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it wasn’t a low light test 😋 it was testing the dual base iso theory that anything over 2500 is unusable… which is clearly untrue!

@@carleyandmatt To be fair when someone says low light, it would be a not well lit scene!😂 I was looking for someone else to find out that shooting at 6400 iso during low light situation is more than usable. My Big 12 Championship video was shot at 1/125 F4 at 6400 iso for night shots! Been trying to break the APSC in low light is bad narrative to people

I found out quite recently after I made the video that there is indeed a battery indicator… so there is one and it’s great!

pp8! slog2 works best with this 8bit camera i promise!

I’ve actually noticed my unit doing this recently as well! I’m not entirely sure what’s at fault… Maybe worth reaching out to Desview?

Slog3! i know cinetone could save a lot of time on the grading side but i just love the colour grading process.

fair enough! weight was not one of the factors for switching from the d600 to the z5, but rather because of all the other added benefits that mirrorless provides!

we have a video in the works that covers our exact lenses we use with our z5’s but for now our favourites and recommendations for weddings are: - sigma 35 1.4 - sigma 50 1.4 - nikon 70-200 2.8 honestly, i could shoot a full wedding day with just those 3!

we don’t know 😭

i would be lying if i said no! my one hesitation thus far is that it does not dual record for video, so i think i might wait until nikon addresses that in a future firmware update (if they even do?)

i should give those a whirl! we love the viltrox primes on our sony aps-c cams

i like background music 🎶

i have found that autofocus is a challenge with all lenses on the a7s2! it is an unfortunate drawback to using this camera…

so nice, we bought it thrice! 💪🏼

I've heard it referred to as such! I think the z5 wins over the d750 for me simply based on the mirrorless aspect.

@@carleyandmatt same for me. I think its crazy how positive the image of the d750 is and how much people are sleeping on the z5. Its a great camera and has way better video specs than the d750 too.

we’re considering buying at least one Z lens just to see how much of a difference not using the adaptor makes!

@@carleyandmatt you should, my friend try the 40mm F.2 the focus is very fast, and the 50mm f.18 S is very2 good

@@carleyandmatt I just picked up the 50 1.2S and you will NOT be sorry. It's so dreamy and magical! the 1.8 version is great too. The 24-70 f2.8S is incredible as well. Using a Z6ii and Z5 as backup. Great cameras!

@@BlaineShillington amazon prime days are coming up, gonna make sure our cart is full! 😆

fair enough! i still think all reasons stated in the video are fair; the purpose was not to make a unique video but as stated IN the video was to talk about why we use the z5 in case someone else is considering it! thanks brah 💪🏼

@@carleyandmatt - my first Nikon was an F2 in 1975. At that time, over 80% of photographers classified as "photojournalist" (photojournalists, documentary, sports, wedding, ... all, generally, outside a studio) worldwide, shot Nikon. No that did not start 100 years ago, but the early 1950s started for "Nippon Kogaku" (Japan Optical Inc. Ltd.) the building of what would become Nikon, later on. When, in the Interbellum, Canon started to make cameras, these got bundled with lenses by Nippon Kogaku, because C.anon had no idea how to design and make lenses. Professionally, I shot 95% Hasselblad (Zeiss only lenses) and large format (Zeiss, Schneider, Rodenstock, Nikon), and 35mm for specialised work. Reasons to choose Nikon were the excellent lenses, robustness/reliability, and a worldwide warranty/support system, all at a lower price than e.g. Leica. When I bought the F2, I had tested the (Asahi) Pentax 6x7, Leica M4, and a few other cameras. In 2012, I moved to digital "full frame" (i.e. small format) and started to replace my pro prime lenses by new 1.4G and later. Over all the years, until the Z system, my main pet peeves with Nikon had been: (1) chromatic aberration, (2) tint differences between lenses. "Digital" added a third one, (3) total reflection between sensor and OLPF. So when rumours built that Nikon was going to release a new ML system with new lenses, I started broadcasting this around. More sharpness is lower on my "wants" list than the "needs" of solving my pet peeves. Already in 2012, Nikon solved (3) by Eliminating the OLPF from the D800 (36MP) in the D800E version. Compare the best F-mount lens in DxO Mark on the D800 to the identical D800E except the absence of the OLPF. The difference may shock you. "We" potentially pay for OLPF absence when vendors of raw processing software don;t live up to the Bayer paradigm. We get more noise because these hackers don't do deBayerisation properly and we may end up with some Bayer noise - called luminance noise or colour noise by the naive, thus giving excuses to software hackers to not improve their products. Since Topaz DeNoise AI and Gigapixel AI, etc., we can fix that, and DxO (software company, not the "Mark" business) addressed Bayer noise in PhotoLab (ACR & LrC competitor) but since most photographers have Photoshop (hence ACR/LrC), DxO spun their DeepPRIME out into a stand-alone (ACR/LrC plug-in) product called PureRAW. No need for OLPF any longer to help deBayerisation. As Nikon remove the OLPF above 36MP, I migrated from D to Z from 24MP to 45MP. This is why I would not buy a Z 5, Z 6(ii,iii) or Z f - all have an OLPF. The Z lenses are sharper, but most important, they silenced my recurring rant on chromatic aberration. I sold all my "G" or "E" lenses and kept a few of the extremely soft ones. Maybe Nikon solved tint differences in software,, in the Z system, but it's gone, while the F-mount lenses still got that. This, by the way, is an important reason for me to stick to Nikon Z "S" class lenses only. Applying a profile in post is easy, but anything I don't have to do helps a lot. After 10 years of professional photography, I went back to academia and studied CS with AI software engineering, that I lectured subsequently. Next I moved on into the technology domain. This taught me that redundancy in data storage does not mean data are protected very well, in terms of integrity. Two card slots can be written to by the same I/O controller chip and if the chip (its firmware) has a glitch, it can helix [1] up two cards at the same time. My motto is, when you think you need two card slots, you need two cameras. I would shoot weddings with two cameras anyway - with different lenses mounted to them. No lens swaps. Just take the other camera. And spread/mitigate the risk. In 1980, we would shoot a wedding "reportage", delivering about 100 prints to the client, from at most 120 shots. A lot was photographer directed and, hence, posed. You may now have guessed correctly that my first Nikon ML was a Z 7 - true. Its "recognition AI AF" however was limited and it did not give me the keeper rate I was looking for. Yes, I shoot predominantly as old-film-school shooter and do not need thousands of shots per day. This is a matter of having trained the brain to see photographs (2D depictions of the 3D world from a point of view with matching perspective) before you shoot them. "Digital" does not help you develop that cognitively. You'll need about 10,000 conscious shots to do the training, so you could do that in a couple days or weeks, maybe. When a contemporary photographer comes back home from a day's high-fashion shoot with 3,500 shutter clicks and tells me that he had between 1 and 3 usable images, my count is 350 in two days and 50% usable at client requirement level. But, the eye/face recognition did not give me the focusing speed I want and so I upgraded to the Z 7ii. Which also did not have what I needed. A couple months ago, I replaced that one by a Z 8 and it is the first Nikon that puts a smile on my face since the F2. Also in low light, it is rock solid and fast. If you shoot landscapes or products, then the Z 7 or Z 7ii are fine and no Z 8 will give better images. In studio shoots of products, I might use photosite (sensor) shift shooting and then the Z 8 does better. As to your choice of SD cards, there is a lot of junk in that market segment. Note that memory cells in flash memory (cards, SSD) wear down from each rewrite (called P/E cycle by the electrical engineer). Your "EVO" SSD may offer 300 P/E cycles and its "PRO" sibling 3,000 P/E cycles. My CFexpress Type B cards offer 30,000 P/E cycles. Where your SD cards are? As proper memory cards do "wear levelling" they keep track of how many times each block of memory was rewritten - in a piece of hidden memory, specific for the I/O controller. Tool apps exist that can read into this and these can inform you how "healthy" your memory cards are. Sell your cards when they are about 50%, I would say. Note that at some point the I/O controller in the card starts to mark blocks as "bad" and this (a) reduces card capacity available to you, (b) speeds up wear as there is less capacity. In the end of the day, I may not need the fastest cards in camera, but copying the data from them to the post office takes time. If that is not too long to want to figure out what else to do in the meantime then a faster card reduces your wait time. My dual CFeB slot Sonnet Thunderbolt card reader cannot be beat at that. The Z 8 is not about better images. That choice does not help to get my images into the National Art Gallery. It will not be the decisive factor to a future bride to buy your services. She wil make the decision based on your confidence, based on her perception that you will make her look like a supermodel in your images of her. And believe me, she wil never see "beautiful bokeh". So it is about the person behind the camera and their vision. In my case, the Z 8 helps increase the keeper rate and reduce the need to shoot another shot because there was one out of focus. (Happened a lot with the D camera and 1.4G lenses. Single point AF and recomposing never worked well at f/1.4. Their extreme sharpness gives shallower DoF, hence the problem. And shifting the AF point around in the frame slows me down too much. It's a distraction.) The Z 8 has exceptional recognition AI AF and phenomenal 3D tracking. Recomposing with 3D tracking - wow. In a slower approach to wedding photography, you never need a fast camera, like in the old film days. In that sense, a Z 5 is an excellent choice and great migration strategy. If you find yourself struggling to adjust magenta blur on noses and cheeks, or poison green rims on ears, that's chromatic aberration. Move to "S" class Z lenses and it's over. Note that migrating from 24MP to 45MP means you need more storage capacity and a faster computer. All of a sudden, my Windows PC frequently magically halted (without blue screen, even) when I started editing 45MP frames using 2 displays of 4K. That was never a problem, until 45MP. Between Adobe and Microsoft we can debate who has the worst software engineers, memory management, scalability, robustness, etc. I now keep an expensive notebook computer in the studio for tethered shooting - and it does nothing else. The post office does with a 16 core workstation with 64GB RAM of the lowest latency, several direct attached RAID arrays, in part via a PCIe adapter that unlocks CPU I/O lanes directly thus bypassing the South Bridge bottleneck, and a graphics card with 11GB of video RAM. And 2 displays of 4K. This workstation can run anything I want concurrently. I frequently exceed the 32GB RAM level (by far) and aMeSs-Windoes tries to run everything "graphics accelerated" - like Windows (file) Explorer that will keep the large icons of loads of image folders in GPU RAM, in case you want to open one. Running benchmarks after I built it, took this build to the 98th percentile without any overclocking - between gamer PCs that had been overclocked a lot. I prefer robust reliability. "We" measure resolution in "linear" units (1 dimensional): Dots per Inch, Pixels per Inch, LinePairs per millimetre. Because this directly relates resolution to how we perceive it. If you want better then you need to double linearly. Doubling a sensor of X*Y=MP linearly then means you get 2X*2Y=4MP. Go from 300 DPI to 600 DPI and that's what happens there too. So 96MP is twice as good as 24MP? Yes, if we meet the "ceteris paribus" requirement and have lenses that can resolve both, and have eyes/brain that can see the difference. In the case of Nikon, between 24MP and 45MP, the ceteris paribus is violated as one has the OLPF and the other has not. Oh, part of the softness in your images may be due to the OLPF in your camera. You may lose that softness if a higher res camera has no OLPF. [1] a helix is a screw

my pleasure! thanks for watching! 🎥

How do you find the autofocus and what modes do you use?

close 🫠

glad to hear it, happy to help!

Slog 2 is the way to go. (pp7) Slog 3 is pointless without 10 bit recording (pp8)

that’s right! we’re using slog2 on our 8but cameras

i have no regrets buying 2 of them! 🔥💪🏼

that lowlight though 👌🏼

Same here. Very happy with this camera

thank you so much 😊🫶🏼

I won’t lie, I agree! It seems a little bit overhyped imo 😓

depends how you look at it! $900 dollars, covering all your needed focal lengths, and you won’t need another camera lens for a long time!

interesting comment but thanks anyways! 🤷🏼🫶🏼

the one on the left is actually one of my favourite amazon pickups, it's the MUZAGATA rgb video light wand! Bought a few years ago when they came in a pair, here's the link: www.amazon.ca/gp/product/B09BQVZBH9/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&th=1

@@carleyandmatt Awesome. Thank you so much!

the one in this video thumbnail is a niceyrig brand cage with a top handle! only has a 1/4” screw on the bottom but it’s pretty solid

@@carleyandmatt oh i've heard that brand before I'll check em out!

it was for a video!

coming soon!!

i’ll have to get back to you on that! i have to go into settings and see what adjustments were made but it was using picture profile 8

right? it’s so nice looking AND it’s 60w… crazy

@@carleyandmatt insane..

i might make a colour grading video for grading 8 bit footage!

@@carleyandmatt please do! I shot in slog3 on my a7sii and I won’t make that mistake again

@@StockCoyote we shoot everything in slog2 with our a7s2 actually!

@@StockCoyotewhy do you say shooting in a slog3 was a mistake? Doesn’t it have more dynamic range?

@@jeanguillaume4589 yeah it does have more range but with a camera that only has 8bit color it doesn’t do well with the range of slog3. Now a 10bit camera does extremely well with slog3

that sounds like an auto shooting issue! i haven’t had any issues with aperture, but im also shooting fully open at f2 and f2.8

oh sorry i meant that im shooting fully manual and wide open haha

while it might not be the best, it’s phenomenal compared to what we used to use in the d600s and d610s!

@@carleyandmatt I use for wedding and event too,, while photograph subject not move it's good but when capturing moving sometime photo not in focus,, other than that Z5 it's worth for money,

@@carleyandmatt yes d610 and d600 it's good focusing in lowlights no problem, I wish I buy the d750 than the z5,,, but video feature on z5 in big win

lots and lots of step up rings! pretty sure our lens is a 49mm so it just looks a little funky but it works!

in all honesty, i’m not sure! i just used the camera again recently and have not noticed it slow down in the least.

@carleyandmatt Thanks; Much appreciated! It really does seem like a great opportunity buying this one used.

i apologize on behalf on whoever it is that hurt you while incorrectly using a lav mic! 😞😅

@@carleyandmatt😂 I'm still in counseling over it! Ps., don't feed the trolls (me) 😊