All Activity

Agreed and one of the reasons why as much as I like the look of the new Canon, the lack of IBIS is a no go for me and if that puts me in the camp of being a non-serious filmmaker, 🤷‍♂️ I also do not want to and will not rig anything up so the micro hdmi I could not care less about.

But if you hear Gerald, the Nikon is Shit, and the Canon will find a place as a Cine camera. The man cannot stop dunking on Nikon. Last week was, how come Nikon put cinema on this camera with its micro Hdmi... This week it is, but Dop and First AC have told me they prefer no IBIS. As if 99% of the people using the C50 will be on movie set. And not as one man band doing weddings, corporate events, social media content creation and some smaller advertising, and occasionally on some short movies. Same, for the ZR. No one expect it to be a cinema camera and replacing the RED raptor or Arri Alexa on most sets. The Ibis is 10x more important on such a camera than a micro hdmi that you can lock with a cage, and the camera itself coming with a big screen.

I will never understand this thinking when someone likes photography or videography. Today the only true thing they are changing in phones is the camera. My 2 years old Samsung will handle all my social media or call perfectly. Why not invest in a camera and lens, that will be their for the next decade, rather than buy a new phone every 2 3 years for 1000 USD and more, that will sorry to say, never match a FF camera.

Canon managed to make a slower sensor than ZR sensor, twice the price, with less DR.

+7 focal length options: 13mm 24mm 28mm 35mm 48mm 100mm 200mm (+ macro) +many other goodies... Among them, genlock... via the new Blackmagic Camera ProDock (Hello 3D! Not only though... for sure) for US$295 (next time, it will come as giveaway, very likely, what else? ; ) Simply WOW etc. https://www.apple.com/iphone-17-pro/ https://www.apple.com/iphone-17-pro/specs/ https://www.apple.com/newsroom/2025/09/apple-unveils-iphone-17-pro-and-iphone-17-pro-max/ https://www.apple.com/newsroom/2025/09/apple-announces-final-cut-camera-2-0/ Nobody is talking about TBH if this isn't a game changer, I have no idea what this means anymore... : ) Where's that Coppola's little fat girl in Ohio?

Yes I think Techart do but they are quite expensive at something like 400+ and I do need AF for some of what I do, but I need it to be highly accurate. The weakness of the old Lumix cameras such as the OG S5/S1H/S1R was forward tracking AF when ideally you needed a stopped down aperture, crop mode and some tweaks to the tracking to stand a chance. Since the S5II, not an issue, but even if there is an M to L Mount adapter with AF (and I have not been able to find one), I would not trust one to do this specific job above any better than the old Lumix system. The rest of the time, I don’t need AF and at 400+, might as well just have a cheap AF lens for this purpose. The Zr looks very interesting however as I always suspected it might. Enough to warrant any kind of flip, is too early to call and there is so much to consider such as… Zr stills mode vs S1RII stills mode I suspect is a win for Lumix being the sensor is 20mp larger and has a mech shutter. Video probably also the Lumix, especially as it has open gate which I shoot in all the time and Nikon does not…but probably can and maybe can in a future firmware release because it’s the same sensor as the S1II isn’t it? Red Raw ‘lite’ makes the Zr very interesting but where it gets even more and most interesting to me is I could build an even more compact kit, both bodies and lenses and tripods, than I currently have. Anyway, 6 or so months to consider and by that time there will be used Zr’s on MPB (so I could at least try one with their 14 day return policy) and Lumix may have brought a more cine-orientated camera to market than the current offerings as maybe, just maybe, they might ditch the current format for any S1H replacement…??

Definitely agree that lots of operations are better done in colour spaces other than the ones supported by Resolve natively. Are you using OKLab for your Lab conversion? I plan in integrating that into my tool once I get back to developing it. I'd keep all the secondary adjustments like vignetting etc as power-windows in Resolve, as getting a single vignette slider that looks good across many/all scenarios probably isn't possible. I haven't played with spatial adjustments in DCTLs yet, so I'm not sure what the performance hit is compared to OpenFX tools. I'll probably investigate this at some point though, as there are a few operations I'd do that might benefit from being integrated into a single DCTL. I played with the colour slice tool and I think it is actually very disappointing as I found it broke images incredibly quickly, while also simultaneously being too broad for lots of adjustments I'd like to make. I've had much more success in doing more targeted adjustments in Lab that didn't go anywhere near breaking the image. I find Lab is a far cleaner space to work in for lots of operations as the things you might want to do that are colour-slice-esque are often far simpler and far more universal. There are tonnes of things you can do in Lab that target certain ranges but are applied globally, so won't break the image, like how doing (most) adjustments with the Channel Mixer can't break the image.

