All Activity

After playing more with NEV to R3D converted Z6iii clips I prefer the Resolve’s NRaw Camera Raw panel controls, especially for adjusting WB, exposure, highlights and shadows. In Red Raw panel your options are a bit more limited. Chroma NR tab is nice and could be the reason why ZR DR is said to be better, at least it cleans the raised shadows a bit without touching Resolve’s other NR controls. Tried also to shoot from the hip by using Z6iii’s LCD to mimick shooting with ZR. Hard to imagine how big a difference a 4 inch screen could make compared to 3.2. I guess I am just an EVF shooter, as on my first Canon 550D back in 2010 I had EVF loupe attached,which magnified the LCD 2x and gave additional contact point. But it’s nice Nikon users have now more options to choose from.

Macro shooting for real cheap based on a 3D printing accessory makes this capture device a natural no-brainer for distinct DoF range routes from countless 37mm glass options too ; ) here are the results:

ProRes RAW... https://www.blackmagicdesign.com/media/release/20250910-02

https://www.techradar.com/cameras/camera-accessories/the-nikon-zr-is-already-great-but-this-smallrig-accessory-turns-it-into-the-ultimate-run-and-gun-video-camera HERE for ZR review.

32-bit float audio in the in-camera mic as well as analog input. Digital microphone interface in the hot shoe, will be utilized by Nikon's own microphone (no cables) and TASCAM's audio adapter. Larger and brighter display. Future V-mount battery compatibility. More codecs, and presumably solved the flickering problem (since it's not mentioned in early evaluations and this camera's video first nature, I would expect they solved it). 130 grams lighter than the Z6III. LUT upload into camera for viewing. Drawbacks compared to Z6III: no EVF, no mechanical shutter, second card is micro-SD rather than SD.

is there any advantage if you have Z6 III ? More detail or better dynamic range with red raw instead prores/nraw raw etc ?

Here is a link to the video: https://www.youtube.com/live/-xwAllKdSW0?si=idF9ndnB6oNJjzKb It's an interesting talk, the DP mentions how the camera opened up lens choices for their short, from high end Panavision anamorphics to FF, S35 and even S16 glass. In that sense it really behaves like three cameras in one. Sure, the R5C also has crop modes, but the C50 adds open gate, all the desqueeze factors, and a rugged screw mount cinema build. You can also record log master on one card and baked in LUT on the second. That makes it feel like a purpose designed tool rather than a hybrid you have to adapt around.

It's definitely not a typo! Several C50 reviews mention it and there is a B&H C50 talk with the DP of the short film I linked earlier and a senior Canon rep that confirms S35 has a stop more of DR, when pressed on how they achieved that he says its readout & ISO related. That seems to suggest Canon is using the reduced data load in the crop to drive the sensor differently, maybe a slower more precise readout path, or shifting the base ISO behavior to lower noise. Not unlike how Panasonic’s DR Boost works, though probably different sensor readout trickery.

Newsshooter is there and brings these exciting news: https://www.newsshooter.com/2025/09/13/viltrox-nexus-pl-to-e-pro-adapter-that-enables-full-af-capabilities-when-using-pl-mount-cine-lenses/ Comes by 4Q 2025 in the end of the year...

It could also have to do with readout speed. 14-bit is slower to read out and tends to give worse rolling shutter numbers. If Canon decided they wanted to hold RS at 15ms, they could probably read out the full sensor at 12-bit, but still have <15ms when reading out the smaller 5K crop at 14-bit. It seems like a weird thing to do, but more choices are always welcome.

BM P4K can make a really nice image, but the ergonomics are a bit funky, with the chonky body and the non-flippable screen. It also doesn't really even pretend to have AF beyond a push button that focuses once only and not continuously. The GH7 is an incredible camera and is still incredible. If you don't need the improved AF, the GH6 is also fantastic. And there's nothing wrong with the GH5 or GH5s.

