Geoff CB

I love my Z6 for form factor, but this delay problem alone makes me constantly consider selling it because it can't be used for a live event environment or on a proper set.

Interesting dual battery solution.

This is fricking awesome.

Everything I've seen from both of these has horrible motion cadence, oversharpened, and terrible compression.

This filter: https://www.adorama.com/tf77s4.html?gclsrc=aw.ds&gclid=CjwKCAjwte71BRBCEiwAU_V9h3OGvyjOFdz1IBFcjdhHidJnf9P_Om1vlLXwLgHyIwwT2ffArKGhpBoC7IEQAvD_BwE&utm_source=nmpi-google-dsa

Thanks, yeah absolutely love the results from it. Nikon 24-70 f2.8G in 4:4:4. First shot is at 6400 with some noise reduction (forgot to go back to native after doing some tests indoors). "Is it possible to output 444 and record 422" Depends on the recorder. Also I forgot to mention, make sure to run Auto Black Balance on your camera before using it. I had what I thought was a dead pixel until I ran it.

I'm using the ACES SLOG 1 transform built into resolve.

Someone buy this before I do. Zeiss 25mm 2.8 with Duclous Cinemod for $500 https://www.ebay.com/itm/Zeiss-Distagon-T-25mm-f-2-8-ZF-2-Lens-for-Nikon-F-Mount-with-Duclos-Cine-Mod/324159982075?hash=item4b7970c9fb:g:LFUAAOSwZ-ReoIlr

Color is perfect, especially if you use a ACES transform in resolve. 90% of the reason I went with the camera was the color. Biggest pain in the ass with it is that it is switching from 24p 4:4:4 to 60p 4:2:2, have to dig into the system menu, change the system setting to 60p, then change the SDI out.

It's people realizing again image quality is more than specs.

I think if the Pocket 4K had a smaller width it would be less of a problem, with a heavy lens it shifts the weight of holding it to the base of your palm, it's width also causes rigging issues and balancing issues with gimbals. I honestly hated the XT-3 when I tried it, found the dials on the top useless pieces of decoration and the grip awful. Glad they are addressing the grip and movie selector issues with the XT-4.

For ergonomics nothing beats the NX1 for me. Also one of the reason's I've stuck with my Nikon gear over other options.

Make sure to format it in exfat, not NTFS on the Recorder, or HFS+ on the Mac.

Nothing to do with the HDMI, either the recorder or camera is to blame unless the HDMI run is very VERY long. One of the most annoying aspects of my Z6 is the output delay, and I sold my Blackmagic 4K 8G recorder because the delay on it was horrific.

The Kinefinity MAVO Edge with Autofocus and IBIS. Pretty much the only thing I think I would ever need.

4K 10bit 4:2:2 up to 60p and a eND. I don't think 8K is required unless they cost of the R5 and the Sony are within $1000 of each other.

If manufacturers are smart more companies will follow.

Best thing about that lens is how natural the falloff is and the lack of breathing. This is an older Test I did with it, jump to 4:12 to see samples and how "smooth" it is.

Did this detail test awhile ago between the different modes on the camera.

Honestly it's perfect for cinema. The battery solution on the back in ingenious and the build in ND make it incredible.

It appears you can, just not over a single SDI cable.

Useless without the 4:4:4 upgrade. That is the only reason to get the camera at this point. I love my F3 but only because of the 444 slog

Taking a deep breath. Nikon 16-35 F4G on the Sony F3

I'm excited for the responses that other manufacturers will HAVE to do now. No way Nikon and Sony can stick to just 8-bit 4:2:0 after this.

Yup I use resolve and doing a lot of things in post right now, so I just bought a Radeon 7 (which is on steep discount right now) and I am I'm selling my RTX 2080.