Apparently it's not a great experience

I've seen and tried many of those other plugins and they're fantastic, which is why I wanted to take a different approach (and more affordable) with Lumap. I've found a lot of workflows in Resolve involve complex node trees meaning you're jumping across multipe nodes for basic adjustments. For instance, Mononodes has around 5 DCTLs for colour adjustments. Contour has 8 parameters for contrast. I've seen another that had over 10. What I like about Capture One/ Lightroom is that the contrast adjustment is built to just look naturally good. Paired with highlight/ shadow/ brightness sliders it gives you a lot of control, very quickly. The great thing is that for people who do want to go really deep those tools are already there.

I'm actually doing saturation in LAB. There's a couple of difference colour/ gamma spaces being used to get better results than you'd get from Resolve's basic tools. And great point on the UI with DCTL's as a side panel. I find resolve's ui to be designed around control panels, which most people don't have. I think adding an vignette adjustment could definitely be possible. But other power window/ brush masks might be be off using Resolve's tools on the node. You definitely should be able to use it with power windows though. I do like the idea of having those retouching tools in Resolve, but I think it might have to be done in openfx as DCTLs have limitations. Also I originally want to add something like Capture One's colour editor or a hue control, but then Resolve added the colour slice tool. And while there are better possible implementations it did feel mostly redundant.

I don't know about L mount. There are a few for E mount, though.

I’m looking at M-L for my current system but that won’t happen for about 6 months or so even if I do not flip to Nikon because my season is over in less than 2 weeks so other than some play time (and nothing really compares to actual work) so too soon. I didn’t know there was an AF adapter or rather I think there is for Nikon but is there for L Mount? It would be useful but not 100% necessary. If I went Nikon, I’d go E Mount though as it would make more sense as all my glass would be adapted. I have looked at every cine lens going and based on; price, size, weight, sharpness, character, shorter than normal focus throw, close focus distance, they are a clear winner for me. I have some final manual focus tests to do with my AF Lumix lenses next job first but other than having just one camera designated to AF duty, currently my S9 with zoom, I’d prefer to go MF on my hybrids as I’m not 100% happy with the AF hit rate with pics and stickiness with video…another area where based on my experience with the Zf, Nikon is better than Lumix and it can pick out faces at something like less than 3% of the screen which is bloody good!

If "improved DR" means 1/3-1/2 of a stop, I'd be inclined to not worry about that, regardless. But if the S35 mode gets a full extra stop (plus the 1/3-1/2), that's likely to be noticeable. I'd stick with the standout feature of this camera for many modern shooters being the 3:2 open gate recording option. That isn't a thing I care about so I'll continue waiting for Canon to release the camera that makes me think it'd be worth selling my R5. Hint to Canon, it probably involves the letters d, g, and o. 😅

I really like my Simera C's in M mount. I like my Leica M's more, but the M's are a lot less consistent. You might consider going the M mount route, if for no other reason than you can get an autofocus adapter for it - and then they'll be portable to any system that you might move to in the future.

The CVP test shows the C50 with a slight advantage over the R5C in the highlights (1/3-1/2 stop), but a disadvantage in the underexposure latitude, which is much noisier. On balance, this new 32mp sensor is basically equal to the R5C in the latitude test despite claims of "improved DR" at the end of the video, a claim that is never demonstrated as they don't use a Xyla chart. After all, they are retailers trying to sell you a new product! Now I'm sure someone will come along with Xyla charts and show that this camera has a DR advantage over the R5C and is closer to the R5 II. Clog-2 implementation would require that. In the meantime, I'm simply not that impressed with the C50 image or with any of the newer Canon "cinema cameras" for that matter. After the class-leading DGO sensor in the C70/C300 III, it seems that they are going backwards while the competition (e.g., Blackmagic, RED, Nikon, Fuji, Panasonic) is charging ahead . . .

