All Z-lenses make a noise? Some Nikon Z film-makers here?

[ElenaH]

I've got a brand new Nikon Z 180-600 and found out that he AF-motor makes noise.
I checked 70-200 and 24-120 on both Z9 and Z9 -> the same picture.
The noise is not very loud and I can imagine that I will not hear it much by filming becasue in wildlife scenes the focus will not change drammatically. But if I want to film from unsharp to sharp (let's say from 2.4m to 20m) then I will hear it (and record )
The Sony 200-600 (+adapter on Z9) is absolutely silent in contrary.
Nikon Z film-makers what would you say?

 

[Nimi]

I've got a brand new Nikon Z 180-600 and found out that he AF-motor makes noise.
I checked 70-200 and 24-120 on both Z9 and Z9 -> the same picture.
The noise is not very loud and I can imagine that I will not hear it much by filming becasue in wildlife scenes the focus will not change drammatically. But if I want to film from unsharp to sharp (let's say from 2.4m to 20m) then I will hear it (and record )
The Sony 200-600 (+adapter on Z9) is absolutely silent in contrary.
Nikon Z film-makers what would you say?

Other than moving the mic off camera or recording externally, not sure it's possible since the motors on Z lenses are used to focus, AF or manual. Perhaps in post if it's very loud, although the internal mic (actually pre-amp) is weak.

But i have a related question.

How are you changing the focus while shooting, shifting focusing point and letting AF take over? Or set it to close manually then start recording and letting AF find it? Manual or AF, the Z lenses are focused by wire, so those motors will be activated. I cannot get it to do it smoothly enough with Z lenses to use so I rely on a blur layer, key-framed, in post. I get decent results with old Ai-S lenses and a follow-focus motor. I get great results with cine lenses, either with the Tilta motor or bare-hand because the throw is so much longer.

 

[MotoPixel]

I've got a brand new Nikon Z 180-600 and found out that he AF-motor makes noise.
I checked 70-200 and 24-120 on both Z9 and Z9 -> the same picture.
The noise is not very loud and I can imagine that I will not hear it much by filming becasue in wildlife scenes the focus will not change drammatically. But if I want to film from unsharp to sharp (let's say from 2.4m to 20m) then I will hear it (and record )
The Sony 200-600 (+adapter on Z9) is absolutely silent in contrary.
Nikon Z film-makers what would you say?

I don't own the 180-600 but with the Z 24-120 or the 100-400, they are quiet enough that it's normally not a problem if there is any ambient noise at all. The bigger issue for me is often wind noise, so if I'm going to be predominantly shooting video, I use a Shure short shotgun mic with a "dead cat" wind muff on it, mounted on the hotshoe and it's isolated well enough that lens focusing noise is never a problem with any of my Z lenses. With some of my F-mount lenses, it's another story...most of them not designed with video in mind.

The other reason I like using the external mic is that it picks up less of my own noise...breathing, a sigh, a burp, etc...or moving your hands on the camera body.

 

[Calson]

If you know the frequency of the AF motor noise you may be able to adjust the mic's cut-off level to eliminate much of it. The popular Sennheiser MKE 600 mic for example has the option of engaging a 100 Hz low-cut filter with a switch on the mic. The less omni directional the mic the less noise it will pick up from the lens. The camera mics are going to be omni directional and pick up a lot more noise from the mic. A cardoid type mic is the best choice and some good inexpensive ones are self powered (like the MKE 600) and can be jacked into the camera's output.

 

[ElenaH]

How are you changing the focus while shooting, shifting focusing point and letting AF take over? Or set it to close manually then start recording and letting AF find it? Manual or AF, the Z lenses are focused by wire, so those motors will be activated. I cannot get it to do it smoothly enough with Z lenses to use so I rely on a blur layer, key-framed, in post. I get decent results with old Ai-S lenses and a follow-focus motor. I get great results with cine lenses, either with the Tilta motor or bare-hand because the throw is so much longer.

