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Same arguments were valid in still photography. Lot of news/event shooters stuck with jpeg while the rest of photographers see the "jpeg only" sign on the camera display as a catastrophe. Its been always about having flexibility for artistic purposes. If your work is concentrated on documentation of real world as it is, Standard color profile Jpeg is the best choice.

Either these reviewers don't know what they're doing or R3D NE is not exactly repackaged NRAW. Nlog is noticeably softer, in both NRAW and h.265. R3D details is close to SDR h.265, even at second base ISO. Even the skin tone is different

Which, to some extent, just says Nikon is spending more on marketing which means they can hire better shooters/editors. 😃

"Need" is a strong word. It's likely that a lot of the benefits of 12-bit raw could be realized by just using a 12-bit variant of any other codec. I'm told that a lot of productions shot ProRes 4444XQ when they had Arriraw available. That said, PRR HQ is about the same quality as 4444XQ, but with much smaller file sizes. I think it's because PRR is non-debayered which means it's only saving 1 value per pixel instead of 3. A limiting factor, though, is that a lot of processors and GPU's only have onboard support for accelerated decode of 10-bit HEVC - so 12-bit will seem really slow/laggy on a lot of people's systems. Otherwise, people will talk about the ability to change white balance in raw, etc, but I've personally found those things to be a little bit overblown. If you're swinging from 2300k to 5600k, maybe, it's better to have all of the color channel info, but if you captured at 5600k and want to move to 5200k, it's probably fine. And, of course, people will bring up the ability to change ISO in the raw import, but this is asinine. It is convenient as a quick way to change exposure, but is functionally equivalent to just adjusting an exposure slider for non-raw footage (again, as long as the file is thick enough that the all of the details are there). For me, I like having thick files with a lot of dynamic range - so for now, I prefer cameras with raw. That's absolutely subject to change if people start shipping cameras with 12-16-bit HEVC. I think that the popularity of the FX3/FX6 and the sheer number of people making great-looking stuff with them serves as a great allegation against the necessity of raw. It also really depends on your goal/intention. I just got back from 2 weeks in Namibia. I chose to bring my GFX 100 II and didn't bring an external recorder for raw so what footage I shot of animals there will be all 10-bit ProRes 422 (5.8k or 8k). I also had an EOS R5 with me which was capable of 8k raw, but I ended up just giving it to my gf to use the whole time to shoot photos since the animals tended to be more than a few meters from the car and it let her see them (her with the EF 100-400 f/4.5-5.6 and me mostly with the GF 500/5.6). I don't think that, even once, I thought to myself that I should take back the R5 to capture some raw footage of a giraffe drinking from a watering hole. If anything, I thought "does this really need to be ProRes?"

It's easy but archive storage it's not cheap. I mean, for my use case during the years I've building an underwater footage archive. nevertheless i understand that who works on events does not archives footage forever.

Could be just me, but these videos look better then the lumix launch video's.

Other than marketing, raw is easy. I mean in electronics, bandwidth is always cheaper to provide than processing power, and raw needs less processing and more bandwidth. Note how soon Sony increased the bandwidth per sensor lane from 4Gb/s to 12.5Gb/s. 8 of these can handle 100Gb/s, enough for 10k60p 12bit!

The simultaneous release of the Zr and C50, along with Resolve's ability to import ProRes RAW, was truly like throwing a stone into a pond. Now the shilltubers and others are going crazy over RAW. I wonder if this is just a moment or if it will last. I have played with the Zr RAW files you linked me to. Gorgeous. So far, there is no news of C50 files. If any of you have representative ProRes RAW files from the S1II, S1R, and GH7 to share, you would be doing me a big favor. What I wonder is, do we really need RAW? As far as I know, even in cinema it is used sparingly. Of course, knowing you can shoot in RAW if you need to is nice, but has the cost of storage dropped, or did I miss something? Where the hell do I save an archive of RAW files? I would prefer H.265 or similar files that are lightweight and pleasant to work with. I have seen files from the FX3/FX6 that were spectacular and graded like butter in the Color page.

Damn, now that looks something different than the NEV to R3D hack

Matching Iphone colour to Arri... quite close!

Beautifully done. I'm sold!

