Geoff CB

Don't see anything wrong with the footage you posted. What video levels are you exporting at? What video levels is your timeline set at? And what monitor/web browser are you viewing the footage on? Also NEVER use QuickTime to view footage, it's completely innacurate. Under project settings make sure to use color managed, and make sure on the clip settings set them to Full range.

I honestly think more people would have gone for the Z6 if Nlog was available internally. Even if it was 8-bit. At this point I'm really looking at switching to Sony still cameras. Probably the new A7s sometime in the fall. Unless the Z6 v2 absolutely blows me away there are too many strikes against the Z system. Including it's abysmal support from 3rd party lens manufacturers and no cinema line to move up to and use native glass on. I love my Nikon z6 to death, especially for photo work. But I'm not making money off photography, I need to commit to a system that can handle all my needs for video. Also people in the industry shoot on Sony and Canon, no one I work with uses Nikon. Which is a big deal for a second camera operator on these shoots.

If your having a kid, get a used 5D Mark 3 and a used 24-70 and be done with it. I did not enjoy the Blackmagic 4K very much when I tried it. Was not impressed with the DR or handling. Or this option works as well, and just adapt an older lens.

Needed for 8K, probably will be the standard when U.S. broadcast companies upgrade to 4K/8K. This should enable broadcast companies to upgrade without increasing bandwidth.

All I want is internal N-log in 10-bit. That's it. If Nikon would just give me that I would be happy, I don't even need 4K 60p I just need an internal log profile or for them to fix their external video delay problem.

Nikon 16-35 on Nikon Z6

N-log gives you way more dynamic range and color information. You can only go to 60p to external recorder though. RAW seems to be worth it if you have an NLE that supports it. Honestly I would recommend it, if not for this project for future ones.

Glad to finally see some footage from someone with proper lenses, grip gear, and lighting.

That lens is magic.

Is there a data levels option for you footage to make sure it's 0-255?

I rented the $2200 Nikon 24-70 2.8Z and the autofocus was broken and it couldn't focus past ten feet. Needless to say I will NOT be purchasing that lens. Did not give me confidence in the Nikon Z system.

Wanted to say that I have used the original A7s alongside the F3 and it actually worked pretty well. Color was not far off and you could easily cut them together if your not pushing the A7s to far.

For anyone looking for the best monitor for this and to get 4:4:4. Pix-E5 with XLR audio adapter. https://www.ebay.com/itm/Video-Devices-PIX-E5-Recorder-Monitor-with-PIX-LR-2-SpeedDrives/333635380743?hash=item4dae37e607:g:CGwAAOSweLte9LOC

Biggest difference is that 10-bit H265 hammers PC's even with hardware decode. Prores just plays like butter. I run a RTX 2080 and it struggles on heavy grades in resolve with Fuji footage.

If it's just for sync you can go for any cheap On camera XLR mic https://www.amazon.com/Bestshoot-Condenser-Microphone-Photography-Camcorders/dp/B076J4TTQP/ref=mp_s_a_1_8?dchild=1&keywords=on+camera+XLR&qid=1593429930&sr=8-8#aw-udpv3-customer-reviews_feature_div Then add a really short XLR with it. https://www.amazon.com/LyxPro-Microphone-Professional-Microphones-Connecting/dp/B00KWIM0K8/ref=mp_s_a_1_5?dchild=1&keywords=5"%2BXLR&qid=1593430075&sr=8-5&th=1&psc=1

Yeah this is the end of Olympus. RIP. I loved their ergonomics I, just never wanted to invest in M43.

Wow, you were not kidding about that, completely different designs.

So your scopes have the blacks a little above actual black. You can see the bottom of your green and blue channels are above your red channel, it's why your shadows appear slightly blue. This is my adjustment, bringing down blacks slightly and warming them up.

Couple notes: That shot is very underexposed, and you want the bottom right of the color chart to be the brightest part of your entire frame. It should NOT be in shadow.

Your getting in the ballpark. I think your next step is making sure you watch you scopes / parade and adjust just highlights and shadows using the LOG color wheels.

I've heard the 17-55 has some pretty bad purple fringing on highlights so I've avoided it. Also it doesn't have a big enough range to justify adding it to what I already have. Definitely been tempted by the 16-80 because of its great range and would make a great run and gun combo. Wish it was a constant f4 or f3.5

So for other Sony F3 users definitely adjust your flange focal length from time to time. My wide angle shots were not up to snuff sharpness wise and I figured out it was because my mount fallen far out of alignment.

Unfortunately that mic requires phantom power, so you will need another device to send the signal to your camera.

Thanks, and yes I love the files as well.

Keep checking, I got really damn lucky on a PIX-E7 and PIX-LR, which I absolutely cannot live without now (The giant meters are now invaluable for me for monitoring audio while shooting) and if I spot another one for cheap I will probably buy it as a backup. Sorry I never responded to the 4:4:4 question, yes you can output 4:4:4 and record 4:2:2 (At least, I know it works on my PIX-E7) and I really do recommend doing this. Stills from some recent interviews.