I use AF-F and let it focus in the most cases. I often take photographs and video with the same camera ( Z9 ) and I don't have a magnetic ND filter what brings me to not using filter at all due to the stress and lack of time to put it on. As a result I change to f8 - f16 dependent on light and scene (focal lenght). I assume with f16 the motor is not running long distance to focus and there is normally so much natural noise from animals that motor-noise was never a problem. I have never heard it. I also use powered Rode Video Mic Rycote, that is isolated from the body.
I just saw that some professionals use a trick of unshap->sharp for some scenes. This is why I thought it would be impossible with Z-lens in the quiet environment. Personally I have never used this art of filming.
I had a look at Tilta motors. There are a lot of them. You need to know what you do. I think, I am not so far yet. The cine lenses are definitely good but all this means more equipment or additional video-equipment to my already available photo-equipment. And I am restricted. On the one hand by luggage and on the other hand I will not cope with all of this under African conditions. Sometimes I cannot even take a tripod (because there is no space, I have too less hands, I must be very mobile, etc...) So, I need to be better with what I have in the circumstances I am in. And those are: temperature about +43, you need to lie down in the sand, the sand is everywhere, left and right could be photographers/film-makers as well or you need to run with your equipment, then take a position very quickly or you film from the car and in this very moment a few tse-tse flies are biting you
I also take photos and to change lens to cine one in the sand s not a good idea and normally I don't have im for it anyway.
So, the only equipment I am thinking of is a magnetic filter system and a peak design clip for iPhone or GoPro to pt them on backpack and have them as a B-roll.

I think that it is important what a person is filming and what drives that person. For example, you are a very experienced professional (at least for me) who are doing the art.
I am a passion Africa-traveller, self-driver and adventurer who are doing amateur travel- and animal-videos for fun and to share them in social media and communities. So, I will never be so good as you are and it is not also my goal. My goal is to be better in the segment I am and to have additional equiment (exernal motors, new lens) is just unthinkable for me at the moment ;-)

 

[Nimi]

I use AF-F and let it focus in the most cases. I often take photographs and video with the same camera ( Z9 ) and I don't have a magnetic ND filter what brings me to not using filter at all due to the stress and lack of time to put it on. As a result I change to f8 - f16 dependent on light and scene (focal lenght). I assume with f16 the motor is not running long distance to focus and there is normally so much natural noise from animals that motor-noise was never a problem. I have never heard it. I also use powered Rode Video Mic Rycote, that is isolated from the body.
I just saw that some professionals use a trick of unshap->sharp for some scenes. This is why I thought it would be impossible with Z-lens in the quiet environment. Personally I have never used this art of filming.
I had a look at Tilta motors. There are a lot of them. You need to know what you do. I think, I am not so far yet. The cine lenses are definitely good but all this means more equipment or additional video-equipment to my already available photo-equipment. And I am restricted. On the one hand by luggage and on the other hand I will not cope with all of this under African conditions. Sometimes I cannot even take a tripod (because there is no space, I have too less hands, I must be very mobile, etc...) So, I need to be better with what I have in the circumstances I am in. And those are: temperature about +43, you need to lie down in the sand, the sand is everywhere, left and right could be photographers/film-makers as well or you need to run with your equipment, then take a position very quickly or you film from the car and in this very moment a few tse-tse flies are biting you
I also take photos and to change lens to cine one in the sand s not a good idea and normally I don't have im for it anyway.
So, the only equipment I am thinking of is a magnetic filter system and a peak design clip for iPhone or GoPro to pt them on backpack and have them as a B-roll.

I think that it is important what a person is filming and what drives that person. For example, you are a very experienced professional (at least for me) who are doing the art.
I am a passion Africa-traveller, self-driver and adventurer who are doing amateur travel- and animal-videos for fun and to share them in social media and communities. So, I will never be so good as you are and it is not also my goal. My goal is to be better in the segment I am and to have additional equiment (exernal motors, new lens) is just unthinkable for me at the moment ;-)

I agree, in your situation, specifically solo run-and-gun hybrid shooting, you don't want a follow-focus rig.

