrote. @SRV1981 did not post the content that it looks like he posted and I think users should have the right to not be misrepresented as saying something they didnt, even if they don't pay hosting fees. I don't pay hosting fees on Facebook either. And I know in this case it's not life or death. I'm just saying I would be annoyed if my username was labeled as the author of something I didn't write or post.

Same here, but not impossible. Here in this forum nobody talks about the ZV-E10 I and II, and probably is the most sold Sony camera, in number of units. In a "creator" group that I was some time ago, the ZV-E10 was the camera from about 80% of the users. And the ones that started to make money, updated to the FX30 or FX3.

It's actually the Cr and Cb channels of the YCbCr stream that are heavily compressed, and RGB is constructed from those. I was quite surprised when I checked the chroma details on my S5IIx. It's as bad as Fuji's. It was really clean with the initial firmware, but some of the updates "fixed" it. So I'd do some tests before jumping to Panasonic, if chroma detail is important to you.

After thinking a lot about it, I do think the S5 (original) is where it's at in terms of value. I'd rather deal with manual focus than tripods and gimbals.

But then I read about the overheating issues, in cases shutting off after 10min of filming. I think a few people here have a XS20. So maybe they can chim in. Our friend and Eoshd contributor has reported in depth about the lacking chroma detail in the red channel. @Attila Bakos A used Lumix S5 looks more attractive to me, though bigger, but small for what it does, which is great image quality due to its exellent digital pipeline, reliable performance without overheating, 10bit 4k60 apsc, FF open gate, great size and ergo over all. Ibis on the Fuji has been reported as lacking compared to Panny.

I've given the topic a proper title which may help.

180g and 190 euros. Ouch. Add a tripod and gimbal and you have what the S5ii has integrated into its body, minus the FF sensor and EVF. More and more I'm thinking that the X-M5 is a camera you just take it as it is or you upgrade, but don't get accessories because your final kit will twice the size of the camera with those features integrated, notably the S5ii.

The Fujfilm X-M5 is compatible with Fujifilm's Cooling Fan FAN-001 https://www.bhphotovideo.com/c/product/1708267-REG/fujifilm_16757344_x_h_fan.html I wonder if that, or a similar third party product, would make it reliable vs overheating.

In that case, I'll replace the video with something with more value to the DJI discussion 🙂

Yeah, as per usual, he's serving up more half baked nonsense.

Its funny that rage against the AI killed them, not the AI itself.

It is fun fun fun times, both my main career (filmmaking) and my backup / previous career (i.e. the CS/IT world) are going through very rough patches right now. Want to go back to how it was a couple of years ago when I could be working 100hr weeks if I wished (& I did!).

I posted about this over a week ago! 🤣 😂 😆 As the specs got leaked a while ago. But posted not to here, rather to a subreddit specifically for production sound: https://www.reddit.com/r/ProductionSound/comments/1fl0rn9/new_tascam_frav2_is_coming_a_zoom_f3_killer/ I agree with the first post from @BTM_Pix, the fact that this is able to treat TC normally (rather than the hacked up weird way TC is done with the Zoom F3, although yes, the Zoom F3 is technically "timecode capable") means the Tascam is a better idea than the Zoom F3. (although I suspect the small $100 difference in RRP means that the average buyer who doesn't even know about will end up choosing the F3 instead 😕 However I suspect within 18 months we'll see the Tascam street price getting closer to the F3's RRP) So true that many "Boom Ops" lack the necessary skills at the indie level. (in a way this is due to the extremely low value placed on the Sound Dept. Where they think the entire department could be done by just one person. And if we do get a 1st AS that it is basically a glorified PA position, not that their skill level has to be at the same level as a 1st AC or Gaffer. Honestly even getting two people who can each properly boom one person at a time is often a tall ask. That they will get it in close enough, and on axis, and with no shadows, and with no reflections, and do all of this while this one person is moving. On an indie no / low budget shoot I feel lucky if I get even one Boom Op who is competent at all of that. If they can lav people up too, then I've hit gold. Yup! That's why I just said "If they can lav people up too, then I've hit gold". And is why in the vast majority of these scenarios I will have to lav them up myself. But on bigger budget / professional film sets, where you have actually skilled people in your department, then it's the normal process for the AS (usually the 2nd AS) to be doing the lav-ing rather than the Sound Mixer. For a long time I went hard wired. But eventually I felt the audio quality sacrifice of using Lectrosonics wireless on the boom was worth it due to the practical benefits. If you've got a person dedicated for being the Mixer, not someone booming at the same time, then I don't think it's that hard for them to grasp basic gain staging. Ohhhh.... where did you see this? Wish the Tascam FR-AV2 would also let you record the 3.5mm stereo input as well as both XLR inputs. (currently it can only do one or the other, not all four inputs at once) If the new Zoom F3 mk2 could do that and does TC sensibly (not only via BT!) and does 24bit 48KHz BWAV, then I think I've found myself my next backup / supplementary / compact recorder. That's true, due to firmware updates for the OG F8 then it's almost identical to the latest F8n Pro.