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Yep that's the kind of intermediary codec that the ZR needs. But only if Nikon doesn't cook it with that aggressive noise reduction. You know the drill, Fuji had similar issues I seem to remember you pointing out. Thing is, I don't buy cameras based on promised or wishful features anymore. Been burned too many times waiting for "coming soon" updates that arrive late, incomplete, or not at all. So as of right now, the ZR is off the table for me. It's not just the codec situation though tbh, the unreliable view assist/exposure tools and first gen quirks also give me cold feet. Good to know LT is officially on the roadmap, though.. great for early adopters but I think I'm done gambling on "maybe later".

Just scored this Petit Cinevision 1.5x baby anamorphic

No, I have a GH5s, but I'd like to upgrade, as I need PDAF among other things.

R3D NE data rate is about 2x of that of N-RAW Normal, which in turn is 2x that roughly expected of Prores 422 LT 4K which is coming to the ZR in a firmware update according to Nikon. So you can get a 75% reduction in data rate compared to R3D NE in a 4K 422 format in the future. Would this be enough to make the camera practical for you? Another possible help is if video editors will be able to make shortened R3D NE files (after cutting) in the future, to save storage space. I imagine this is just a matter of time, if the camera is popular, it will probably be implemented.

I'm glad Mr Burling replied. I was always happy to watch his stuff, always felt hand made with a touch of love. Bit like Nona's home made tomato sauce... You always new you were in for a treat. The man had a talent for finding interesting lenses and using them in ways i wouldn't consider. I own a couple of lenses, thanks to him and i do try to emulate him as i can. So thank you for the artistry and the knowledge you shared, and good luck for the future.

I went with the GH7 as I'm video-first and need the heat management etc. The G9ii is an incredible camera though. There's a whole thread about it here: https://www.eoshd.com/comments/topic/90374-panasonic-g9-mark-ii-i-was-wrong/ Do you have either one?

Then it qualifies ("EOSHD’s official observations on the camera market for 2025, new vs used"). There are so many options these days it's hard to know which way to go. Would you pick up a G9ii over a GH7?

I wonder if there's a thermal management reason keeping it from shipping with compressed raw formats. All in all a very tempting camera, but in no context do I ever want to produce files that large.

Yeah I haven't seen any C50 reviews really mention let alone showcase the digi zoom feature. I kinda stumbled upon it when menu diving and was shocked how effective it was, especially the range! The RF lens system actually isn't that expensive when you look at the STM range. The new 45mm f1.2 being priced under $500 is especially enticing and will be the first one I cop. The L primes are pricey AF and don't have lens IS so I'll probably stick with STM's and maybe even venture back into EF as they're so cheap these days and work like native RF. Some interesting third party cine RF lenses have also appeared (Canon is ok with licensing RF mount to manual glass manufacturers).. But as far as adaptability Nikon Z mount is killer and one of the main reasons I was so tempted to join that system. R3D RAW is also a great image pipeline, if only Nikon would offer lighter version. I mean REDs RAW compression is the whole purpose of their patent and ironically them suing Nikon. It feels such a waste to not offer it here but ok gotta remember it is a first gen product!

I didn't know that the c50 had digital zoom like that. Neat! Canon stabilized lenses were my go to shooting tool for such a long time and I'm sure the new ones are better than the Ef generation. What I can't stomach is the price of new glass and being locked into a particular lens aesthetic when I want to shoot handheld. But all things considered, as a tool, good lens stabilization can be more organic and less artifact prone than ibis. I've seen some stabilization tests with the digital is and I am not impressed. I also expect Nikon will come out with more professionally oriented cameras soon. Renting a c50 is a good call. If it feels right in hand and you like the images you'll cut through the noise.

Yeah, I'm still torn between the C50 and R6 Mark III (ZR is lingering but fading). C50 wins big on the XLR handle for clean audio, tally lights, active cooling, and all the cine extras. The real killer is the zoom rocker up to 4x digital zoom via the levers, turning any prime into a smooth parafocal telephoto. That's massive for run&gun when you can't swap lenses; Sony/Nikon hybrids top out around 1.5x in 4K. But no IBIS is a legit worry: digital + gyro + lens IS might work, but I need to rent and test further to see if it's a deal-breaker. R6 Mark III gives me IBIS, open gate for post cropping/vertical, hybrid stills/video balance, and an EVF. FX3 is still solid (clean 4K up to 120p, great high-ISO, gyro stab) but buying one this late feels off when open gate is high on my list. Short version: C50 for XLR, cine tools and that crazy digital zoom reach, R6 III for IBIS + open gate + reliability. Renting the C50 soon to settle the stab question. Oh, and the ZR is likely getting the axe.. too many quirks for my needs.