Leaving aside filtering out the annoying sound later, you can accomplish the effect (it's called focus racking) in post. I grabbed something that's being edited to demonstrate it. In the field, keep everything in focus. When editing (I used Premiere Pro but all editors have this ability), add an adjustment layer above the clip, search Gausian Blur in Effects and drag it into the Adjustment Layer. While that layer is chosen, click the little clock next to Blurriness (that initiates the keyframe) increase blurriness to about 200, then drag the timeline to about 3 second mark, change blurriness to 0 and hit the space bar. You'll now have a blur at the start, going to sharp in 3 seconds. In the attached clip there is also a 3 second fade-in using Black Video and Transition. Ditto at the end of the clip: blur- and fade-out. All in post using super sharp input.

Hope this helps! If you want to send me a clip via Google Drive I can put the effect on it and send it back to you so you can see how it works.

 

[ElenaH]

When editing (I used Premiere Pro but all editors have this ability), add an adjustment layer above the clip, search Gausian Blur in Effects and drag it into the Adjustment Layer. While that layer is chosen, click the little clock next to Blurriness (that initiates the keyframe) increase blurriness to about 200, then drag the timeline to about 3 second mark, change blurriness to 0 and hit the space bar. You'll now have a blur at the start, going to sharp in 3 seconds. In the attached clip there is also a 3 second fade-in using Black Video and Transition. Ditto at the end of the clip: blur- and fade-out. All in post using super sharp input.

I thought profis make it in the field I cannot stop to wonder hoe stupid I am ! It is much more made in post than I could ever imagine!
by the way - is it a Land Cruiser?

If you want to send me a clip via Google Drive I can put the effect on it and send it back to you so you can see how it works.

I will check it on the weekend thank you very much!

 

[Nimi]

I thought profis make it in the field I cannot stop to wonder hoe stupid I am ! It is much more made in post than I could ever imagine!
by the way - is it a Land Cruiser?

I will check it on the weekend thank you very much!

Since the adoption of "mirrorless" and dawn of solo, hybrid shooters, much of it moved into the studio. If this was a crewed assignment, with a cinema camera and lens, absolutely, it would have been racked manually. But it was just me, an assistant, and a Z9 with 14-24/f2.8... Some effects are indistinguishable except by editors. Manual racking changes the perspective slightly because focusing is similar to zooming, even if the lens doesn't breath. The simple blur I used here is less organic, just blur to sharp all over. But it works! By the way, it's critical to shoot in Manual Focus for time lapses. A passing bird close to the camera could ruin 2 hours of shooting if the focus grabs it and adjusts for it.

Yes, this is a Land Cruiser, shooting a clip for Toyota in Central America. We'll end up using maybe six or seven seconds from the time lapse. The joys of commerce: probably 10hrs of shooting and editing for 6 seconds...

 

[Calson]

With commercial work the mic is mounted to a boom pole and so is not on the camera and does not pick up lens or camera noise. When with a single operator it is not difficult to mount a mic on a lightstand that can be 20 or more feet from the camera and able to record clean ambient sounds. Having the audio recorded by the camera makes it much easier and faster to sync the external audio to the internally recorded audio and then add the clean audio track to the video clip.

 

[ElenaH]

But it was just me, an assistant, and a Z9 with 14-24/f2.8

By the way, how are you happy with 14-24/2.8.? I assume it is a Z version? I had an F.mount and sold it becasue it was too big an heavy. I used it for nightscapes and night-timelapses, Actually I loved 14mm especially .. In Africa, on 19 degree altitude you need to use 13-15sec and not a longer shutter for photosgraphs becasue of the earth rotation - to get stars like dots. For timelapses it can be a bit more becasue video can be a bit blury. I have now Zeiss Batis 18mm/2.8 with Megadap adapter but Zeiss glass has worse transmission (it lets less light through than Nikon does - it is a known characteristic of Zeiss) So, I was thinking about buying Z 14-24/2.8. Because of weight, quality, versatility ad 14mm on one end. The tests show that it is much better than F-mount.
And yes, for timelapse you need to set everything manual (WB, shutter, ISO, focus) Otherwise it can change from frame to frame caousing kind of flicker after rendering it in video.

