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If it comes from China, why would they care about Patent. Even I think Portkeys are doing a stop base false color system in their new monitor. I think it uses different colors and is customizable. It ill be difficult to patent something like that outside of the US.

Its just a name, probably because the guy who made that believes it works like EL. True EL Zone needs license from its patent holder. Yea, I use the app and some videos have English subtitles. The strange thing is there is no real ISO at 400. With log video, ISO 800 is the same as ISO 100 in still mode. There is lower ISO below 100 in still mode but they're known as fake ISOs. For example ISO 50 has the same amplification as ISO 100, but fools you to give the sensor one stop more light.

Since RED says the colorimetry and gains are different in R3D NE vs. N-RAW, this seems to support that. Nikon traditionally has done a white balance adjustment before storing the values in the RAW file, and the raw conversion software has to know what processing has been applied in order to correct the WB. My guess is that RED might not do that (to preserve consistency across the different cameras storing R3D files) and so the colors are different in the different raw formats. RED also does not adjust sensor gain between intermediate ISO settings, as far as storing values in the raw file is concerned, apart from the two base ISOs, if I understood this correctly, and this approach is also used in the ZR R3D NE. Nikon applies different gains to the data also at intermediate ISO values when storing data in N-RAW files. So, the two formats work somewhat differently and are intended for different postprocessing pipelines.

Do you use the app, I see like English subtitles. I am also asking myself if it is just noise to at least 11.9 to 12 stops. As the SNR 2 is about the same in the ISO 400 and 800 coverted to R3D. And then at 6 minutes you get that image with the tomatoes from the conversion of NEV to R3D. And perhaps you can just get back the DR in the Nev version with a simple curve, or the R3D has much more DR.

I see it is written ELzone, is it the ELzone system, or do you think it is traditional false color?

The difference is noticeable even by looking at the image Thats funny to be honest Even colors are different I think Davinci is responsible for all this.

I found a false color LUT for ZR in a chinese forum. It was on a Chinese cloud host unavailable for foreigners, so I got it and uploaded to jotta: https://jottacloud.com/s/433167a024c75694baa94438259ee5d1b8e

By the way to continue my my post above, I saw a very intriguing test by a Chinese Channel where he tested the ZR not only at 800iso but also at 400/ And the results are astounding. So he is getting more than a stop of DR at 400 vs 800 ISO in Nraw!!! at ISO 800, the slope-based DR is 14 EV, SNR=1 is 12 EV, and SNR=2 is 10.6 EV. At ISO 400 (Lo1), the slope-based DR is 14.6 EV, SNR=1 is 13.1 EV, and SNR=2 is 11.9 EV. Another surprise is with the NEV to R3D conversion. The measured DR for Slope-based DR reaches 15.1 EV, SNR=1 reaches 13.3 EV, and SNR=2 reaches 12 EV. These are incredible results. His test using the Xyla chart looks very solid, perhaps the best and most detailed I have seen. I would have hoped he would have tested the R3D at 400 (Is it even possible?) and the latitude test with 400 so as to have a double check on the chart numbers. If anyone speaking chinese could translate in case I am saying stupid things, and has the app, as I can only see the video at 360 P. The channel name is 家硕_JiashuoMedia," https://www.bilibili.com/video/BV19KWkzQEq1/?spm_id_from=333.1387.homepage.video_card.click

I have been a pro photographer for 20 years now and live in a tropical island with lighting ratios you can't even imagine in most countries. This is why I have been always very sensible to Dynamic range result/progress/testing for the last two decades, as most of the population including me are darker skin and we have very hard light. During that time I saw the first digital cameras (I would say from 2 to 3rd generation) depending on how you count, go from about 10 to 14-15 (SNR) DR test in RAW, as contrary to most videographers, photographers been shooting in raw for decades. I have seen what a 10 stops DR camera image look like and my ZR is no way as bad as this. Last week I had to film some B rolls for the launching of an international car brand here, where we had to mix some of our country shots with their own media. And as I had little time, I had to go around and shoot in less ideal conditions with harsh middle day shoot and some with harsh backlight and I had to dig deep into the shadows. This is start of the summer in the southern hemisphere, so the light was already hard even not quite as from December to March. So to come back to CineD, I have enough experience to know their numbers/conclusion are just BS. In fact they are some of the reference that have educated me, mostly with the latitude test, which I consider the best test today. But when you take RAW numbers and pit it against mostly compress/NR based codec, guess what, it is disingenuous. Because if you had watched DR test for the last decade with Xyla charts and Imatest, you would know that Raw data tend to score much less because of noise, but in that noise is still a ton of Data. Gerald Undone who is himself not a Nikon Fan, does the explanation very well in the ZR dynamic range test. First he got 10.9 stops at 0.5 medium noise rating, which strangely jumps just a little bit to 11.1 on a normalized 4k timeline, and just adding a little NR, where as he says the details in the shadows are still very high he reaches 12.6. This is in the RED Komodo X range. I have seen other test from french (I am a french Speaker) to even Korean which were around same numbers and which corelate with multiple side by side test. And no way their are 2.5 stops difference between the KX and the ZR!!! But it is not the first time I see them cooking their numbers to support some kind of narative. But this time it was the exact opposite for the Sony A9iii. The one with the Global shutter that even with your eyes could see with a bad DR, but I remenber the guy putting so much NR to get 9STOPS of exposure latitude, to say it had great latitude. Yes it is a 1080p image, but doesn't mean it has 1080p details, which I pointed in the comments.

