FHDcrew

In all seriousness though I do think this is a great step forward. Have been spending a lot less time on YouTube lately. Tired of the hype.

Hahaha. Blackmagic Production Camera 4k. Global shutter. 2012 baby.

Nikon Zf for me. If anything because it gives people like me who are already in the Nikon ecosystem a good body upgrade that isn’t Z9-price-level. Internal 10 bit, better AF, built in waveform, really exactly what I’m wanting.

Honestly I’m holding out a bit longer, until 2045. Surely there will be better options then.

Is this the Micro Studio Camera?

I love the workflow of the Tricaster though; it makes a ton of sense in my brain, and it is very similar to larger hardware switchers, just with the flexibility software solutions give you. This is why I've been trying to model my entire OBS-based setup around the Tricaster workflow, using plugins and whatnot to make OBS behave as closely as I can to that of a Newtek Tricaster. I don't know why, the workflow just really clicks with my brain.

Yeah they are Vizrt now! Very interesting merge. The Tricaster is weird cause it is very overpriced compared to building a rack-mountable vMix or OBS PC. Just to get a new 4-SDI input Tricaster costs almost 10 grand. With the price of gear now you can get an old decklink quad and a retired HP Xeon workstation for $250 combined, and cut 1080p shows no problem.

Agreed. The program here is much more broadcast oriented than is film. Which is fine, because through my own experience, forum-reading, YouTube watching, and real-world practice I've found I can learn and mature the skills I need without college. I have learned lighting pretty much solely based on my own research. There are people in this program who are seniors and want to be "film directors", but I sit back and think "what have you actually edited? Did you ever pick up a light during your 4 years here?" Of course, they would rather spend their time in a fraternity or some other stupid thing.

Very true a lot of them think they can sit around and just graduate and magically make it. Classes barely teach what you need there is so much I’ve learned about cinematography from YouTube that no one in the department will ever learn if they themselves don’t take advantage of online resources. Also they all shoot on crazy old canon vixia camcorders. And I’m over here shooting full frame mirrorless with a bunch of light.

Love this suggestion. Minimum switcher for me thoufh would be the ATEM Mini Extreme, or of course to continue with a software approach. You tend to need more than 4 inputs when implementing graphics, as you’ll need to either luma/chroma key or have 2 separate copies of the source running to your switcher, the key and fill. the mini extreme also has supersource which lets you layer and composite for picture and picture and whatnot. I’ll start a thread about it.

Lol I brought this exact thing up! Only like 20 of the 70 people in the department ever think of doing media things outside of literal class assignments Saturday, and even then would probably only do it for money, which at this stage I can’t promise.

First of all, hello guys! It's been a while since I've posted, and honestly I haven't kept up with this forum as much as in the past. Looking to get myself up to speed on what I missed lol. Changes? Honestly passion focus. My main career will be corporate video (in college right now, got scholarships so it's cheap for me). But I also love broadcast and lately have spent a lot of my time trying to learn more about that workflow, getting reps and networking with people in the field. My goal is to direct or technical direct either live sports or corporate events. Sucks cause those positions are very hard to get when it comes to bigger venues. Smaller venues, more local corporate/college/high school sports events, it's definitely easier. I've also considered starting my own production company upon graduation, trying to network and build clients and do smaller scale events. Currently building my own video switcher, and for the work I do I need something much more advanced than a basic ATEM Mini. At the university I attend we use a Newtek Tricaster 460. It's a very interesting unit; in essence it is a PC running windows (windows 7 actually!) and Newtek's own proprietary switching software. In essence this unit is a lot like a vMix or OBS PC, but using Newtek's own software. I do really like the unit; it gives the flexibility of a software switcher with the workflow and familiarity inspired by a hardware switcher. It has multiple M/Es (mix effects) which are essentially all layerable sub-switchers that can be used in tandem with the primary preview/program bus. You can also use them as separate switchers within the actual Tricaster. This, for example, allows one to cut a live-stream feed independently from an IMAG feed (IMAG stands for image-magnification; so displaying output on a projector at a venue). You can also use these M/Es to create compositions, such as picture-in-picture, and hot swap the contents of the composition live. Super useful! These are all things you can't do to the same degree on an ATEM Mini. I will say that the ATEM Mini Extreme is closer in functionality. The Tricaster also has built-in media players and graphic banks, all of which are a lot more capable than ATEM units. I've been trying to build sort of a DIY-Tricaster, using a PC I have on hand, as well as a Blackmagic Decklink Quad SDI (4 SDI input, 4 SDI output capture card). I have been working on tweaking and configuring OBS to operate in a similar fasion to Newtek's software. With the right plugins, macros and custom combination of features, I've been able to get OBS to work in a very similar fashion to a Tricaster, both in terms of functionality and workflow. I can make sub-mixes for IMAG outputs, use downstream keys (overlays on all of your output), preview/program switching with multiview, custom transitions, and more. I even bought a Tricaster control surface (a legitimate switcher controller with t-bar) and using software called Central Control use it to control OBS. So the workflow is super nice for me. Downside of software switching is the latency. An ATEM uses FPGA chips to run everything, so your output latency is wayyyy lower than any software solution, be it vMix, OBS, or a Tricaster. This makes them more useful for live venue feeds, and as such I will probably purchase a higher end ATEM switcher at some point. Thinking about the ATEM Constellation 2 M/E, which gives me the ability to make a submix just like the software solutions, but with the low latency and reliability of a hardware switcher. Word vomit. Lolz. Broadcast has really peaked my interest as of late. I kind of need to re-ignite my passion for cinematography; feel like I haven't grown in lighting or color grading in a while. Definitely have been complacent, so @kyemaybe you can whip me into shape! I'm still using my Nikon Z6/Ninja Star kit. It's doing the job, and since I'm investing in broadcast gear right now, I'm kinda in a standstill regarding any camera upgrades or even grip gear upgrades, which I do want to do at some point. The Nikon ZF is insanely tempting; 10 bit internal, full-frame, nice and small, and I can use all my existing lenses while using the Nikon Z6 as a b-cam. Looking forward to reading these posts and catching up!

