Subforums
-
The EOSHD YouTube Channel (23,802 visits to this link)
17,309 topics in this forum
-
- 706 replies
- 323k views
-
- 1.2k replies
- 494.2k views
-
- 5.8k replies
- 1.9m views
-
- 9.1k replies
- 2.8m views
-
- 0 replies
- 2.1k views
-
- 1.8k replies
- 785.8k views
-
- 494 replies
- 161.9k views
-
- 38 replies
- 16.7k views
-
- 17 replies
- 1.4k views
-
- 16 replies
- 1.9k views
-
- 19 replies
- 1.2k views
-
- 569 replies
- 270.3k views
-
- 36 replies
- 3.4k views
-
- 10 replies
- 2.2k views
-
- 86 replies
- 12.3k views
-
- 7 replies
- 982 views
-
- 4 replies
- 335 views
-
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
- 73 replies
- 6.3k views
-
- 14 replies
- 1.1k views
-
- 3 replies
- 574 views
-
- 1 reply
- 249 views
-
- 53 replies
- 6.1k views
-
- 23 replies
- 2.4k views
-
- 1 reply
- 307 views
-
- 62 replies
- 22.2k views
-
- 25 replies
- 2.3k views
-
- 64 replies
- 9k views
-
- 7 replies
- 1k views
-
- 108 replies
- 81k views
-
- 12 replies
- 1.6k views
-
- 42 replies
- 11.8k views
-
- 31 replies
- 7.6k views
-
- 4 replies
- 1.1k views
-
- 129 replies
- 67.9k views
-
- 12 replies
- 1.5k views
-
- 6 replies
- 4k views
-
- 19 replies
- 14k views
-
- 24 replies
- 2.9k views
-
- 9 replies
- 2.1k views
-
- 11 replies
- 2.3k views
-
Popular Contributors
-
1
-
2
-
3
-
4
-
5
-
-
Forum Statistics
-
Total Topics17.3k
-
Total Posts352.2k
-
-
Member Statistics
-
Posts
-
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. -
I’m also curious why they make some of the decisions they do (all brands) but I’d for sure have made the ZR a little more pro and it need not have been that much bigger (heavier perhaps) and charged 500-1000 more. Full size HDMI, heat sink, fully articulated screen….and a lighter Red codec would have offset some of that extra weight. The latter is a joke just in case any pedants are reading and wish to point out that firmware has zero weight 😉 Although I have one (two actually though one has no audio currently) S9’s, I would have preferred that to have had a more robust build and a mech shutter but hey ho, maybe on V2… Everything…or at least most things, seem to be built to a budget, yet cost a lot comparatively. I’d rather pay a moderate amount more and have something disproportionately better, but maybe that’s just me being in a minority. -
Not to mention that you always have to carry settings over, and somehow no matter how well you sync the time, the captures don't always fall in perfect sequence! -
-
I'm curious, why does it have to be the smallest possible, it's a new product, who was asking for this to be the measurement it is now? even a full Cm on each side would have still resulted in a small body, but if it offered full size HDMI and proper heatsink would make the product far more compelling to a lot more people. I think we also have to remember, there seems to be 2 types of users here, people who shoot and edit their own work and can have a voice in each step and people who shoot and hand off footage, I'm in the second camp and have to always make sure everything is as foolproof as possible, because if anything goes wrong after us, somehow it's our fault..... ( Ya I've had major clients on 6 digit campaign shoot complain about how flat and dull the video was only for me to see they just outputted log without any colour grade or even applying a technical 709 lut, and it's somehow our fault!!!!! 🤦♂️ )
-
