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https://www.thephoblographer.com/2026/02/10/the-nikon-picture-control-profile-bringing-lots-of-joy/

It was released in mid-2024 🙂 Definitely a strong camera though. I expect mine to be useful for many years, and TBH, I haven't felt jealous over a new camera release since buying it.

Every other camera has some nominal compromise for my workflow, but I'm hoping either of these cameras will check all the boxes for a long time to come. Really my S1H does 90% of what I want it to do to begin with, but readout speed improvements and reduced size would be welcome.

Just wondering: why is there no mention of the GH7? (€ 1600 on MPB)

I wonder if any of the politicians or tycoons or celebs in the epstein files will ever get punished.

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The rumour mill suggests both of these might indeed be coming this April. There have been smoke signals over the Dolomite mountains…

Personally I'm waiting for the FX3ii and S1Hii which hopefully will both be announced in April. Many good options if you need something now, but certainly more good options in a few months time.

They are rich, well connected, and basically untouchable within the current system.

My pleasure and I hope there is something helpful in there. If I was in your shoes I would go C50 as well. I also agree and hope Nikon can address some of the short coming via firmware, they have been good about this in the past. Please keep us up to date with your thoughts and findings.

Thanks for the honest take and rig photo. I can see how ZR probably isn’t ideal once you build it out like that. I’m also a bit skeptical about the cinema positioning. Nikon pushes R3D hard, which is great for high-end grading, but H.265 should be solid and dependable at this level, not an afterthought. Hopefully some of this improves via firmware. Better bitrates, cleaner encoding, more mature UI. The FX3 launched pretty bare and evolved a lot over time, so there’s precedent. For me, the appeal of the ZR is the ultra-compact body with that big screen. I wouldn’t want to over-rig it. On bigger sets with serious monitoring needs, I'd say something more modular like the C50 makes more sense. I've decided to rent the C50 to see if it really meets my needs in client situations. Wish I could do the same with ZR but it isn't available for rental around here. Really appreciate you sharing the unfiltered experience. It helps a lot.

My oh my what an original comment.

https://www.youtube.com/watch?v=pRZGbqydlNQ

I apologize for the delay, before I expand, I have to say Kye in a note above said it best. In general I don't find -For me and what I shoot- the ZR get's out of the way and just works, I'm not brand new to Nikon yet find the menu diving a bit of a pain, I also can't understand why I can't assign some common used settings to the first quick menu. Getting a card out once you rigged your camera is a nightmare, have to move the whole thing off and pull off anything on the base to access the card. See below on set's like this it's a bit of a mess and you then have to spend time and make sure your camera is back to the right place! Another challenge is the tragic H265, I shot a small table top for Sephora the other day and couple of mini clips ended up at 293 GIGs, would have shot it on H265 if it was fine, absolutely no need for red code in a perfectly lit set. I normally shoot on cameras that just do what they need to do and that's all there is to it, we don't even really think much about the camera during the shoot, for my experience so far the ZR isn't that camera! Again this is just me, I'm sure there are people who love using the ZR and that's excellent 🙂 Edit: spelling!

While I enjoy following the latest camera releases, there would literally be zero ROI on us switching systems anytime in the next 5 years.

Yeah 100%. We stayed in the Lumix eco system for years using Canon lenses, and it worked. 3 years ago we finally bit the bullet and dropped like 15 grand into upgrading to Sony bodies and Sigma E mount lenses. That being said, we probably won't do a camera upgrade until these die on us, they more than accomplish anything we need from them. At this point, if we need another body, we can always pick up a used FX30 for like $1200 and it fits in perfectly with our FX6 and A7IVs.

There is indeed a wealth of super high quality material, instantly accessible and either for free or with very reasonably priced subscriptions. And every subject whether it be something historical, classic cars, wood turning, whatever floats your boat, is available. But it is probably less than 5% of the material and channels out there which are just dross and soapboxes for talentless hustlers. And now, increasing AI slop. We just have to be more selective as consumers.

What we're seeing with AI is what we see with human intelligence, in that it can be either the best of humanity or the most evil of humanity, and there's a similar spread of ethics on YouTube as well! On one hand the inevitable consequence of a free and open platform with no editorial oversight, no unifying force in terms of values, just a bunch of people doing what they do - some grifters, some artists, some enthusiasts, some engineers, some marketing, some desperate for money, others more interested in creating and less interested in what other people think. I'm kinda upset Mr Burling won't be around any more as he was definitely in the latter camp of YouTubers who had credibility and an artist's vision. I find a lot of the animation folk are the same... that field seems to attract people who are in it for the pure love of it rather than grifters just in it for the ego and the money. In photography and filmmaking the balance is more close to the middle, 50-50. What I like about YouTube and social media in general is you can seek out the niche pockets of creativity and that it sits on what is now a big mainstream TV platform. A mainstream TV platform in the 'old days' would never have had the sheer amount of one-man-band content on it that YouTube has now. So there's a lot to be grateful for with it as well as the other more negative side of it which is sometimes difficult to ignore. It's a net gain overall though isn't it? I will reconsider my own absence from YouTube soon and get some stuff out there.

There isn’t really, unless it’s the Pixiiie camera.

Never subscribed but he was an early victim of my ‘do not recommend this channel’ button pressing on YouTube. Another Content for Content Sake ‘Creatior’ 🥱

Fair points for sure.

For anyone interested in understanding a bit more about the relationship between technical measurements and aesthetic experiences, this video is very interesting. Perhaps the challenge is that many people believe there's a golden zone of sharpness where it's softer than clinical glass, but sharper than poor performance vintage glass, but as there's very little qualitative data it's hard to know how a lens performs. The video gives a non-technical primer on MTF charts, and discusses what potential uses there are for different levels of performance, culminating in this chart. I particularly like this approach because the thinking is well beyond "good vs bad" lenses and takes the much more mature approach of "the right tool for the job". This is an example of this kind of thinking from the video: Recommended viewing if you want to go beyond "I like this lens" and "I don't like that lens"!

I find it incredible that people talk about switching bodies / systems all the time without really considering the wider ecosystem of lenses and accessories. Hell, I've stayed within the MFT system and whenever I get a new MFT body there are still all these extras that I end up being surprised about and inflate the price by 10-15%. If I was re-buying lenses then it would double/triple/quadruple the cost. I have no idea what the economics of lenses are, but I wouldn't be surprised if the camera body is now a loss-leader and the lenses where all the profit is.

Well, we've gotten drastically better pixels, but because everyone has been screaming incoherently about wanting sharper images the manufacturers took the higher performance and kept the same overall image performance but made the pixels smaller so there's more of them. Everyone said they wanted a camera that could match the 2.5K Alexa, but because there were more people screaming for resolution than screaming for quality the industry took it's improvements and gave us mediocre 4K cameras, then more improvements and we got good but not great 5K downsampling cameras, then more improvements and we got quite good 6K cameras, and since then the flagship bodies have given us 8K / 12K / 17K cameras with pixels that are close to rivalling the 2.5K Alexa. So ARRI released the Alexa 35, and now there's a 4K ARRI camera that absolutely smashes the 8K / 12K / 17K flagship cameras. It's a complete myth that cameras aren't getting better. They're getting better by leaps and bounds, but almost all those gains have been "spent" on smaller pixels / higher resolution. If that hadn't been the case, you'd probably have had every other feature you've ever wanted by now.