Love it. 6 seconds is definitely usable for lots of BROLL. Then just switch over to the 10 bit for longer form content, especially talking heads where you can light things.

Personally I’d still go MotionCam RAW as it’s still more organic of a look, plus it’s achievable on less expensive android phones.

I see significantly less oversharpening in Apple LOG, which is really nice. Seems like a good option now that that change has been made.

This is awesome. Finally a cheaper Nikon option with internal 10 bit. Might be my next camera. And I could keep my Z6 as a b-cam.

Yeah that is the biggest hurdle with iPhone video. No matter what app you cannot undue the horrendous oversharpening. And the "log" profiles feel very fake with no real benefit. I've been tempted to switch to Android for both the increased OS customization as well as the DNG RAW video which trumps anything the iPhone does.

@IronFilmYeah it's going to be 5 years old pretty soon.

There is an app called "Sensor Logger" for iOS that works well for me.

Agreed.

Haven't been super active in a while, so I hope you are all doing well 🙂 Two big reasons I might consider this camera instead of sticking with my Nikon Z6 are: 1. 10-bit internal 2. Internal Gyro Data #2 is big for me. I've realized how convenient gyro stabilization is, at least for me. Allows me to get a wide range of awesome motion shots while having a convenient shooting experience. Less weight, less setup time, no need to balance a gimbal or steadicam. Well...it would be convenient if I had a camera that recorded internally. I've done some stuff with gyro data on my Nikno Z6 by using a smartphone as a gyro logger. This works and can work extremely well, but the workflow is a pain because you have to keep track of all the gyro data on your phone and match all of the files, not to mention having one more thing you need to attach to your camera. The Sony A6700 as well as pretty much all of Sony's recent offerings seem very appealing to me for the sole reason that you can quickly get perfectly synced gyro data without needing any external devices. You can process this footage in Gyroflow to get a lot of power, and can even use the Gyroflow OFX plugin in Davinci Resolve to get a very streamlined workflow. The 10-bit internal is nice too. Of course a billion cameras now offer that, and that feature is solely convenience-based for me. I think I could rock the Sigma Contemporary Primes and sacrifice a bit of lowlight for these features. IDK. We'll see.

I too have gotten good results from Nikon FLAT (on my Z6). Try doing a CST to Arri LogC followed by the Arri rec709 LUT in davinci resolve. Set the tone mapping to none. Add contrast prior to the conversion. You'll like the results:

I’m telling you. Color Space Transform. 1000% better. You can export the CST as a LUT in Davinci and use it in Premiere. I do that to monitor NLOG on my Atomos.

Ok...99.87%

Same here. 60% of the YouTube camera space has become a giant ad.