FHDcrew

S1 is dope. Plus the open gate 6k and full sized HDMI. AF was only reason I didn’t pick one up. I’m happy with the Nikon Z6 AF, plus using the Ninja V I still get the 10 bit log goodness.

Surprising things you can do without actually adding light

Yep, maybe I can do a custom crop on my ninja v to help with framing.

Diverging off topic here. But if the fake, post-production DOF matures then an xc10 paired with that technique could be awesome. Davinci has a decent depth map but the edges always look fake, and there is only so far the technique can be pushed before it looks fake. But if some AI methods got good, I’d pick up an XC10 in a heartbeat

And I’ve seen that if you shoot full frame 4k with this lens, you can crop in to probably about 3k resolution, and get a 15.5mm FF lens! I’m definitely considering this option.

As I said with NLOG the Z6 does a 1.1x crop in 4k. You think that crop would be very noticeable on a FF 20mm lens?

What is a good cheap MF 20mm lens? If I don’t want to spend $430 to have AF? Though AF seems pretty valuable, not sure what direction I’ll go.

So you are saying there is a noticeable difference.

As many of you know I have a Nikon Z6 and am looking for a fast wide angle for video. Viltrox has a 24mm 1.8 FF lens, affordable. Though N-log crops in 1.1x on the camera so I’m worried I’d lose some FOV. I’ve contemplated the viltrox 13mm 1.4 APSC lens instead, as it’s closer to 20mm FF equiv. I would have to shoot in DX crop mode, but I honestly feel like I’d just lose an inconsequential level of detail (no longer doing 6k over sampling) and would have degraded high ISO performance (I don’t usually need great performance). Your thoughts? Is 20mm vs 24mm a huge difference?

It’s a super versatile minimal *not-wallet-breaking* setup

Wow. You guys have read my mind. I’ve got a 50mm (actually 45mm) and in order to keep things somewhat affordable I’m thinking of a 20-24mm fast prime, and then just juggling back and forth between the two primes, for the exact reasoning you mentioned.

Update time. I have the 5 in 1 reflector, using that as negative fill, combined with some tweaks to my key light angle results in pleasing contrast and depth in the face. So I’m very pleased! I’m still doing the technique of moving the already large key light visibly into the frame, then masking it out in post. I noticed a discernible discernible difference in softness between using this workflow, and having the key light just out of frame.

Interesting comment on the video. I share these feelings.

Exactly. It just isn’t possible. But the internet wants to sell you that. Motion graphics templates. Lut packs. Lightroom presets. It’s all annoying.

https://youtu.be/huMGyDnq0bk

Yes!! And on the other end of the spectrum you have videos like this. Literally withholding information on color grading. An ad in disguise, they make it seem like you can just buy the lut and not have to learn much. https://youtu.be/huMGyDnq0bk&t=446

Canon XC10, RX10 II, Panasonic fz2500, all AMAZING as camcorder alternatives. For my personal work I prefer full frame mirrorless, with bridge cameras I just can’t replicate that look of even a nifty fifty, with that 1.8 shallow DOF and high DR.

These bridge cameras are underrated though. High-end camcorder quality but WAY cheaper than comparable camcorder options. And in a live setting where you can’t just move the camera around like crazy, you need that flexibility to have a wide 25mm shot but then zoom in to like 400mm for the ultra/closeup of someone on stage, clear at the end of the room.

Well I have used 2 Panasonic FZ1000 bridge cameras in a live setting. You desperately need a cage and hdmi clamp, but the image is good compared to cameras in this price range. Featureset is identical to a Panasonic g7, so you still get zebras, cinelike d, peaking, etc. Plus you get that flexible camcorder-level zoom, but with a bigger sensor than $600 camcorders. And if the subject is far away from a wall and you are zoomed in substantially, you do get shallow DOF. Clean HDMI output, 4k 24, 30, or 1080 60. You just can’t simultaneously record internally.

Wow what an amazing channel. I just watched one of his videos, the “sun sandwich” one. Was so good! He just explains it all in a way I rarely see on YouTube! Also another good channel is meet the gaffer.

An interesting thing I have played with is moving the key light so it is visibly in frame, nearly touching the subject at times. Then I shoot a clean plate with the light out of frame, and use it to mask out the light. Gives softer light for free. Any tips on how to improve this technique? Usually if the light is super close, the mask needs to be feathered a lot. But the feathering then bleeds on the subject. The mask never perfectly matched as is.

Those look really good! I guess it really just comes down to practice and developing a real-world eye.

Yes I agree depth is great! I’m hoping the neg fill will help me in areas where I don’t have that much depth, or the most pleasing background in the room doesn’t necessarily have the most depth (so using a fast lens to compensate)

See YouTube tutorials never seem to cover this stuff. I mean yeah some do, but most YouTube tutorials just point an aputure light dome at a 45 degree angle and it magically looks great. They never seem to talk about all of these subtleties that I’m beginning to see a glimpse of.

Yes, I imagine the 5 in 1 will have that role for me. Gonna serve so many use cases.