Professional filming with Nikon cameras - The most important learnings from the workshop with Marian HirschfeldProfessional

filming with Nikon cameras? Filmmaker Marian Hirschfeld showed exactly how this works in our two-part workshop. For anyone who wants to delve deeper into videography with Nikon Z cameras, this workshop provides a good overview. In this blog article, we summarize the most important content and learnings from both parts of the workshop for you.

Tip: The complete recordings of the workshop are still available on our YouTube channel.

Professional filming with Nikon cameras - The most important learnings from the workshop with Marian HirschfeldProfessional

filming with Nikon cameras? Filmmaker Marian Hirschfeld showed exactly how this works in our two-part workshop. For anyone who wants to delve deeper into videography with Nikon Z cameras, this workshop provides a good overview. In this blog article, we summarize the most important content and learnings from both parts of the workshop for you.

Tip: The complete recordings of the workshop are still available on our YouTube channel.

to the handout of the workshop

to the handout of the workshop

Our livestreams:

Our livestreams:

1. Introduction: From photography to videography - what has changed?

We start by talking about the differences between photography and videography: "A video is nothing more than many images in a row," explains Marian. Sounds simple, but this is where the challenges begin:

Understanding and applying frame rates

central topic at the beginning: Choosing the right frame rate. Marian explains the function of the "classic frame rates" - such as 24, 25 or 30 frames per second for "real-time" playback and 50, 60 or even 240 fps for slow-motion shots. It becomes particularly practical when Marian takes various slow motion shots with the Nikon Z6 III directly in front of the camera.

At this point in the video, Marian uses a dance performance with model Nora to show the practical differences between 50, 100 and 240 fps (see workshop part 1).

Learning: 24 or 25 fps are suitable for smooth standard shots - slow motion requires at least twice the frame rate. Important: Select the frame rates consistently within a project to avoid problems when editing.

1. Introduction: From photography to videography - what has changed?

We start by talking about the differences between photography and videography: "A video is nothing more than many images in a row," explains Marian. Sounds simple, but this is where the challenges begin:

Understanding and applying frame rates

central topic at the beginning: Choosing the right frame rate. Marian explains the function of the "classic frame rates" - such as 24, 25 or 30 frames per second for "real-time" playback and 50, 60 or even 240 fps for slow-motion shots. It becomes particularly practical when Marian takes various slow motion shots with the Nikon Z6 III directly in front of the camera.

At this point in the video, Marian uses a dance performance with model Nora to show the practical differences between 50, 100 and 240 fps (see workshop part 1).

Learning: 24 or 25 fps are suitable for smooth standard shots - slow motion requires at least twice the frame rate. Important: Select the frame rates consistently within a project to avoid problems when editing.

2. Resolution and its importance in the workflow

also sheds light on the various resolutions - from Full HD and 4K to 6K and 8K, as is possible with the Nikon Z8 or Z9, for example. A particularly practical tip: even if 8K sounds impressive, 4K output is the most common standard today and is completely sufficient for most applications.

as a quality boostEspecially

exciting: Marian explains the topic of "oversampling". This involves downscaling 6K data to 4K - the result: a sharper image with less noise and artefacts.

Tipfrom the workshop: Oversampling is automatically active in many 4K modes on the Nikon Z6 III - a real added value that is particularly worthwhile for projects with post-processing.

Learning: Higher resolutions offer more flexibility in post-production, for example for subsequent cropping or for optimizing image quality through oversampling.

2. Resolution and its importance in the workflow

also sheds light on the various resolutions - from Full HD and 4K to 6K and 8K, as is possible with the Nikon Z8 or Z9, for example. A particularly practical tip: even if 8K sounds impressive, 4K output is the most common standard today and is completely sufficient for most applications.

as a quality boostEspecially

exciting: Marian explains the topic of "oversampling". This involves downscaling 6K data to 4K - the result: a sharper image with less noise and artefacts.

Tipfrom the workshop: Oversampling is automatically active in many 4K modes on the Nikon Z6 III - a real added value that is particularly worthwhile for projects with post-processing.

Learning: Higher resolutions offer more flexibility in post-production, for example for subsequent cropping or for optimizing image quality through oversampling.

3. Exposure and shutter speed - the 180? rule

ISO and aperture, Marian also looks at shutter speed:
Theso-called 180? shutter rule is: shutter speed = 1/(2 x frame rate). So at 25 fps approx. 1/50 second.This creates the "cinematic" look.

Live demoin the workshop: Marian shows directly on the camera how to implement this rule in practice.

Learning: A clean exposure and the right shutter speed are essential for a natural flow of movement in the image.

3. Exposure and shutter speed - the 180? rule

ISO and aperture, Marian also looks at shutter speed:
Theso-called 180? shutter rule is: shutter speed = 1/(2 x frame rate). So at 25 fps approx. 1/50 second.This creates the "cinematic" look.

Live demoin the workshop: Marian shows directly on the camera how to implement this rule in practice.

Learning: A clean exposure and the right shutter speed are essential for a natural flow of movement in the image.

