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If Sony uses the FX2 sensor for A7V, R6III will be in good position.

But seriously, a less than 1 minute calculation says 13k investment vs probably about a 6-7k sale price on my current gear = not happening. Even if I just went the stills side it would be around 6.5k - 4k, so a 2.5k flip and…actually that might be doable in early 2026 😂 I don’t really want to go back to mixed brand systems but at the start of this year I was using Sony + Nikon for stills and LUMIX for video and I could easily carry on with LUMIX for video as I think it’s still probably my best option for that, but swapping a single S1RII plus 4x primes for a single Z8 plus 2x zooms could work…and it would give me the longer lens option that doesn’t really work for me within L Mount. For me, the only real weakness in L Mount for me is not having something like the Sony 50-150mm f2 internal zoom as that is pretty much ultimate event lens right there. In fact, unless physics can be defied, I can’t see anything more compact and as fast, being possible, but if Sigma could kindly take up that challenge…

One word: Megadap

Sadly a lot of the British public distrust it as well thanks to the constant brainwashing they've been subjected to by social media and Russian bots. I see the influence of the BBC outside the West as an attempt to spread the UK's voice, and system of democracy, and of course in some places this isn't welcome and will never be. The purpose of the BBC is not to please everyone all over the world all at once, they were set up only to serve the British public at home and abroad, i.e. with World Service radio and the BBC news website, if someone in Afghanistan or Turkey doesn't agree with a couple of programmes then so be it, not our problem. At the same time, people in other countries are well within their rights to have different opinions, and to tell the BBC to fuck off out of their airwaves. Equally, the Americans should fuck off out of UK politics too and leave us to it. However when it comes to some BBC content like David Attenborough people in other countries would do well to watch it. Maybe they would then have a less appalling attitude to animals.

Exactly. Everything related to editing works. Only if you shoot long clips from tripod and want to save only some short trimmed parts of it as R3D NE raw, both Resolve and Red Cine X Pro do not work. Kind of assumed that as NRaw to R3D clips behave the same.

Generally speaking, FF is going to give you lot more options. TTartisans make a 75mm f1.25 M mount lens that should suit you fine without breaking bank:

Humm, I thought you were trying to talk yourself into Nikon, now it's back to Sony? 😉

What lenses would you suggest? The GH7 combo is equivalent to a 68mm F1.5 but I can't find anything with a shallower DOF without it being too long. The fastest things I can find are 75mm F1.4 lenses that are a bit longer than I'd like, or 50mm F0.95 lenses but they're deeper DOF than this. You'd think it's a no-brainer with FF but I couldn't find anything without also adding adapters. I was hoping I'd missed something!

Lenses to me are now more important than bodies and have been for some time since camera tech reached a certain point. The best glass for my needs is all in Sony E Mount…which is a bit of a bummer with LUMIX bodies 😂 Tamron 28-75mm f2.8 is better than Sigma 28-70mm f2.8 which is also good but having had both, I prefer the Tamron. Tamron 70-180mm f2.8 is relatively compact and light compared with the 70-200 chonkers available in L Mount. Sony 50-150mm f2 is waaaaaay better than the Tamron 35-150mm f2/2.8 because A. it’s internal zooming and B. it’s constant aperture and C. it is optically better. Never mind the super chonker that is the Samyang 35-150mm f2/2.8, the Tamron’s fugly stepsister. Then we have the Sony 24-50mm f2.8 G which if paired with the 50-150 would make a superb indoor/outdoor option for my needs. