I have been using the irix cini line for about a year and love it. It comes out clean and I can add post processing after to get a dirty look out of them.
The depth, perspective and relevance of this explanation for a z9 shooter was incredibly helpful. Have come to a few similar conclusions, but was helped by the clear, concise reinforcement and new information. You hit a home run IMO.
Love the end quote. Picking up this camera and heading to Japan soon. I have a Z6 and always shoot in 24fps with it. I guess I should just keep shooting in 24fps with the Z8? The video quality should be better though right? I love making videos, in what travel situations would you use a higher fps?
Thanks for this Sidney! I'm really enjoying your tutorials! I recently bought a Z6iii and noticed that when I'm shooting N-RAW that the camera generates a 1080p proxy file. I have been unable to find anything on the web that tells me how to handle this proxy file when importing footage and color grading in Davinci Resolve. Any chance you could do a short tutorial on this at some point? Or, maybe you touched on this somewhere and I missed it. Thanks!
Great! Thanks for this very helpful information. Can you please also share your best NLOG grading method in Davinci? Do you use Color Space Transform? Cheers!
Sydney has done a couple of videos on how to edit NLOG in Resolve. One of the methods he mentioned actually ended up in the Z6 IIi's NLOG Technical Guide. Check out his earlier videos.
Very helpful video, Sidney. I am glad to see that Nikon included waveforms (apparently they added them to the Z6 III as well), but continue to be baffled by NOT using IRE values for the zebras. Also, just for a slightly different take regarding expousre... my understanding is that N-RAW / N-LOG clean up very well when using noise reduction in Resolve, so if the highlights / brights ARE important, it might be worthwhile to exposre more "normally" and later on just "fix it in post." Another suggestion is that possibly on the Z8 / Z9 / Z6 III, it might not be best to use JUST the base ISOs of 800 and 4000. I know on Panasonic full frame cameras, which have similar base ISOs of 800 and 4000 for V-LOG profiles, the noise is lower and dynamic range is better at up to about ISO 1600 than it is at ISO 4000. So ISO is only better at ISO 4000 than ISO 2000, 2500, and ISO 3200. I confirmed this with Sean Robinson of Lumix marketing and he said (paraphrasing here) that the main reason for having a seond native ISO is so that HIGHER ISOs than 4000 are not so far away from a native ISO that they become riddled with noise. So I would suggest everyone test their cameras to see if it makes sense to jump from ISO 800 to ISO 4000 instead of using ISOs values between, say, ISO 800 and ISO 2000. Slightly off topic: One Sony feature that I am envious of is the Cine EI exposure tools. My understanding is that if you overexpose S-LOG3 (as cinematographers often do in order to lower noise levels), the EI will allow you to PREVIEW what the footage will look like once you bring the levels down in post. Also, I believe it writes metadata in the footage that tells (certain) editing programs what the "proper" exposure is supposed to be. (That might only work with something like Sony catalyst though... not sure if Resolve reads the EI metadata or not). Anyway, it would be a good feature for all cameras to have.
I am asking because some of the things that you're saying seem like things you've heard or read, while what I am saying comes from over 2.5 years with the cameras and my experience as a cinematographer and a colorist, especially when it comes to exposure. When the noise reduction gets so intense that it bogs down a 5950X + RTX 3080 system, I know the noise signature is super strong. Temporal and spatial noise reduction (NR) were applied to the clips that were anamorphic, even the ones outside, that's how strong the noise signature is DX. Plus, the noise was still there, you just can't see it on RUclips because of the compression. Further exposing to the right (ETTR) will also require you to fix it in post. When we expose to the right, we aren't just blowing the highlights to smithereens. As long as you don't clip them, the information can be brought back in post. The goal is to not clip either the highlights or the shadows. But if you do expose normally, and your scene is darker, you'll have fun fighting that noise in post, especially in DX. If I risk noise, and have to fix it in post, not only am I fixing it in post, but I am also using a tool that slows down the performance overall. NR always has and always will slow down performance. The statements regarding ISO are based on my use of the camera and come from learning lessons the hard way. With respect to Cine EI, I don't get too caught up in tools from other manufactures. I look at each camera by each manufacturer as a tool that could fit the needs of a project.
Hey, interesting video. I would say that the common approach when shooting log is to expose to the right. I know that because of photography some people have the tendency to expose to the left (even if even there some people debate) but if you look at the nlog curve specifications and how it saves data exposing towards the right makes sense. Without burning the highlights of course
Hey Sidney, great stuff as always, specific question for you. I can’t seem to set up the banks separately for video and photo, specifically the shooting mode (P,A,S,M). If I have bank A set up for Aperture priority for photo, when I switch to video, bank A is in aperture priority for video. If I switch back to M, then both photo and video for bank a goes to M. Can I completely separate these banks for photo and video?
is it possible to get a clean hdmi output instead of adding a lut to my monitor? i am using a ipad via capture card but i am getting a log image instead of a rec709.
A very nice video, but I'm confused by your reference to Nikon cameras, but Canon Lenses? I'm just beginning my venture into high-level video...always a stills person previously.
I have one question. If i shoot 12 bit raw in sdr and switch it to rec 2020 - nikon log in the raw panel of resolve And If i shoot 12 bit nraw, n log in camera and use it as n log in resolve What is the difference between the two two methods? Are the colours exactly the same or are they different?
@@sidneybakergreen if i leave the colour management to default in the project settings and from the raw panel set the colour management to clip then resolve allows changing of gamma and colour
Beautiful video one thing I would just buy a monitor that can use EL zone instead of false colors! Once you learn EL zone and what that is for cinematography, there is no going back. It’s just so much more accurate than false colors.
If you are in a high contrast scenario that is pushing your z8 past its limits, would you typically choose to protect the highlights at all cost, or lose some info in exchange for cleaner shadows? I run into this occasionally, and typically I protect and then clean up, but curious your thoughts
@@joshkiddfilms1295 I always protect the highlights when ETTR. I just let them get as hot as possible without clipping knowing theyll come back in post
I am more modern glass person. I have a question for you record video internally or externally? Also do you consider the internal recording limit an issue?
@@sidneybakergreen yes it looks to be 125 minute continuous record limit. I’ve seen people complain about that but I don’t understand why anyone would want to record for 125 minutes unless you’re streaming.
@@marqman05 Well, if you are recording a lecture / seminar or doing a documentary interview. Now, it is unlikely there won't be a break in there somewhere that someone can stop the recording and start it again, but if you have a multi cam setup, it becomes a hassle. Imagine that you are shooting a seminar and you have three cameras set up across the room, with one near to the stage / presentation area, and you only have 15 seconds or so to run to each camera, stop the recording and then restart it. So while it wouldn't be a COMMON situation for most, it can be a hassle for certain situations.
@@marqman05125 minutes is about how long a battery lasts anyway. Unless you plug in external power. And even a 512Gb card will fill up after 2 hours of 4K 24p 10 bit SDR. Sooner in Log or RAW.
I dont like how the nlog view assist shows nraw/nlog…for the cleanest results i need to ettr hard, but then the view assisted image looks absolutely ridiculously overexposed…but in post it comes out perfect (eg seemingly „white blown out skintones“ turn to perfect smooth hl-rolloff)…would love to see custom luts…
You lost me when you started Tossing you camera about like a ball. To my way of thinking the act suggested that you're either a careless person or that you're target audience are people that would think that tossing around thousands of dollars worth of equipment is "cool" or edgy. I didn't hear a word you said after that and stopped watching your video soon after. Which was sad because you were doing great until that point. Good luck.
Are you a modern glass or vintage glass kind of person?
Starting to lean towards cinema & anamorphic lenses outside of weddings 😅
Hello, I was wondering how do you get your ninja to show full screen with the z8. Every time I plug in my hdmi it shows cropped ration on my ninja ?
I have been using the irix cini line for about a year and love it. It comes out clean and I can add post processing after to get a dirty look out of them.
The depth, perspective and relevance of this explanation for a z9 shooter was incredibly helpful. Have come to a few similar conclusions, but was helped by the clear, concise reinforcement and new information. You hit a home run IMO.
As a newbie just getting his feet wet in cinematography, that video has me inspired. Thanks Sidney!
Best Z8 intro to video out there! ❤
Love the end quote. Picking up this camera and heading to Japan soon. I have a Z6 and always shoot in 24fps with it. I guess I should just keep shooting in 24fps with the Z8? The video quality should be better though right? I love making videos, in what travel situations would you use a higher fps?
Merci beaucoup pour cette vidéo, je l'attendais depuis un moment !! Je suis ta chaîne depuis un moment !! Salutation depuis l'île de la Réunion !
Merci pour le commentaire! J'apprécie l'amour! Je suis heureux d’avoir un public international.
thanks for all of this information!
Really nice video man, it is the first time i see one of your videos🇦🇷
Thanks for this Sidney! I'm really enjoying your tutorials! I recently bought a Z6iii and noticed that when I'm shooting N-RAW that the camera generates a 1080p proxy file. I have been unable to find anything on the web that tells me how to handle this proxy file when importing footage and color grading in Davinci Resolve. Any chance you could do a short tutorial on this at some point? Or, maybe you touched on this somewhere and I missed it. Thanks!
@@josephvalentinephoto I generally ignore proxy files because I don’t need them, and when I import I import with a .NEV filter
Great! Thanks for this very helpful information.
Can you please also share your best NLOG grading method in Davinci? Do you use Color Space Transform? Cheers!
I use Resolve Color Management with an HDR DaVinci Wide Gamut Color Processing mode
Sydney has done a couple of videos on how to edit NLOG in Resolve. One of the methods he mentioned actually ended up in the Z6 IIi's NLOG Technical Guide. Check out his earlier videos.
Very helpful video, Sidney. I am glad to see that Nikon included waveforms (apparently they added them to the Z6 III as well), but continue to be baffled by NOT using IRE values for the zebras. Also, just for a slightly different take regarding expousre... my understanding is that N-RAW / N-LOG clean up very well when using noise reduction in Resolve, so if the highlights / brights ARE important, it might be worthwhile to exposre more "normally" and later on just "fix it in post."
Another suggestion is that possibly on the Z8 / Z9 / Z6 III, it might not be best to use JUST the base ISOs of 800 and 4000. I know on Panasonic full frame cameras, which have similar base ISOs of 800 and 4000 for V-LOG profiles, the noise is lower and dynamic range is better at up to about ISO 1600 than it is at ISO 4000. So ISO is only better at ISO 4000 than ISO 2000, 2500, and ISO 3200.
I confirmed this with Sean Robinson of Lumix marketing and he said (paraphrasing here) that the main reason for having a seond native ISO is so that HIGHER ISOs than 4000 are not so far away from a native ISO that they become riddled with noise. So I would suggest everyone test their cameras to see if it makes sense to jump from ISO 800 to ISO 4000 instead of using ISOs values between, say, ISO 800 and ISO 2000.
Slightly off topic: One Sony feature that I am envious of is the Cine EI exposure tools. My understanding is that if you overexpose S-LOG3 (as cinematographers often do in order to lower noise levels), the EI will allow you to PREVIEW what the footage will look like once you bring the levels down in post. Also, I believe it writes metadata in the footage that tells (certain) editing programs what the "proper" exposure is supposed to be. (That might only work with something like Sony catalyst though... not sure if Resolve reads the EI metadata or not). Anyway, it would be a good feature for all cameras to have.
Do you shoot with the Z8 or Z9?
I am asking because some of the things that you're saying seem like things you've heard or read, while what I am saying comes from over 2.5 years with the cameras and my experience as a cinematographer and a colorist, especially when it comes to exposure. When the noise reduction gets so intense that it bogs down a 5950X + RTX 3080 system, I know the noise signature is super strong. Temporal and spatial noise reduction (NR) were applied to the clips that were anamorphic, even the ones outside, that's how strong the noise signature is DX. Plus, the noise was still there, you just can't see it on RUclips because of the compression.
Further exposing to the right (ETTR) will also require you to fix it in post. When we expose to the right, we aren't just blowing the highlights to smithereens. As long as you don't clip them, the information can be brought back in post. The goal is to not clip either the highlights or the shadows. But if you do expose normally, and your scene is darker, you'll have fun fighting that noise in post, especially in DX. If I risk noise, and have to fix it in post, not only am I fixing it in post, but I am also using a tool that slows down the performance overall. NR always has and always will slow down performance. The statements regarding ISO are based on my use of the camera and come from learning lessons the hard way. With respect to Cine EI, I don't get too caught up in tools from other manufactures. I look at each camera by each manufacturer as a tool that could fit the needs of a project.
would be nice to see what you get out the Z6iii, surprised Nikon did not send you one to test!
Great video and appreciate the work. Again better than Nikons video guids!!😊
Hey, interesting video.
I would say that the common approach when shooting log is to expose to the right. I know that because of photography some people have the tendency to expose to the left (even if even there some people debate) but if you look at the nlog curve specifications and how it saves data exposing towards the right makes sense. Without burning the highlights of course
Exactly. Just don't burn the data. :)
Hey Sidney, great stuff as always, specific question for you. I can’t seem to set up the banks separately for video and photo, specifically the shooting mode (P,A,S,M). If I have bank A set up for Aperture priority for photo, when I switch to video, bank A is in aperture priority for video. If I switch back to M, then both photo and video for bank a goes to M. Can I completely separate these banks for photo and video?
is it possible to get a clean hdmi output instead of adding a lut to my monitor? i am using a ipad via capture card but i am getting a log image instead of a rec709.
A very nice video, but I'm confused by your reference to Nikon cameras, but Canon Lenses? I'm just beginning my venture into high-level video...always a stills person previously.
@@photosfromphilly when did I reference canon lenses. I said Cinema lenses.
Love the video
I have one question.
If i shoot 12 bit raw in sdr and switch it to rec 2020 - nikon log in the raw panel of resolve
And
If i shoot 12 bit nraw, n log in camera and use it as n log in resolve
What is the difference between the two two methods? Are the colours exactly the same or are they different?
@@MysticApertureStudios if you shoot Sdr, you can’t change it to nlog in the panel
@@sidneybakergreen if i leave the colour management to default in the project settings and from the raw panel set the colour management to clip then resolve allows changing of gamma and colour
Beautiful video one thing I would just buy a monitor that can use EL zone instead of false colors!
Once you learn EL zone and what that is for cinematography, there is no going back. It’s just so much more accurate than false colors.
I am a little old fashion :')
Great video Sidney! I just want to confirm. Did you state that the Z8 has false color?
It does not. I use false color on my monitor!
Thanks for the confirmation.@@sidneybakergreen
If you are in a high contrast scenario that is pushing your z8 past its limits, would you typically choose to protect the highlights at all cost, or lose some info in exchange for cleaner shadows? I run into this occasionally, and typically I protect and then clean up, but curious your thoughts
@@joshkiddfilms1295 I always protect the highlights when ETTR. I just let them get as hot as possible without clipping knowing theyll come back in post
I am more modern glass person. I have a question for you record video internally or externally? Also do you consider the internal recording limit an issue?
I record internally. I didn't know there's a record limit because I never hit lol. Some of my takes for RUclips video's have been 50 mins lol
@@sidneybakergreen yes it looks to be 125 minute continuous record limit. I’ve seen people complain about that but I don’t understand why anyone would want to record for 125 minutes unless you’re streaming.
@@marqman05 Well, if you are recording a lecture / seminar or doing a documentary interview. Now, it is unlikely there won't be a break in there somewhere that someone can stop the recording and start it again, but if you have a multi cam setup, it becomes a hassle. Imagine that you are shooting a seminar and you have three cameras set up across the room, with one near to the stage / presentation area, and you only have 15 seconds or so to run to each camera, stop the recording and then restart it. So while it wouldn't be a COMMON situation for most, it can be a hassle for certain situations.
@@marqman05125 minutes is about how long a battery lasts anyway. Unless you plug in external power. And even a 512Gb card will fill up after 2 hours of 4K 24p 10 bit SDR. Sooner in Log or RAW.
90 min Z8. 125 Z9
I have a few 8K 60fps shot in N-raw & N-log and Delivered in HDR, check it out and let me know what you think.
Looks 🔥🔥, Z9 or the Z8?
@@sponsoredmarket Z9
Nice Work!
I dont like how the nlog view assist shows nraw/nlog…for the cleanest results i need to ettr hard, but then the view assisted image looks absolutely ridiculously overexposed…but in post it comes out perfect (eg seemingly „white blown out skintones“ turn to perfect smooth hl-rolloff)…would love to see custom luts…
@@m0nztam0nk I hate it too :)
No over sampling?
Nevermind you are 24p.
Nikon cinema glass? What?!
nikonrumors.com/2024/04/27/nikon-is-actively-considering-developing-nikkor-cinema-lenses.aspx/
You lost me when you started Tossing you camera about like a ball. To my way of thinking the act suggested that you're either a careless person or that you're target audience are people that would think that tossing around thousands of dollars worth of equipment is "cool" or edgy. I didn't hear a word you said after that and stopped watching your video soon after. Which was sad because you were doing great until that point. Good luck.
@@edwardmathenge719 goodbye Edward. You won't be missed.