You have to keep what you save to buy CFe cards 😉

Its all speculation, but it makes sense to switch from 12bit to 14bit in Super35 mode. The main reason almost all cameras are at 12bit in full frame video is basically power consumption. But in crop modes, they have to deal with less resolution, so the total consumption stays low. There is also another theory. Canon is known for applying NR to the raw video. Maybe the CPU is not powerful enough to apply the same amount of NR applied to Super35, to the 7k image, or if it does, there will be overheating/power consumption issues. Or maybe we're reading too much between the line and the official spec table has incorrect number and will be edited soon.

Fair points, but I think you’re overstating the certainty here. None of us actually know if Canon is switching bit depth between FF and S35 on the C50. Canon hasn’t published that detail, so it’s speculation. What we do know is Canon are claiming higher DR in S35 mode, so whether that comes from pipeline tweaks, bit depth, or something else, the end result is what matters to shooters. Also, the CVP review actually concludes the opposite of “no improvements”: they specifically say the C50 has better DR, better AF, C-Log2, the XLR top handle, and a range of new photo/video features the R5C doesn’t have. For me, the 7K open gate, C-Log2, higher dual base ISO range, dual format recording, cine-oriented form factor, and XLR top handle are what seal the deal over the R5C. Neither are perfect cameras, but the C50 checks enough boxes for me to seriously consider it.

Nikon’s Japan site showing official release date there of 24th of October. That tax inclusive price of ¥299,200 is taking the value for money to another level really isn’t it 😂

I was simply agreeing with ND64's statement that the C50 most likely has 12-bit video readout in standard FF 16x9. There is a connection between electronic shutter limitations and video readout speed, although the S35 sensor crop can allow for higher bit depth or higher readout speeds. Moreover, cropping into S35 will not reduce noise. It will have the oppositive effect. The sensor is also not dual gain like the one in the Panasonic S1II and doesn't offer any of those features. The only way you are getting more DR out of a sensor crop is to switch to a higher bit depth (13 or 14 bit). If you compare the C50 with the R5C, which has 12-bit video readout, you see almost identical latitude (4 stops over and 3 stops under) as demonstrated in the CVP review: I will admit that the C50 has a beautifully sleek design, and may be worth picking up for the open-gate mode alone, but I don't see much in the way of image improvements over the R5C that I already own. I guess it is a camera made for those who don't have an R5C or those who may need another compact body. In that case, however, I would rather go with a camera that has IBIS, high ISO performance for low light, and greater DR in highlights and shadows. These are qualities I miss in the R5C and that have apparently not been addressed in the C50.

I misread the press release as it says full details will be released in October rather than the actual product being released in October so I’m guessing confirmation won’t come until then about that.

Yeah I was looking at the images posted back when I first mentioned the XLR inputs. It was obviously the XLR2D, but it clearly wasn't the analog one since it didn't have the battery pack underneath. I wonder if Tascam is updating it to have dual ADC and 32 bit float, or if it's the one they already have for Canon and Fuji?

Thanks again for all the great, in-depth recommendations in this thread. Like @IronFilm suggested, MFT seems to be more sensible choice given I already have some MFT glass and, working solo, I need to travel as light as possible. I've been looking for used GH5s, but am wondering now what would be the pros and cons of going for the BM P4K instead? And as my main camera (used for tight shots), is the GH7 still the best choice these days?

No indication C50 can do this either but they should definitely consider it if not already. I also hear they are releasing a bunch of "stylised" LUTs including day-to-night for the C50. As for open gate, if the R5C (or even the R5 II) sensor could actually handle full-height 3:2 video readout, Canon would have probably leaned on that already.. either through firmware or at launch. Instead, they built a brand-new lower MP sensor for the C50. That tells me the older 45MP architecture just isn’t optimized for it (whether it’s readout speed, heat, or the processing pipeline). So while open gate on the R5C would be fantastic, the fact Canon didn’t already enable it when they had the chance is probably the clearest sign it’s not coming. Also for product segment reasons. But you never know..

