Danyyyel

Kai, review of the Z6

Nice example of AF video tracking and use on a gimbal.

I will never understand, do you shoot or are you just some kind of geek. Because I will never understand people that says thing like that. I mean, can someone at real viewing distance even see more than 2k. The perfect example is the Alexa 2.8k sensor, I don't see anyone complaining about lack of resolution. It is just the geek that might find it sexy to be able to count every pores in an actress face when stopping the image.

So it will be 8k 4.1.0 Hurray... I just saw Samsung advertising 8k TV, my guess they are not selling anymore TV, 1080p was aready plenty and a lot of people did not move to 4k, now they have to the next gimmick 8k to try and sell cameras and TV.

Video comparing Log profile on skin tone between Canon Eos R and Nikon z6. At first I would say the Canon is better because it is at the right level of contrast I would say. From highlight to shadows the right contrast ratio. But looking a little bit more the Canon seems to suffer from a harsh clipping shadow compared to the z6 and it is confirmed by the log non graded sample side by side. Somehow their is one thing hat I am witnessing is the very green tint Nikon Nlog. I don't know if it end up in the grade it (it doesn not look so in this video). Video

I think it was in this test but the when applying NR at different level (losing some detail in the process) the z7 became exactly as the Sony, my guess is that Sony is applying NR by default.

Camera lab review part 2, with a big part on video. Again very nice autofocus in video but what impressed me the most was the IBIS.

Under full moon test

Brandon Lee review seems really nice, it looks like it quite good. As a user of the Zhiyun crane 2, I am not very satisfied by its stabilization and sincerely those heavy gimbal are very hard to use because you get fatigue very fast.

Yes, nothing more distracting after bad audio than watching a film or documentary where the focus is on the background or foreground of the actor or interviewee.

Yes, in theory, I myself just experienced that even using a Ninja Flame, the peaking at this distance start to get unreliable, everything start to peak while with those ultra fast lens the DOF is still quite thin. Its only when you get back home and watch it on a 27 inch monitor that you find that the focus was a little behind the subject. You would need a focus puller with a 20+ inch screen to see this.

The thing is that for photo I can understand shooting at these type of apertures like 1.4 because even if you get 1 out of every 2-5 photos in focus it is ok. There is no continuity in photography, you can do 10 out of focus image, if you get one it is ok, more so in our digital world where you can take hundreds if not thousand of photos during an event. While in video you need continuity, you would need at 5 to 10 second for every scene , and unless you are shooting static subject it is near impossible to keep your subject in focus during those take, more so when using FF. For example I do interviews at least at F4 with FF at about chest level and it is still problematic. The person just has to move some cm in front and the focus is gone, so he just as most people move little bit in front or back as he is talking and gets out of focus. If it is only for some fraction of second it is ok, but if half your interview it is the case then it is a big problem. The second thing is what I would translate as subject attachment to his surrounding. Just after the large sensor revolution with the 5d ten years ago there was that craze to use very shallow death of field that your subject is like floating in an abstract universe that was completely blurry. That's why sometime I think that cine 35 mm was perhaps the rel best medium, because it gave you enough shallow DOF for subject separation and nice bokeh, but not that crazy that it becomes artificial.

Someone testing the z6 and seems some test of the zlog. I wouldn't call it a good advertisement for the zlog given the subject. I would really have liked to see what human beings etc and his first samples where completely overexposed etc, I don't know if he used zlog in there.

Yep does not take a lot to fool a little bit an automatic system. I think for video it is really an overkill.

Yes, that's what I think is their strategy. Memory price have been very volatile and prices historically high, with CFexpress you might not need a big buffer anymore. Nice z7 video

Low light comparison between the z6 and z7.

I think that whatever Nikon decided to do it would have been heavily criticized. If ever they had done a bigger body everybody would have said that either they could not match Sony tech or that the idea about MILC was small size and portability, which was true at least until now. Since Nikon and Canon launch of their new mount with much wider size (more for Nikon), that give the possibility of faster lens, we are hearing that MILC can get you better and faster lens regardless of size. Some part of Nikon PR mess was that they showed up only days/weeks before the Canon EOSR and eventual Pana S1. For example, they got ten times the negativity because of the 1 card slot than the Canon R. While they are giving a much better and robust XQD/CFexpress compared to Canon SD card. For me when you look at the price and size of the Canon 28-70 F2, I am glad they stuck with the 2.8 aperture. Another thing people don't discuss is the 24 vs 28mm starting zoom range. I like the 24-70 because of its flexibility and loosing the 24 is a big compromise. With the higher ISO we can shoot now, for me the f 2.8 is the best compromise, anything lower would warrant a prime lens. In fact this f 2.8 looks at least shorter than todays 24-70 and with the size/weigh gain, you could even carry another camera prime combo easily. That's the promise of the mount. The F4 kit lens (S is considered super for Nikon) being higher resolution than the top of the line older F-mount lens. The z7 already broke the record from the D850 with the 35mm f1.8 lens and by a margin in terms of resolution. That is why Nikon has been defending their 1.8 zoom as real professional primes and not just typical affordable primes for those that could not afford 1.4 primes. These things are more usable at 1.8 than some of the 1.4 primes at 1.8 and even beyond that. They say that their 1.8 lens are more reminiscent of 1.4 primes in capturing the light and I guess it is about the overall sensor plane and not just the center, with less curvature/distortion and I guess vignetting.

