jonpais

Thanks for the post.

Mark Wyatt’s got nothing at all to be ashamed of, and honestly I can’t understand some of the posts over at BMCUser. This is much better than any comparable footage I’ve ever seen from the GH5s as far as dynamic range is concerned. He must be doing something right!

Glad you cleared that up. Like I said, earlier some people complained the video was in 1080p. I can’t check on my set.

Some were saying this was uploaded to YT in 1080p. My television does not show which resolution the video is playing.

It was shot in 4K, not HD.

After seeing the negative or lukewarm reception accorded here and over at BMCUser, I half-expected the footage to look ghastly. But having watched it myself on a 55" OLED, the short clip looks very nice indeed - and if I didn't know better, I'd have sworn it was in 4K: richly detailed, with gorgeous shadows and little to no noise. I have no reason to doubt that this camera will capture lovely skin tones too. I don't get all the dismissive comments about the video being all trees - the filmmaker put this camera through its paces in a very demanding environment with harsh lighting and it came out aces. I was particularly impressed by the view of the waterfall - from the moss and leaf covered stones buried in darkness to the glistening water - very impressive dynamic range indeed. Bravo!

Kinefinity in talks with Apple re getting ProRes RAW in Mavo.

Nikon issues apology, will not be able to meet demand for Z7. Will not deliver all pre-orders in September. source XQD card bundled with camera for first few months.

Aren’t lenses supposed to behave like faster optics with the new Z mount? I thought I read this somewhere, but nobody seems to be talking about it.

I don’t get the fixation with MTF charts. Sharpness is all but taken for granted with premium lenses released today. Unsharp pictures are more often than not the result of user error nowadays. Pricing, physical size, weather sealing, AF speed and accuracy, build quality and stuff like chromatic aberration and nearest focusing distance are all things a buyer considers.

The high schooler ‘gave the middle finger’ to his math teacher. The kind gesture was met with a smile.

The manufacturer’s MTFs. ? Manufacturers’ MTF charts are just computer generated models showing how a lens should perform - they never do as well in real life.

hahii

what MTF charts? The lenses haven’t even been released yet.

?

Where are the MTF charts you’re referring to?

Several competing camera manufacturers have already enabled ProRes RAW - Canon, Sony and Panasonic - as well as DJI. ProRes is ubiquitous, ProRes RAW will be too. Most of the major players have a tight working relationship with Atomos, and if they helped create N log for Nikon, I don’t see why they wouldn’t work with Sony on ProRes RAW for the a7s III. Though 10-bit S log is a more likely scenario. And BMD have not yet ruled out ProRes RAW for the Pocket 4K. Watch video, start 8 min.

Sony FS5.

A lens is not technically better because it covers a full frame sensor. The Voigtlander Nokton 25mm f/.95 would be better suited for filmmaking than these S line lenses - at least they’ve got smooth clickless aperture, smooth manual focus ring with hard stops, 270 degree focus throw, and rugged build quality for decades of worry-free use. Not to mention the Veydras... I don’t know what video you’re referring to, but if they’re claiming the S-line lenses are built with video in mind from the ground up, that is marketing BS. Cinema lenses differ from photography lenses in more ways than just the lack of breathing: T stops for consistent exposure, large, easily read markings for aperture and distance scales (preferably engraved), uniform front diameter (for matte box) and filter threads, long focus throw, clickless aperture rings, consistent physical length and weight, geared iris and focus rings with industry standard 0.8 pitch, no protruding back or front element when zooming, easily serviceable, all-metal construction (usually), interchangeable mounts (sometimes), minimal sample variance, and on and on. Non-repeatable rack focus is a non-starter. The Rokinons (ranking #3 in digital cinema lenses at B&H) are probably the most affordable option for frame cinema cine glass, but unfortunately they aren’t available in Z mount. The S line lenses are not a replacement for mechanical cinema lenses.

You're a dumb dick.

Your name says it all.

Oh boy! A nonlinear AF photography lens that is every bit as good as a $4,500.00 cinema lens. That is awesome value! I'm also glad they were clever enough to make them incompatible with any other body, so nobody else in the world can enjoy such optical goodness. Thank you, Nikon!

Sony fs5 (with shogun inferno), Sony A7S2, 5D mark3, mavic pro and a super 8 camera (with kodak 50d).

.

I’m not introducing any subtext at all, my friend. I quoted you directly gleefully saying Nikon is ‘giving the middle finger’ to Otus. That’s a hostile attitude if ever I saw one, and I am merely wondering why you are so thrilled about a lens that none of us can afford to buy anyway. Even if it was just $4,000! It’s revolutionary, I’ll give it that! Someone complained that we shouldn’t be discussing lenses and prices in these threads, but the Z6 and Z7 cameras are actually less important in many respects than the lenses themselves. Cameras come and go every few years, they will be improved upon.