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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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By Andrew - EOSHD · Posted
Any thoughts on making an iPhone version (DNG -> H.265 without the processed look, without Prores RAW) -
2K compressed RAW is no problem on the Motorola Edge 50 Pro, but at the moment I’m not sure how to make 4K work reliably. RAW has a nicer rendering than the GPU pipeline, especially in the highlights. I’ve implemented 3×3 color matrices, TRCs, and 1D IT8-based correction for both GPU and RAW/RAWC modes. I think I’ll drop the H.265 mode that goes through the ISP and only keep GPU H.264 for social media compatibility. -
By eatstoomuchjam · Posted
Part of what's crazy to me is that the ZR isn't that small. If you compare it with a Z6 III or an EOS R5, the actual bodies are almost the same with the main differences being that the "bigger" cameras have a handgrip and EVF protruding from the small body. Looking on camera decision and comparing the ZR to the Fuji X-M5, the ZR is gigantic. And I feel like the Z6 III was more expensive when the ZR was released, but as of right now, their prices are almost identical with used Z6 III costing less than used ZR. So if you don't need the sort-of Redcode RAW or internal 32-bit float, the ZR becomes a somewhat weird choice. This is why I am waiting for the used prices to go down a lot once people figure that out or when the next shiny camera drops. 😉 -
By Ilkka Nissila · Posted
I think you'll find that you are expected to pay disproportionally (/a lot) more money for a slightly better feature set. 😉 How else are manufacturers supposed to bridge the gap in pricing between an individual vlogger's camera (2000€) and cameras made for cinema and TV network productions (30k€-300k€) where 50-100+ people are listed in the credits and their salaries total much more than the equipment used in the production? This apparent gap in prices is likely due to the fact that there are so many vloggers (a low price can be offered due to the large volume and stills photographers using the same cameras) and a small number of studios and networks with very specific needs and completely different production workflows (so a small number of units with very specific needs are made, at high prices). How this gap between product categories is covered is likely a significant challenge, and will always cause some customer unhappiness. For gimbal use, and extended arm use (vlogging with person shooting and talking to the camera) the small size and low weight, combined with a large display of the ZR are probably ideal. What such a user needs a R3D RAW workflow for, is a bit of a mystery for me. 🙂 I imagine productions using RED cameras as main cameras might be happy to use the ZR for situations where the RED camera is too large to fit, or too expensive, such as mounting on cars, etc. they can then more easily color match the footage from the different cameras. The larger the camera and the heavier it is, the larger the gimbal needs to be, and hand-holding a gimbal gets tiring quickly if the setup is heavy. For this purpose I would imagine the ZR is good, provided that one can handle the data. I find the Z8 with 24-70/2.8 internal zoom and RS 5 would be too heavy for me. Nikon does offer better h.265 and other codecs in Z8 and Z9 (with no excessive noise reduction in log footage), for example, but no R3D NE. Here the color matching is good between traditional Nikon stills camera color science and the video, rather than that of traditional video and cinema camera manufacturers.
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