Yes, great feature and AFAIK the R5C can't do it. My question is whether there is a technical limitation that would stop Canon from adding open gate on the R5C in a FW update?

Huh? It's not moving the goal posts to assert that the fact that some 35mm lenses expose character, but not all - and it's also not moving the goal posts to point out that the same statements are true if you use an S35 lens on FF or a S16 lens on M43. I don't need to maintain a belief that I'm right when I am, in fact, right. In fact, I was the one who brought up Fraser's quote and said that it was based and that indeed, for the lenses that he was using, he was getting more character on a larger sensor. Which of us does that apply to, again? Physician, heal thyself. Terms with no actual definition are useless for discussion or debate. The true idiots are the ones who say that the music ain't old-timey enough. 😉 That is technically true, yes, but as ND64 pointed out, radically impractical if you're shooting wide open. But you can very easily achieve the same look with S35 and many people do it by using a simple focal reducer. And if you don't insist on shooting at T1.2 for maximum toneh all day long, you can also get a similar look on M43, even more so if using a focal reducer. If you're shooting a 50mm at f/4 on your FF camera and shooting a 25mm at f/2 on your MFT camera, they'll look pretty similar - with the main differences relating to the character of the specific lens in use. But the FOV and DOF will be similar enough for it not to matter much - and the gradients/falloff/etc will probably look better on whichever camera is capturing at higher resolution, not the one with the bigger sensor, also assuming that the scene is well-lit since the smaller sensor will probably start to get noisy sooner.

Good, I'm glad we agree. Sorry if I misunderstood you to be arguing with me instead of agreeing with me. Good. I was mostly responding to the comment about "true" open gate. I just prefer to use the ratios for clarity. Yes. For shooting landscape/wildlife, I tend to prefer sharp modern glass, but for portraits/video, I like vintage stuff and for my vintage lenses that work on GF, sometimes the ragged outer edges of the image circle are really nice. I already said that Fraser's comment was based. Agreed that people can choose whatever hammer they want - and I've also said that I'd consider renting the Eterna for a project if it made sense. I'm not, in any way, saying that people shouldn't buy or use it. I'm more suggesting that it's overpriced and that I think most people who are looking in that price range are going to choose an FX9, V-Raptor XE, or UC 12K LF - and that with a somewhat bigger budget, the UC 17K 65 also becomes an option. Fuji would have a lot more sales (and still plenty of profit margin) if they dropped the Eterna at $9-11k. Still plenty of competition in that price range, but then they're undercutting the 41mm wide sensor of the raptor. Since the XE was announced almost in tandem, I am guessing that Fuji's pricing was determined before that announcement. Suspect it will drop a lot after a little while, but at $16k, Fuji also have to be careful not to anger early adopters by dropping the price too soon. Maybe 1 year.

This right here… Don’t waste your time trying to have a normal debate. Instead of admitting you were right about exposing more lens character at the edges with MF sensors he moves the goal posts and still says you’re wrong because “not ALL FF lenses look good on MF” You obviously never said that or claimed that but it’s a tactic people use to find ways to “correct you” after making a valid point. eatstoomuchjam won’t ever admit the might not know something and always needs to maintain the belief that he’s right. Either self esteem issues or simple EGO. It’s the same tired argument with the “MF Look” or something being “Cinematic”. Terms many of us understand and use but these idiots want to argue on an internet forum about how these aren’t a thing. Yet they’re on a full frame camera talking about how “technically” you could achieve the same look with Super 16. I’ve given up with most of the characters here, big waste of time.

Exactly why/how I am shooting the S1RII; 7.2k 30p 3:2 open gate and *horror* no VND and allowing the shutter to go into even the thousands, because 1/60th is too slow for most stills. If there is any chance of banding such as LED’s, 1/50th here in the EU fixes that. Having said that, not pulled any stills yet, but based on shooting 6k 30p @ 1-50th I know it’s going to be better.