Yep, it would be good, they said they would focus much more on video now and its a priority for them. I hope they do implement some more functionality through firmware update, like a higher 50 mbit 1080p bitrate, 4.2.2 would be prefect (a dream would be 10 bit at this resolution), just for broadcast. The second thing would be some 10-15 second burst 4k 60p would be great , to compete against the new Panasonc or an intermediary size codec like DJI 2.7k or a 3k mode at 60 fps or even burst 120 fps. A squarer mode for anamorphic lens would also be great. The photo was on a Facebook z6/z7 group, the mockup of the 24-70 and 58mm knoc, have been doing the shows around the world.

I understand your point your point about manual focusing, my guess is that those lens are not necessarily meant for manual focus for movie use. I know it is a sacrilege for some but with those new autofocus, manual focusing might really become a niche thing like in photography.

I don't understand that supposed edge in native lens. From everything I have seen the adapted lens worked as good as they did on native F mount cameras. Have people not seen the video from Ricci Talk and BH, one was the 105mm F1.4 and the other 70-200 2.8. The 70-200 2.8 was tracking in very low light in the BH video. I dare to say that after the lens rental review of the build quality of the z7, that the z6 might be more weather proof with the FTZ adapter than Sony cameras. I personally don't know, but can someone tell me how many Sony, Pana or Fuji have in terms of video centric lens (silent, no breathing etc) The second thing is that Nikon said they were dedicated to video now and the development of the S line of lens was from the ground up done with video in mind. We can already see it with the fast focusing , silent and zero breathing lens they have released. If you think that the treatment they gave to their 24-70 f4 kit lens in terms of video, you can be sure that they were not joking when they said that. Another thing, they already published lens roadmap, by next year we will get nearly the trifecta of Nikon 2.8 zoom and two new f1.8 prime lens plus the f.95 prime. Again I just saw a mock up of the F 2.8 Nikon zoom and it had a third ring. I guess we will have smooth step-less aperture control with this lens as the Canon, if I am not mistaken. So tell me how many Sony, Pana or Fuji are have thee type of video centric features to their lens line.

What can you expect from youtube. So was filmed between ISO 3200 and 12 800, I guess we will see soon how it behaves.

Some z6 video

Just some advise as a Nikon shooter. Contrary to Sony, I start up with very good colours, so the need of another picture profile is not a priority for me unless I want more dynamic range or it really brings some big benefit. Until now we have Flat profile which is in some way quite capable because even if it not as flat as log profile it has still quite some more info at least in the shadows (You get quite some DR from it). Now with the launch of the z6-z7, we are getting the Nikon N-log +10 bit which I have zero knowledge how good it is. Fortunately I already have an external recorder, so will be able to test it afterward when I get a z6. Now again, as a Nikon video user, what the marketing material of the z-log is not very enticing (I think for a video newbee even less). The first thing is that the most important thing I wanted to see was human beings and skin tone, more so in harsh natural lights and not indoor lights, at least with sunlight I can guess how it is as the sun is a known factor. Again skin tone is vital for most who are not going to trade skin tone for DR. Secondly what would make people move is a proper test like the one done with different camera but at least in this case between Flat and Zlog, even N-log would be good. Without this , how to convince Nikon users. The last thing again, with example footage, is the robustest and gradability with Zlog. Then explaining the importance of having standard LOG profile that mimic for example Sony or Canon log, because then, you can use all those luts that have been developed already for those log profile. I am sure that not even 1% of Nikon would be video shooters, understand how practical it would be until all those luts are develop for N-log. Some sample files (with humans beings) showing how it grades (banding 8bit or even how it works in 10 bit external), use of some known Canon and Sony lut etc would make it much more appealing to Nikon users. At least for me, that's what I feel as a Nikon shooter who might be interested in a Flat internal log type profile. I think a LOG profile is an overkill to use on object or scenery that are in the shadows. The DR is not challenging at all and would need grading while a normal profile would already nail the shot.