I just thought I'd ask because I'm enjoying this starting point rather than the Panasonic Standard profile for the GH4. I'm shoot the GX800. ProColor is giving me a really nice starting point for different film stock looks. I think @Andrew - EOSHD was going for the 1DX mkII when he made the profile in the first place. Ultimately, if you like it, it's good.

As long as it checks all the boxes for you. You really can't go wrong. For me both the C50 and R6III are close to checking all the boxes, but if the C50 had IBIS or the R6III had the XLR handle, they would be perfect. I know canon has some great stabilized zooms, but I don't want to get married to a system for a feature that most systems are putting in-body. I'm currently invested in L mount, but just barely - which means I own some adapters and one lens in that system. The rest is EF glass or adapted to EF glass. So switching systems would not be too costly if any one camera hits it all out of the park. At the end of the day, they're all good machines. I'm not in a huge rush. But I look at the price of used FX3s and kind of think it may make sense to invest in something that will hold its value as the kind of go-to camera for the next 5 years. Then again, I prefer the image out of my S1H to the FX3 any day, and had I gone that route I'd have a more valuable black box and five years of inferior images.

I am currently doing my own ZR image testing with footage I shot in every codec and the R3D RAW is beautiful, super rich, super detailed. Probably the best image you can get from a mid priced mirrorless. But then the h265 log conundrum. I just messed around with some log files and they're terrible. Reminds me of 8bit FHD 5D3 footage. Actually the whole camera reminds me of my C200 which had either Canon RAW or 8bit. I hated not having an intermediary codec and its the same scenario with the ZR. Quite a shame as I love the design, form factor and huge display. But it's basically a massive RAW file camera which isn't going to be practical for a lot of people. I'm headed back to Canon as Sony is in limbo and I don't do L-mount.

I dunno this is the same company that released an FX2 couple months ago with a 4 year old A7IV sensor. The A7V hasn't caught up to the competition either. Sony are in their own bubble, too comfortable being in leadership position. Don't forget they also have a cine line to protect, so unless they're planning an entire FX refresh, I wouldn't expect too much from them at this point. In any case I can't wait any longer so it looks like I will be headed back to Canon, closed lens system but it checks all the boxes.

I have a hunch they will announce something with a higher resolution and open gate. Unsure about RAW. But they have to adapt with the market and surely they're noticing the discourse around the age and limitations of the FX3.

This comparison looks more like WB issue to me. Haven’t seen image that yellow or green from Z6iii or ZR, unless WB was set incorrectly. On last shoot during the sunset had a Z6iii with 400mm F4.5 and ZR with 35mm F1.2 and neither had image like in this video after first setting WB right in R3D. Nraw had auto WB and even with that it did not look like this.

The ZR with its ultra thin smart adapter is making more and more Sony users switch including a major YT camera bro.. the FX2 got horrible press and A7V has not outperformed the competition so I think its in Sony's best interest to announce the FX3 II sooner than later but the big question is will it finally give Sony users things like +4K, Open gate or even internal RAW? The recent releases make me very doubtful they'll include all of that... Speaking of ZR, I got to do some more testing as I await my C50 rental. I really like the camera. R3D RAW is phenomenal. But the file sizes are absolutely insane. I did notice that shooting in SDR compressed doesn't ruin the footage the way N-log does. My theory is that to keep such a compact camera from overheating, they baked in heavy NR and made the bitrate light to not heat up the card. If so, I'm not sure an update will fix the h265 log mush. Also the fact that shooting in R3D RAW changes the color science is a little jarring. Like Casey from camera conspiracies noted, the ZR feels like multiple cameras in one. The image quality and color science is all over the place depending on settings. I value consistency so not sure this appeals to me.

I saw this one the other day and it didn't tell me anything I did not already believe which was/is: Nikon wins on body & screen (albeit, I wish it tilted!) but the LUMIX on real world use. For my specific needs anyway. Based on his footage, the LUMIX footage looked better than the Nikon which looked a bit yellow/green (like older Sony stuff from a few gens back!) and side by side, a magenta tint was (only) then noticeable with the LUMIX, but the Nikon turned horrendous. YouTube compression and all that... Nikon wins (easily) on lenses taking into consideration adapted E Mount glass, but there is just enough in L Mount for my needs in 2026...which was not the case in 2024. The Nikon is very competitively priced. Bottom line for me is I would not trade my S1RII/S5II/S9 combo for any other currently available option as things stand.

I would have loved to have stuck either the S1H for both my video and stills work but re. the former, if only they had upgraded it with firmware to the new in camera LUT options, otherwise it was 'peak camera' for me. OK, maybe PDAF also, but obvs not available as a firmware option...which is why for me, the S1RII is my 'S1H'!! Please though can we have an FX3 style body with fully articulated Nikon ZR sized screen. I have no actual 'need' for this but do 'want' it and would buy it.

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)