4. File formats and color depth - what for whom?

second part of the workshop, things get more advanced: Marian looks at the various codecs and color depths that Nikon cameras support.
{

Von H.264

to N-RAWThe

rule of thumb: The more professional the project, the less compressed and more color-intensive the material should be.

• H.264 / H.265 (8-10 bit):
• Perfect for fast projects and social media.
• ProRes 422: Higher quality with good computer compatibility, ideal for demanding projects.
• N-RAW (12 bit): Maximum flexibility, but also larger data volumes - only for experienced users with a strong workflow.
In the

workshop, Marian uses the Nikon menus to explain how these formats can be set up (see part 2).

Camera Basics - Video codecs

made understandableMarian

visualizes the differences between 8-, 10- and 12-bit recordings. It becomes clear why you should choose at least 10 bits for ambitious color corrections - more leeway in the color transitions.

Learning: If you only want to make minor color corrections, stick with 8 bits. For professional color grading processes, 10 bits (or more) are advisable.

4. File formats and color depth - what for whom?

second part of the workshop, things get more advanced: Marian looks at the various codecs and color depths that Nikon cameras support.
{

Von H.264

to N-RAWThe

rule of thumb: The more professional the project, the less compressed and more color-intensive the material should be.

• H.264 / H.265 (8-10 bit):
• Perfect for fast projects and social media.
• ProRes 422: Higher quality with good computer compatibility, ideal for demanding projects.
• N-RAW (12 bit): Maximum flexibility, but also larger data volumes - only for experienced users with a strong workflow.
In the

workshop, Marian uses the Nikon menus to explain how these formats can be set up (see part 2).

Camera Basics - Video codecs

made understandableMarian

visualizes the differences between 8-, 10- and 12-bit recordings. It becomes clear why you should choose at least 10 bits for ambitious color corrections - more leeway in the color transitions.

Learning: If you only want to make minor color corrections, stick with 8 bits. For professional color grading processes, 10 bits (or more) are advisable.

5. Color profiles: SDR, HLG or N-Log?

Another highlight: The discussion of color profiles.

• SDR (Rec.709):
• Standard for social media & web.
• HLG: HDR-compatible, but rarely used.
• N-Log: The "Swiss army knife" for professionals, ideal for color correction.
Example

from the workshop: Marian shows a flat N-Log image and the graphed result - including waveform control and practical tips for optimal exposure in the N-Log profile.

Learning: Log profiles offer more dynamic range and creative freedom in post-production, but also require experience in color grading.

5. Color profiles: SDR, HLG or N-Log?

Another highlight: The discussion of color profiles.

• SDR (Rec.709):
• Standard for social media & web.
• HLG: HDR-compatible, but rarely used.
• N-Log: The "Swiss army knife" for professionals, ideal for color correction.
Example

from the workshop: Marian shows a flat N-Log image and the graphed result - including waveform control and practical tips for optimal exposure in the N-Log profile.

Learning: Log profiles offer more dynamic range and creative freedom in post-production, but also require experience in color grading.

6. Marian Hirschfeld's workflow: Import & first cut in DaVinci Resolve

the last part of the workshop, Marian takes the participants to his computer: He shows the file import, the structuring of projects and the first steps in DaVinci Resolve - from the timeline system to the first color correction.

Tip: When organizing files, Marian recommends sorting footage directly into sensibly named folders - a real time-saver in the editing process.

Learning: A structured workflow from import to post-production saves time and nerves - and is especially essential for larger projects.

6. Marian Hirschfeld's workflow: Import & first cut in DaVinci Resolve

the last part of the workshop, Marian takes the participants to his computer: He shows the file import, the structuring of projects and the first steps in DaVinci Resolve - from the timeline system to the first color correction.

Tip: When organizing files, Marian recommends sorting footage directly into sensibly named folders - a real time-saver in the editing process.

Learning: A structured workflow from import to post-production saves time and nerves - and is especially essential for larger projects.

7. Conclusion: Nikon Z cameras - more than "just" photography

workshop makes it clear: modern Nikon Z cameras such as the Z6 III, Z8 or Z9 are real all-rounders in the video sector. From flexible frame rates and high-resolution formats to professional color spaces, they offer everything that makes the heart of ambitious video fans beat faster.

Thecomplete recordings of the workshop including all demos and live explanations can be found here:

WorkshopPart 1 - Basics and Technique
WorkshopPart 2 - Advanced Workflows and Color Profiles

Marian Hirschfeld: instagram
Nora Nova: instagram

7. Conclusion: Nikon Z cameras - more than "just" photography

workshop makes it clear: modern Nikon Z cameras such as the Z6 III, Z8 or Z9 are real all-rounders in the video sector. From flexible frame rates and high-resolution formats to professional color spaces, they offer everything that makes the heart of ambitious video fans beat faster.

Thecomplete recordings of the workshop including all demos and live explanations can be found here:

WorkshopPart 1 - Basics and Technique
WorkshopPart 2 - Advanced Workflows and Color Profiles

Marian Hirschfeld: instagram
Nora Nova: instagram

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