It's been a while since I had to film on land, and I'm using many lenses that I had almost forgotten about. For my rare terrestrial shooting, I always used old Yashica ML lenses in manual mode, and then I got an opportunity where an entire Panasonic kit came almost for free. - Panasonic Leica DG Macro 45mm f/2.8 - Panasonic Leica DG 12-35mm f/2.8 - Panasonic Leica 35-100mm f/2.8 - Panasonic Lumix G 100-300mm f/4-5.6 But I only used the 45mm macro a lot, which is superb underwater. After two days of shooting (I have a GH5 and a GH5MII, and my buddy has a GH5S), I wanted to throw them all down the toilet. Actually, the image quality of the Panaleica lenses is stellar for my taste (maybe even too clinic), but what really gets on my nerves is the impossibility of using manual focus creatively. They all have focus-by-wire, which means it is not linear, and the focus changes with the speed you turn the ring. I know, I'm stating the obvious. But let me vent, and then I'll get to the point. I rummaged through the GH5MII menus and discovered that since it has a similar firmware to the GH6 and GH7, in theory, it would be possible to choose whether to have linear focus and also set the focus throw. But—and here's the fun part—only on some types of Panasonic lenses. Finding the list is like looking for a unicorn, and when you finally get it, you discover that few of the listed lenses (which would almost be a basic kit) have this capability. It's crazy. Basically, it doesn't matter how many new camera bodies Panasonic makes (personally, I think the GH7 is the last of its kind) if you then have crappy lenses that haven't been updated for 15 years. Playing with continuous AF, I discovered that the 45mm Panaleica macro can't even keep the focus in AFC in basic scenarios. And it should be the king of macro in the M43 line and it doesn't support linear focus. In the end, I had to do some relaxing therapy by mounting the Yashica ML 50mm f1.4 and enjoying turning the manual focus ring. Out of curiosity, what is the situation with Panasonic FF lenses? Is it the same situation there too?

I initially dismissed the Nikon ZR. The compact body and odd I/O layout made it seem like a prosumer crossover rather than a serious tool. After spending real time shooting with it, that impression completely changed. The huge integrated display transforms the experience. It feels intuitive, immersive, and for the first time a Nikon mirrorless seems built for video operators. Pair with a Leica M lens and it delivers this uncanny mix of smartphone agility and FF cinematic depth, a combo that feels surprisingly liberating (think sigma FP but with IBIS). The body is metal and feels rock solid. The flip out screen isn’t ideal for low angle work, but that’s about the only ergonomic miss. The stills side remains capable and thoughtfully separated from the video mode. The redesigned video interface finally feels modern, with waveform, quick exposure tools, and four customizable banks all within reach. The main system menu still feels like a maze, but the dedicated video page is a major step toward a proper cine oriented workflow. I just hope Nikon will pull more from the RED side (traffic lights, open gate, 17:9 etc) in a firmware update. Despite its understated design, the ZR stands out as Nikon’s most forward-thinking hybrid yet. The 32-bit float audio, internal R3D recording, and that massive touch display all combine into a package that feels disruptive and modern at a mid-tier price point. Haven't been this tempted by a camera in a while.

There’s a lot to be said for buying only second hand in general. Cameras, cars, clothes, houses etc As a freelancer I have a mix as after claiming back VAT the second hand prices are more or less the same. In saying that I bought a brand new Sigma 18-50 apsc for 300€ for 50p gimbal work on the S5mk2.