The simple blur I used here is less organic, just blur to sharp all over

By the way, about blur. I bought Black Magic filter few month ago. I am sure you know what I mean, kind of fog-filter, very decent. You cannot use it for photography but for video it works fine. Now I think that it was probably a stupid idea becasue everything is done in post anyway
I used double fog filter to photograph nichtscapes and stars. It worked excellently. I think, you cannot achieve the same results in post. The small stars ere dimmed and the big - shone. But I didn't try it for nightscape timelapse. Did you?

Yes, this is a Land Cruiser, shooting a clip for Toyota in Central America

Great! I immediately thought that it is a Land Cruiser. I drove it in Africa in 2013, but it had a weak engine. There are J78, J79 series. I don't remember what this one is. Now we drive Double Cab pickup changed for Safari. But this one in timelapse is sooo nostalgic! It gets to the heart! I immediately see goraffes there however there no one... Elephants, stucking in the sand and fireplace in the evening with roaring lions. The association wakes up the memories. So, IMO it is absolutely reached the goal. But who knows what the others see... ;-)
The ranger didn't sit in the car for 10 hours, did he?
I assume he was taken from the first frame ;-)

 

[ElenaH]

With commercial work the mic is mounted to a boom pole and so is not on the camera and does not pick up lens or camera noise. When with a single operator it is not difficult to mount a mic on a lightstand that can be 20 or more feet from the camera and able to record clean ambient sounds. Having the audio recorded by the camera makes it much easier and faster to sync the external audio to the internally recorded audio and then add the clean audio track to the video clip.

Yes, I also was thinking about it. Unfortunately I cannot use it in Africa becasue animals know Toyota but if something long will come out of the car then they can be scared or curious ;-) There are only a few places in Africa where I could use it.

 

[Nimi]

By the way, how are you happy with 14-24/2.8.? I assume it is a Z version? I had an F.mount and sold it becasue it was too big an heavy. I used it for nightscapes and night-timelapses, Actually I loved 14mm especially .. In Africa, on 19 degree altitude you need to use 13-15sec and not a longer shutter for photosgraphs becasue of the earth rotation - to get stars like dots. For timelapses it can be a bit more becasue video can be a bit blury. I have now Zeiss Batis 18mm/2.8 with Megadap adapter but Zeiss glass has worse transmission (it lets less light through than Nikon does - it is a known characteristic of Zeiss) So, I was thinking about buying Z 14-24/2.8. Because of weight, quality, versatility ad 14mm on one end. The tests show that it is much better than F-mount.
And yes, for timelapse you need to set everything manual (WB, shutter, ISO, focus) Otherwise it can change from frame to frame caousing kind of flicker after rendering it in video.

By the way, about blur. I bought Black Magic filter few month ago. I am sure you know what I mean, kind of fog-filter, very decent. You cannot use it for photography but for video it works fine. Now I think that it was probably a stupid idea becasue everything is done in post anyway
I used double fog filter to photograph nichtscapes and stars. It worked excellently. I think, you cannot achieve the same results in post. The small stars ere dimmed and the big - shone. But I didn't try it for nightscape timelapse. Did you?

Great! I immediately thought that it is a Land Cruiser. I drove it in Africa in 2013, but it had a weak engine. There are J78, J79 series. I don't remember what this one is. Now we drive Double Cab pickup changed for Safari. But this one in timelapse is sooo nostalgic! It gets to the heart! I immediately see goraffes there however there no one... Elephants, stucking in the sand and fireplace in the evening with roaring lions. The association wakes up the memories. So, IMO it is absolutely reached the goal. But who knows what the others see... ;-)
The ranger didn't sit in the car for 10 hours, did he?
I assume he was taken from the first frame ;-)

I love my z14-24/2.8 and I also loved its heavier predecessor. It's a useful focal range for sprawling timelapses and I find it sharper and having better contrast than any prime in its range. I use Lee Filters system with it, mostly VNDs for landscapes and seascapes. I've never tried doing nightscapes; it's been on my list forever and I live 10 minutes away from one of the darkest skies in Costa Rica. One day.

As far as Black Magic and other diffusion/mist filters, a breeze to do in post. I have yet to find a field effect that can't be duplicated in Premiere Pro or Davinci, but it's sometimes easy to just throw on a filter. For example, skin. Also, I am not always sure what the editor would do with it, so I don't want to bake-in an effect. My mindset with video is to get the exposure and composition right, maximize dynamic range, leave room for cropping and recomposing and shoot only at 180 shutter angle. I can get the look I need in post.