I’m considering it myself… Seems to get a pretty long run time out of a single battery and overheating despite not having any active cooling doesn’t appear to be a problem. Perhaps I should have waited before going all in on Lumix 🤪 I still want to see what it can do for stills and would want to test it first, but a trio of these might work as I have the adapters for the Sony lenses and the Tamron zooms are the best in my experience. I’m moving towards a pair of Thypoch Simera C’s also and as these come in native E Mount, also has appeal going fully Nikon. Love the RED colour science from what I have seen and the camera itself including that rear screen is what I have always wanted and hoped Lumix might do. I still think what I have is super great, but always open to other options if they might suit me better and trimming down even further to 3 small bodies and just 4 lenses has a lot of appeal. 6-7 months to think about it and meantime, Lumix might pop out something similar and that might swing things back in favour of L Mount. Certainly not rushing into anything or blindly jumping ship but musing on options…

Greetings Creatives, I've created some cool new bark textures...they're 100% free to use with attribution, just like my thousands of other images, music tracks and sounds. You'll find them here: https://soundimage.org/txr-bark-seamless/ Speaking of assets, if you can, please consider making small contribution to support my efforts. I honestly hate asking, but I do pay for everything myself including my music gear which is very expensive, so contributions from the community really help me a lot. Here are some ways you can help: https://soundimage.org/donate/ https://soundimage.org/ogg-game-music-mega-pack/ https://soundimage.org/ogg-music-packs-2/ I sincerely hope some of my assets are helpful in your projects. Please feel free to share your projects if you wish...I love to see how my fellow creatives are using my work! 🙂

The only real drawbacks I see are the card slots being crammed in the battery door and the lack of EVF, lack of open gate. The interference between the screen and the headphone jack would be a minor drawback as well. Otherwise, it looks like an exceptional value stacked up against everything else that's out there. The 4" screen really reduces the need for an external monitor and I would like to see other manufacturers follow and the 32bit audio removes on more manual adjustment from the shooter's slate. I'd love to see these things integrated into another body with a slightly more professional build, and then I could be swayed to move over to Nikon. Maybe if the XLR adapter ends up working with the Z6 III that would be the move. It's also a little shameful that Lumix wasn't able to build a camera with this same sensor that doesn't overheat. I wonder how that came to be.

Mediastorm's review of ZR got 1.4m views in China

This looks like a great camera to me. Too bad the ibis isnt as great as the lumix camera's. But looks better then fx3, has a better screen, takes better stills. Never had an nikon before. So might end up buying one. The big monitor sounds like a win, as it makes so much difference in the process of enjoying making video's. External monitors are somewhat a drag.

is there a way to control them via Streamdeck ?

Agree. My point is that we can see for the first time FX3 and Zr image side by side. Nikon Zr image when R3D codec is used looks good.

Why they're using the word "switching" so much? Why should anyone switch? You just add the camera to the rest of your gears if it works for you well. Especially with such an adaptable mount. BTW, he used BH filter to count the lenses, which is like this: But if you select only full frame lenses, and only AF ones, and exclude lens kits (like same lenses with bundled ND filter or something), you get this:

This is an interesting approach. The DCTL basically mimics photo editing and puts all corrections in one node. It is clearly for people who don't want to go deeper in Resolve and color correction/grading in general. They also have some or a lot of Photoshop / Lightroom experience and habits. These Resolve users do exists. I was one of them many years back and I hope your DCTL would find its users. For more sophisticated users like me now and basically anybody interested in going deeper into Resovle it is too simple and lacks fine controls. For users like me and serious colorists there are many DCTLs that address the complexity problems of split toning, S curve, better contrast, film density, etc. in Resolve. They provide much finer control over each aspect of the image. Most of those DCTLs are created by professional colorists and used by other colorist and editors. I also use some of them. Mononodes DCTLs IridescentColor DCTLs PixelTools DCTLs Many free DCTLs Cullen Kelly - Contour toolset DCTLs Waqas Qazi - Qazi's Toolkit DCTLs Behind those tools also lies a methodology well explained by colorists. For me personally understanding image editing for film and video at a deeper level is much more rewarding process. Once I created my node tree and establish each aspect of the image, editing and color correction is a piece of cake. So not for me but there are people who may like your approach.

the only thing i am interested is detail and dynamic range...