gethin

"some people" doth butter no parsnips. ? Who, where?

yes towerjazz sprung to my mind too. Their hint-dropping about working on something new with an established manufacturer rings true

yeah that opening shot is outside, I wouldn't put too much store in it. SHe's getting blue shadows from the sky, which can also make skin go magenta (the gh5 goes obscenely magenta in this case!) And in the log example she's getting lit from a pink building, with blue sky fill. Where she's in direct sunlight the skin tones look pretty good to my eye, although she has olive skin by the looks of it, which is a flattering tone to start with ? one more thing: my d5300 spoilt me for colour grading. I couldn't believe how much more work I had to do to my gh5 shots. Do I get a nicer image? Of course! Is it infinitely better to shoot with: Dur! But I had about 5 lumetri presets with my D5300 and I could just chuck one of them on, and go:PEACHY!, NEXT! WIth the GH5 I usually go: BLURGH! Fiddle, fiddle, fiddle... I'd love to get back to something approaching that first workflow. And then get a BMPCC4K for special occasions ?

finally found some z6 footage. Only looked on my laptop so far. It doesn't have a lot of magic, (in fact the 1080 looked nicer to me than the 4K), but it doesn't have anything that screams terrible. I always found the d5300 vid looked miles better underexposed a bit. Curious about shadow noise

that was my reaction too. its a full time job

erm, i've not even seen any footage yet, or hands on reviews. I for one kinda think thats a good idea before shelling the moolah Getting a bit fed up of all the wankspittle from youtubers who also havent seen any footage yet, or handled the thing.

On top of all that, as a nikon shooter I get autofocus for free on all my existing glass plus nikon colour science, plus a workflow and presets that I've developed over 5 years that should slot in nicely. I'm just wondering if z6+ my 14-24 will balance on my crane 2. eek

Still hanging to see some z6 footage.

Balloon footage has some magic! ? I have never shot raw, I'd love to have a fiddle.

Nope! its just something I've noticed when I've been forced to shoot at 1/50 - I tend to have a lot of camera movement and it really jumps out at me - it sort of looks like old VHS footage to me especially when the shutter angle was greater than 180. As I said it's probably just that I've got used to the look of a higher shutter angle. I wouldn't let it phase you if you're liking the look of the stuff you're shooting! film was much more forgiving of movement for some reason. Talking of film - that's what organic means to me. Its a combination of grain structure, detail and how the highlights are rendered. I've seen it in BMPCC & gh2 footage, the first time I saw magic lantern raw and one of the kinefinity cameras but again its just a preference. (I've tried to fake it on the gh5. I had this idea that as film grain was not in a grid - like an image sensor - that it meant that different grains in sub-pixel positions were rendering detail. I wrote a photoshop action to displace pixels slightly in each frame. It was a total bust :p)

I tend to use shutter speed so I try to keep it above 1/60th at 25fps or 125th at 50fps. Usually a bit higher if i can.

Where's the magic? ? Must be something to do with current sensor tech, but it doesn't have that organic feel that you see in the BMPCC and GH2. (just like most of the current crop of cameras). Also is it just me or does 180 degree shutter make everything look videoey? On the Gh5 I try not to shoot at 180 degrees, it looks like poo. EDIT: for the price its still bloody amazing, though and I met yet still get one ?

I didn't mean to imply that the d5300 had similar highlight rolloff. I was trying to say that I was hoping for a bit more from the BM4K, (especially as that lovely organic feel and nice rolloff is a feature of the original BMPCC). *With the usual caveat that you shouldn't judge too much from one film.

I have the manual 50 1.2. I love it. Lots of character. Longitudinal chromatic aberation galore makes it not great for vid. That big mount opens up possibilities down the track, I think its a very smart move. Tilt shift lenses, focal reducer from medium format lenses, medium format sized sensors...

The ursa shoot is almost all on an overcast day: much more flattering light in a forest. Whilst we're sharing forest shoots, here's how the d5300 coped on a sunny day, like the BM4k. Its 4 years old, a camera half the price, 8bit 24Mbps, 1/4 of the res and all, so I guess I was hoping to see better highlight rolloff in the new BM cam. And I agree those last shots are not flattering. The footage seems a bit thin.

Thanks, this is for a friend actually that has the a7iii. I've still got a simple e mount nikon adaptor so I can let I'm play with the 35mm. What's the rokinon/samyang af 35MM like?

Sigma 35mm art. My favourite lens. Love the rendering and warmth. Any suggestions for full frame e-mount equivalent? Also feel 16-35 or similar. Are there any 3rd party.lenses. Sony lenses are.sooooo expensive

thanks! bit heavier than gh5 then (what I currently use). Have a crane 2, which can take the weight. saw someone adapting it using a quick release mounted at 90 degrees. Not really a run and gun camera, but so might get one anyway

I've never pre-ordered a camera before but this is $1,585AUD in australia. Thats $1190 USD. THe gh5s is $3350. Its insane. BTW does anyone know weight (trying to figure out if it will fit on my gimbal).

I just read Thom Hogans best guesses and he thinks nikon is being coy saying the camera will be released next spring. He actually thinks they'll have something to show at photokina. I can just about hang on for that Re the mount/adaptor thing: I have a speedbooster glued to the front of my gh5. I hardly remember it's there any more. As long as the build quality is there I don't see the issue. New mount = short flange distance = adaptable. Also the rumor is that each new z-mount lens will have 2 motors ie autofocus will move 2 groups of elements = smaller lenses with much better controlled aberrations. I can imagine nikon saying "if we have to create a new lens mount, what extra value can we bring to the lenses". If true this will mollify all the people banging on about their F-mount collections

For what I do it would speed me up immensely to have a single camera to shoot stills and vid. THe a7 is a possibility, but I've yet to see what the usable dynamic range is like (both in stills and vid), and have been slightly put off by the reports on it's viewfinder. My d800 is nearing the end of its life, I dont know if I can wait a year. I understand theres a lot of engineering to do, but they shouldn't have started last year, they should've started 3 or 4 years ago. It was bloody obvious this would be where they'd need to end up.

WTF? A year away? https://petapixel.com/2018/04/30/nikon-confirms-new-mirrorless-system-to-arrive-by-spring-2019/ Helloooo nikonnnn! You need to do a blackmagic and give us a peak by september, or it'll be all over red rover.

Sorry cant help with premiere, but I know that when I looked into it, it did my head in and this: https://www.rev.com seemed like a total no-brainer. If you send them a transcript, you should get 100% accuracy.

I saw proresraw announced as an open standard, so I went looking for the windows workflow. Totally naive after reading this thread.

most of the panels are 10 but already aren't they? I'm not sure its such a big deal as my graphics card it gtx1080 - 8 bit anyway. But yes proper hdr would be nice to future proof it a bit. I wonder if I got one decent screen that I can calibrate for photography, and a 40 inch TV or monitor I could mount to the wall as my playback monitor for editing. THe ultrawide screens look cool for editing but tend to not be aimed at photographers - more at gamers. ALthough I see LG are bringing out a big ol 5K ultrawide but its Over $2K ouch.