The C50 is a $3,900 camera. It's quite good and I'd love to have one, but there's a LOT of competition in the $4,000 space. It shouldn't surprise cined that not everybody's talking about it. Ultimately, it will probably be a good seller for Canon. On the other hand, adding something with "Redcode" in the name as a feature for the ZR was a fantastic marketing decision on Nikon's part. With a decent colorist, the differences in a final image between the Redcode NE and Nikon raw are likely to be negligible - but it doesn't matter because people can now say that they have a camera that records Redcode RAW. These days, used Komodos are not that much off the ZR in price - and lensrentals.com has their early BF special on off-rental gear where you can get 15% off one of their Komodos which are still in decent condition - putting them almost equal to the ZR in price. But getting an OG Komodo means a bigger camera with a smaller sensor, much worse autofocus, worse/less flexible built-in screen, much ergonomics, worse media (Cfast vs CF Express), and probably buying a v-lock battery plate so you don't need to source older/expensive Canon camcorder batteries (I did exactly that), and a less flexible lens mount with fewer third-party lenses available. But you do gain global shutter and 16-bit raw with better test chart performance. So yeah, of course everybody's talking about the ZR. Not sure why anybody, cined included, should be mad about it. People are welcome to use whatever hammer they like - and more competition in the cinema camera space, especially affordable (in comparison) competition is great for us as consumers of those cameras.

The reason people don't see the difference reported with chart tests in real life is the saturation limit of modern sensors, and they're all in the same ballpark. Improvements are mostly in the readout noise, which is good to have, but nobody lifts the shadows more than one, or in rare cases two stops, anyway. I don't blame CineD for reporting 10 stops, as its what they professionally do and they have to be consistent. But calling it an "average" camera was personal, for whatever reason. Average between what and what? But its not just a CineD thing. I sometimes doom scroll Chinese social networks and there are also some video shooters over there who sounds angry that this camera exists! Which is crazy.

The Best video to debunk that hit piece from CineD about the ZR dynamic range test they did. This is a side by side of the ZR and the Red dragon Monstro and they are literally indistinguishable. The Zr tone curve seems to grab a little bit more highlight and loses a little bit in the shadows. They must be a bit pissed at CineD, no one is talking about the C50, hen they were flown to Japan to film a promo video.

Still waiting for a better package than an S1H... Waiting pretty eagerly for Panasonic's next move but in the mean time I'm happy with an ~almost~ perfect camera.

once you are in the mf lenses realm, there is no way back. you will be a hoarder lol

There's so many different levels and needs in motion picture production, no doubt. Now, it's a debate whether I'd be considered a professional or not, but I am scrapping by making a living at it. Somehow. Still, I'm stubborn about shooting my films with manual focus. The inherent flaws and mistakes the practice of manual focusing creates? I value the humanity in it. I actually like the look of a real camera person focus hunting. It's a love-hate relationship for sure, but, yeah, I just refuse to stop using it.

Same with me, I haven't felt the need to buy a new camera for years and years now. And by new I mean paying more money for no reason. I still class a used Z6 III as a new camera, it's just a smarter way to go about buying one (for example an open box mint condition with warranty just cheaper). But the urge is lacking... What is it that any of the new cameras are doing to justify such high pricing? Fair enough if you're working as a professional and haven't upgraded your autofocus for 7 years... Splash out.

Same sensor as Blackmagic Pocket 4K But it's a much more feature packed and better built camera, with an excellent stills photography pedigree as well.

For small M43 cameras like the GM5, prices have skyrocketed to the point where you’d actually make money if you bought one new when it came out, used it, and then sold it in 2025. This trend can’t last—I think it’s a bubble. For anything larger, prices have been tanking for the most part. Cameras like the GH5 and GH5S were roughly double their current prices just two years ago. I suspect that’s because affordable full-frame bodies are now tempting many M43 users to finally make the switch, especially since OM System and Panasonic still haven’t released the camera that truly blows everyone away. Both companies seem to have missed the memo about the kind of very small, capable cameras people actually want in the M43 format. Instead, they keep trying to compete with full-frame—packing similar capabilities into ever-smaller bodies with ever-smaller lenses. Eventually, M43 might only remain relevant for niche situations (like birding). Personally, I still love the format and keep my G7 with two AF lenses. I’m holding out hope. I just wish I could get the capability of the G9 II in an E-M5-sized body. You’d think that would be possible by now. Basically, I use M43 for fun outside and travel. FF is for anything inside.

IMHO the image out of the GH5S still looks amazing when exposed properly

GH5 for $350 is pretty good but I've seen GH6 for under $750, that's possibly an even better deal. GH7 is too new to see a big fall on the used market unless you get lucky, but you can get the similar spec G9 II for a pretty nice $1400-ish. Keep an eye out for GH5S too, it's an underrated bargain now

The R3D files made by the ZR are actually R3D NE, a new codec which may or may not just be the same as Nikon raw, but with different processing applied. Resolve 17 was released in 2020 before either Nikon raw or R3D NE existed so you will probably need to upgrade to 20. A potential workaround would be to use redcine-x to apply basic adjustments and then convert them to a format that Resolve 17 can handle.

Can't seem to be able to import ZR R3D files into Resolve17, do I need to upgrade? any workarounds? Tried a quick 4K ProRes shot and its looking good, not seeing the mushiness of h265.. 🙂