Got you : ) But. Saying something new doesn’t matter is like refusing to plant seeds because not every one will grow. Complaining about "the new" is like grumbling at a garden: some seeds fail, but a few surprise you with a nice tree. They also mean democratization today. Of course, this has led to a flood of mediocre content, but it also opens doors to those who otherwise wouldn’t even have the chance to try. I finished film school twenty-two years ago. Still kickin’ ; ) not exactly 'cause of the old-school film I got from there. : P

Irresistible ;- )

Another very nice video

Tanksssss

i worked more days in construction this year than i have in the film and commercial industry. sorry but who cares about pushing boundaries and constant releases of new means when there’s less and less work to use the means on?

For sure. The “18 stops” claim comes from the manufacturer (sensor-level, special HDR mode). It’s plausible as a sensor specification under controlled conditions/multi-exposure HDR — but practical DR measured in real cameras has been substantially lower due to optical and pipeline factors. Although the sensor itself has a “theoretical” 18 stops, many other factors (noise, analog-to-digital conversion, image pipeline, compression, amplifier architecture, pixel readout, linearity, saturation capability) limit the actual practical performance. Manufacturer's claim = sensor under optimized conditions (two/more readings, dual-gain, on-sensor HDR, internal measurements). This isn't necessarily the DR you'll get in a final phone/camera. Actual limits: optics (flare/veiling glare), amplifiers, pipeline noise, compression, RAW/JPEG processing — all of which reduce useful DR. https://www.imatest.com/docs/full.html Imatest/DxOMark measure the system, not just the sensor die (photodiodes (light-capturing pixels), transistors, amplifiers, readout lines, A/D converters, etc.). Lab values applied to cameras tend to show much lower useful DR on sensors of this size — hence the large difference between manufacturer claims and practical DR. However, if this OmniVision sensor actually comes to fruition with 18 practical stops, that will be revolutionary for such small sensors — it would be worth watching for announcements and technical tests.

After editing 5 days footage with NEV to R3D hack straight from the CFExpress, and with just NEV I still don’t know if Red’s IPP2 pipeline is better than how NRaw is handled in Resolve. Figured out why Red tone mapping and highlight roll of did not look better than NRaw. I have a power grade where one parallel node has +20 on shadows and -20 on light on HDR wheels, and it seems to do the same thing. Applied that power grade to Red timeline too and still it is not better, colors are duller, and if you have camera shake with IBIS accidentally off, you get severe rolling shutter, which is not seen in NRaw files. I do like the Red ISO control, and chroma NR though. Now if actual Zr colors are as good as in some of the latest videos, you can have two good, different looks from the Zr with R3D and NRaw. Not counting ProresRaw as it’s file sizes are even bigger and Raw controls worse than Red’s and Nikon’s.

For anyone who knows one or two things about imaging science, it was obvious we can't go beyond 16 stops with current combinations of tech, as DR is not just about pixel's saturation. You can save harsh highlights from clipping but you get an overall contrast level that doesn't match to that saved highlights, which is what exactly demonstrated here.

I was looking at the Chinese characters and wondering what rice would have to do with lenses. I looked it up and 小米 is pronounced xiao mi. Hah!

Same technology used in Xiaomi 17 Pro. It has more DR than G9m2, but the lens quality and the algorithm used to combine low gain and high gain are horrible and so the extra highlight stops are wasted.

4k120 R3D And some artifacts on basketball net Yet I think 99% of the viewers wouldn't notice.

In Canada: https://dronexl.co/2025/09/25/transport-canada-clears-dji-mini-5-pro/

https://ymcinema.com/2025/04/15/omnivision-unleashes-a-game-changing-1‑inch-8k-18-stops-of-dr-sensor-for-smartphones/ https://ymcinema.com/2025/09/30/omnivision-ov50r-8k-sensor-action-cameras/ https://www.ovt.com/press-releases/omnivision-launches-ultra-high-dynamic-range-1-inch-image-sensor-for-movie-grade-video-capture-in-flagship-smartphones/ Breaking news: currently in mass production... Imagine that reaching the mirroless/compact cameras segment, no less... Why not? ; ) In a single line: economies of scale. The funny part of the equation is the smartphones market pushing the boundaries of this industry in every front, from iPhone sales to Android. ;- )

Are these Nikon Zr footage, or just someone putting it to get views? Just a hint that these are from France, as Limoges is a well known Basket Ball team in France. Another edit, I now saw the links.