Good or bad, my video assignments usually end up as "nostalgic" videos, valuing "organic" and "retro" over "clinically sharp" or "perfect color." In most cases it's run through FilmConvert Nitrate to add grain, halation, and film profile, so it's important to keep everything under it as close to Rec709 as possible. So I end up just shooting Nlog 24 or 120fps at native ISO. I recently added a Zf to the bag, and the color profiles match perfectly. I know you use iPhone and GoPro, and the thought of having to match everything, color and frame rates and codex sounds daunting.

No giraffes or elephants in Costa Rica, just 5,000 insects and reptiles that would kill you. Jurassic Park was filmed a couple hours south of here. This is the HJZ78. Which is pretty much the perfect vehicle, especially at the beach. Read about it here: https://drive.google.com/file/d/1TwS1UW_w1uVdfCj1LDpE2p-avkN0ucds/view?usp=drivesdk

 

[Nimi]

The ranger didn't sit in the car for 10 hours, did he?
I assume he was taken from the first frame ;-)

Just one frame, cut out the form, save as Tiff (transparent), add as a layer on top of the timelapse, Group for ease of scaling and zooming. The shoot took just a a couple of hours, got lucky with fast-moving clouds that day. I think 2000 frames maybe?

 

[Calson]

Even ENG situations the mics are either on the end of a boom pole or are lavalier mics placed on the talent and never are camera mounted mics used. The same transceivers used with lavalier mics can be used with any mic with a 3.5mm plug end and it can be a cardoid or super cardoid mic.

Most of the audio on wildlife films is non-directional and added in post to enhance the visual footage. The idea that it needs to all be done in real time is far from reality where many snippets of video is compiles and rearranged and audio tracks added to create the final product.

 

[ElenaH]

Most of the audio on wildlife films is non-directional and added in post to enhance the visual footage. The idea that it needs to all be done in real time is far from reality where many snippets of video is compiles and rearranged and audio tracks added to create the final product.

Yes, that's true. I use a directional micro but on the camera. It would be better to use a directional mic with recorder and short pole. The problem is that the animals don't see you inside a car, for them toyota is a big animal of a particulat shape. But they see when the shape changes. So you cannot straight your hand out or use the long pole because they will see the unknown element. THey will run away or they will show that they don't like it and they will be aggressive or just curious and try it to bite. I saw this behaviour many time on safaris. There are a few places where you can get out of the car like fo example, in Mana Pools National Park. But lions are running away anyway when they see you, they don't like humans ;-) So, the only option is to record the lion-roar is from the car or from the closed tent.

 

[ElenaH]

I live 10 minutes away from one of the darkest skies in Costa Rica

Wow! You need to do nightscape timelapses! You must! There is a youtube channel of Richard Tati - "Nightscapes Images" . He is doing timelapses as well. I can recommend to have a look, he is very professional. And I think, the still images can be used in video as well.
By the way about 180 shutter angle. I heard that to film the birds you can go with higher shutter speed becasue the move very fast and somehwat angular. What would you think? There are also a movie (I don't remember which one ... about the war) where it was user hight and also lower than 180-rule shutter speed. Higher - to show the horror of exploded bombsand lower to show the movement more by human-fighting. Need to google it again. I think it is interesting. It was a famous movie. So, the profis break the rules ;-)

recently added a Zf to the bag, and the color profiles match perfectly

it is interesting. So, you film with selected colour-profile? And how does it look? Better than RAW + applied LUT in post?

