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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.

Yes, you are right and I am well aware of Z8 data rates too. Still, with 6k25p it is not that much of data, but you loose the ability for slow mo if you happen to need that later on. Got the Z6iii primarily for it’s 6k50p and 4k100p and have used only those for almost everything, even in low light with ISOs up to 12800. With Zr I could maybe momentarily live with only 6k25p for occasional shots. For Z8 owners Zr data rates are no problem if they’ve got used to shoot and store 8.3k NRaw high. Wouldn’t get Zr just for h.265, a Z6iii or Z8 can do that too if needed.

8K50p N-RAW Normal is 362 MB/s. Comparisons between different codecs at different frame rates doesn't make much sense since frame rate is usually specified by the application and not used just to fill a data rate quota. h.265 is available on the ZR.

In this case 1:2 starts to get quite heavy for the storage, might as well shoot 8k50p NRaw normal with Z8, but shooting 6k25p with R3D or APSC-C 4k50p are always options to have similar bitrates than with Z6iii. With S5ii h.265 I could store 2 or 3 year’s footage to 2TB SSD. Now with Z6iii NRaw I need 4TB per year, but maybe I’ve shot also more with Z6iii. The Red Raw needs to be something very special, and above Z6iii NRaw for me to double the storage space required😅

There is this conspiracy theory that its a damage control campaign by Sony, which I don't agree with. Sony's position is strong enough to not bother at all. But YouTubers shouldn't behave in a way to make it easy for conspiracy theorists. I mean they all made it about FX3 since day one. They didn't even mention that S9 IBIS works better than ZR, or S1ii extract higher DR from the same sensor, or what about Canon? Nobody made a comparison with any EOS. When they all talk about just one brand and one specific model of that brand, which is not even in the same price segment, some people may get suspicious.

Nice video about the ZR audio capabilities. The internal mics are quite impressive for onboard mic, but the directional pattern can only be used in non RAW video.

Funny how the ZR has reached legendary status even before its launch. Youtubers getting destroyed in the comments when making some stupid comparison. This is one example, but I have seen others... if you would have told me a Nikon camera would have got so much support, I would not have believed it. They really have got some momentum, I hope they try at least to satisfy the request of the people toward the ZR, because it is their Canon 5DmarkII moment.

Hello Fellow Creatives, I've created some brand new seamless texture images to share with the community. You'll find them at the top of these pages on my site: TXR - ABSTRACT https://soundimage.org/txr-abstract/ TXR - CONCRETE - Tile-able https://soundimage.org/txr-concrete-pavement-seamless/ NEVER A.I. GENERATED I recently got a question asking how I create my images and if they're A.I. generated. All of my images start as digital pictures of real-world objects that I take with my DSLR. I then import these images into Photoshop and work with them to create unique textures. Everything I create is 100% original (including my music and sounds) so content creators never have to worry about copyright issues when using my assets. My Site is 100% Ad-Free and Community Supported If you find my assets helpful, 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: Donate (any amount is helpful and much appreciated) https://soundimage.org/donate/ Get my Ogg Game Music Mega Pack (over 1400 tracks and growing) https://soundimage.gumroad.com/l/ylyre Get an Ogg Genre Music Pack https://soundimage.org/ogg-music-packs-2/ That said, enjoy, stay safe and keep creating awesome stuff. 🙂

Actually from what I see Resolve 20.2 support prores raw already. I could find S1II files to download actually.

So is the High ISO NR item in the Video recording menu grayed-out when selecting h.265?

It's only a 1:2 difference. You can get similar file sizes from Prores 422 HQ 4K as N-RAW Normal 6K, and the Prores looks gorgeous at least from the Z8; I would expect the same from the ZR. There could be an issue though if you want 50 or 60 fps then the quality may not be as good from the ZR as it is with the Z8 (due to lack of support of extended oversampling).

Probably and until Resolve etc support the new codec. But then I've seen some side by side comparisons with Nraw where the reviewer is saying, "look at how much less noise there is" and I agreed, there was less, but also, "look how much better these skin tones are" and I thought, really? have you got your labelling wrong because the Nraw looked better in your side by side examples. So I guess until folks you know, love and trust start showcasing or you can get your own hands dirty, the jury is still out on just how good it is beyond the hype. My own personal jury has ruled against it despite thinking the camera looks fabulous, the screen is killer and the pricing excellent, but no way am I going to be using those file sizes. Lumix, get on with the S1H2 please.

N-RAW Normal is still there and can be renamed to RED RAW. I understand that's not an option for people who want to trim but then as Jahleh said why not use NRAW. I was impressed recently by some of the color grading done in the movie The Ministry of Ungentlemanly Warfare. It was shot on Sony Venice 2, (Sony A1 sensor) at 8K RAW and transferred to 4K Digital intermediate. Following Hollywood workflow another option would be to do the trimming plus some WB and exposure balance in Resolve and export in something like ProRes 4:4:4. RAW video workflow will usually more work. ProRes 10bit 4:2:2 4K is an alternative, cinema tools test shows texture of image is good. Or expose h.265 2 stops to the right. When I am shooting at night with Sony ZV-E1 and don't expose 1.7 to 2 stops to the right, there is plenty of noise in the shadows. IMHO this is not a camera to get if you shoot a lot of 4K 60p or 120p and have a fast project turnaround that requires the use of x265. It is specifically for people who want to shoot predominately or at least 50:50 RAW video and are ready to absorb the cost in time and money.

A quick example from yesterday. Shot about 43 minutes of 6k50p NRaw normal footage from tripod and it took about 500GB of storage. After trimming down NEV clips in Resolve and exporting only important parts they took only 50GB. With R3D NE it would have taken 1TB of storage and if trim and export do not work in Resolve it would be 1TB vs 100GB of storage needed to store those R3D NE files. Simply too much, if you multiply that for like 100 days or more in a year

The R3D NE is only available in bitrates similar to N-RAW high quality, not normal, which is what many people seem to be complaining about.

Look at S1ii and it probably has baked in NR in h.265 even more than Nikons have. Was it in CVP’s review that Zr had a setting for NR in the menus. Hopefully it is there in the final software. Nothing to complain about Z6iii’s h.265 IQ so far though. The NEV to R3D hack can be used for quick edits straight from the CFExpress card, but as long as there is no working solutions to trim the files and save them as R3D I prefer the original NEV work flow and maybe Nikon colors too.