I know you use iPhone and GoPro

it would be not so bad becasue both of them are very good for video, they have all fps (also 24fps) the last iPhone can even film in RAW. GoPro is also very versatile, you can put it in carcass of a dead animal and film how jackals are eating it or you can put it in some interesting angles, in water and so on. It is still about 350-400$ and not 4000$, right. So, I love my GoPro. It makes also excellent time-warps with increadible stabilisation (this is a timelapse when you drive or run, but you sure know)
There are some people who doing films with only GoPro or only iPhone.
My problem is that I use Wildcameras and the quality of those is not good at all. But I cannot try it with a better equimpemnt becasue it is often eaten or destroyed And I am happy if I can find a SD-card to see what a beast it was
I think, you should try GoPro especially if you film cars. I can imagine how good and nostalgic footage you can do from GoPro ;-) By the way mine was bitten by hyena and survived, the only front monitor is destroyed, the camera is working still. So, they are quite robust ;-)

 

[Nimi]

Wow! You need to do nightscape timelapses! You must! There is a youtube channel of Richard Tati - "Nightscapes Images" . He is doing timelapses as well. I can recommend to have a look, he is very professional. And I think, the still images can be used in video as well.
By the way about 180 shutter angle. I heard that to film the birds you can go with higher shutter speed becasue the move very fast and somehwat angular. What would you think? There are also a movie (I don't remember which one ... about the war) where it was user hight and also lower than 180-rule shutter speed. Higher - to show the horror of exploded bombsand lower to show the movement more by human-fighting. Need to google it again. I think it is interesting. It was a famous movie. So, the profis break the rules ;-)


it is interesting. So, you film with selected colour-profile? And how does it look? Better than RAW + applied LUT in post?

it would be not so bad becasue both of them are very good for video, they have all fps (also 24fps) the last iPhone can even film in RAW. GoPro is also very versatile, you can put it in carcass of a dead animal and film how jackals are eating it or you can put it in some interesting angles, in water and so on. It is still about 350-400$ and not 4000$, right. So, I love my GoPro. It makes also excellent time-warps with increadible stabilisation (this is a timelapse when you drive or run, but you sure know)
There are some people who doing films with only GoPro or only iPhone.
My problem is that I use Wildcameras and the quality of those is not good at all. But I cannot try it with a better equimpemnt becasue it is often eaten or destroyed And I am happy if I can find a SD-card to see what a beast it was
I think, you should try GoPro especially if you film cars. I can imagine how good and nostalgic footage you can do from GoPro ;-) By the way mine was bitten by hyena and survived, the only front monitor is destroyed, the camera is working still. So, they are quite robust ;-)

Gladiator and before that Saving Private Ryan used a 45 degree shutter angle for the gritty look. I just try to get people to walk into a dealership and buy a truck! Commerce, not art.

Video I shoot just Log or NRAW. The files from the Z9 and Zf are identical, so I can easily correct and grade with just one layer. Stills (and timelapses) are RAW lossless, and again, the files are identical so I can quickly correct and color then combine them as needed without a color cast or hours of matching them in editing. The human eye is very sensitive to skin color, Nikon colors are right on, Canon slightly magenta and Sony slightly green. Easily correctable, but matching is hard. So it helps to shoot with one system.

Potato Jet just interviewd Claudio Moranda (youtube) about his use of iPhone and it's just great. On my list too.

 

[Nimi]

Wow! You need to do nightscape timelapses! You must! There is a youtube channel of Richard Tati - "Nightscapes Images" . He is doing timelapses as well. I can recommend to have a look, he is very professional. And I think, the still images can be used in video as well.
By the way about 180 shutter angle. I heard that to film the birds you can go with higher shutter speed becasue the move very fast and somehwat angular. What would you think? There are also a movie (I don't remember which one ... about the war) where it was user hight and also lower than 180-rule shutter speed. Higher - to show the horror of exploded bombsand lower to show the movement more by human-fighting. Need to google it again. I think it is interesting. It was a famous movie. So, the profis break the rules ;-)


it is interesting. So, you film with selected colour-profile? And how does it look? Better than RAW + applied LUT in post?

it would be not so bad becasue both of them are very good for video, they have all fps (also 24fps) the last iPhone can even film in RAW. GoPro is also very versatile, you can put it in carcass of a dead animal and film how jackals are eating it or you can put it in some interesting angles, in water and so on. It is still about 350-400$ and not 4000$, right. So, I love my GoPro. It makes also excellent time-warps with increadible stabilisation (this is a timelapse when you drive or run, but you sure know)
There are some people who doing films with only GoPro or only iPhone.
My problem is that I use Wildcameras and the quality of those is not good at all. But I cannot try it with a better equimpemnt becasue it is often eaten or destroyed And I am happy if I can find a SD-card to see what a beast it was
I think, you should try GoPro especially if you film cars. I can imagine how good and nostalgic footage you can do from GoPro ;-) By the way mine was bitten by hyena and survived, the only front monitor is destroyed, the camera is working still. So, they are quite robust ;-)

No GoPro for me. Everything I shoot ends up being graded in some manner, and the dynamic range on the GoPro due to its size is too low for that. Rule of thumb is 24 frames, meaning 1 second before the viewer notices the blown highlights and muddy shadows, and for what I do it's not worth the effort.

I've settled into a specific worflow, which gets me the best possible footage, then I can "degrade" it to look more retro or filmy. Can't got the other way... The only exception is when for some reason I decide to use older lenses which give flare and imperfections and soft edges that are hard to duplicate in post.

 

[ElenaH]

and the dynamic range on the GoPro due to its size is too low for that.

that is true absolutely!

 

[O]

Gladiator and before that Saving Private Ryan used a 45 degree shutter angle for the gritty look. I just try to get people to walk into a dealership and buy a truck! Commerce, not art.

Video I shoot just Log or NRAW. The files from the Z9 and Zf are identical, so I can easily correct and grade with just one layer. Stills (and timelapses) are RAW lossless, and again, the files are identical so I can quickly correct and color then combine them as needed without a color cast or hours of matching them in editing. The human eye is very sensitive to skin color, Nikon colors are right on, Canon slightly magenta and Sony slightly green. Easily correctable, but matching is hard. So it helps to shoot with one system.

Potato Jet just interviewd Claudio Moranda (youtube) about his use of iPhone and it's just great. On my list too.

I had a look at the U Tube Potato Jet interview with Claudio Moranda (you tube) about his use of a iPhone.
Excellent thank you for sharing.

It resonates a lot of fundamentals i have always believed in, less can be more.

Without light we have nothing.
The most accurate natural perfect rich colour we never really see easily is in the middle of the night in pitch black conditions.
Good Outcomes come more from you than the gear.
And to much technical stuff and complex gear tends to hinder in cases creativity innovation somewhat.
It reaffirms what you can do on an I Phone which has never been a surprise.
Less is more, less makes you do more.

Only an opinion

 

[Nimi]

I had a look at the U Tube Potato Jet interview with Claudio Moranda (you tube) about his use of a iPhone.
Excellent thank you for sharing.

It resonates a lot of fundamentals i have always believed in, less can be more.

Without light we have nothing.
The most accurate natural perfect rich colour we never really see easily is in the middle of the night in pitch black conditions.
Good Outcomes come more from you than the gear.
And to much technical stuff and complex gear tends to hinder in cases creativity innovation somewhat.
Reaffirms what you can do on an I Phone has never been a surprise.
Less is more, less makes you do more.

Only an opinion

That's a great observation. Yes, the iPhone can take feature-like movies, but it needs professional lighting. Same with our cameras.

 

[O]

That's a great observation. Yes, the iPhone can take feature-like movies, but it needs professional lighting. Same with our cameras.

So true, lighting expertise is a talent to be respected and admired. It for me creates an effect, evokes emotion, creates a message, or holds interest.

If i go out at night in the pitch black, i take several small Led torches the kind that fit in your pocket about 3 inches long, and at one at natural kelvin level say 5200, the others are Red Blue Green using cello film attached with a rubber band LOL.
I then proceed to paint slowly the subject, be it a plant or a frog or insect or the texture of a paper bark tree, the colours are rich and breathtaking.

Light painting is not new, the one thing i have noticed is that the colours are like nothing we see in day light.

Sometimes i might use 3 different colours of cello on the one torch all at once to get a unique colour, i just have to maybe do 8 to 10 seconds shining or brushing rather than 3 or 4 seconds. I guess i am filling the pixels fully and i assume giving me full rich clean dynamic range.

Nothing new but gee whiz some of the effects can be breath taking.

I love playing with lighting because of the many different outcomes.

Only an opinion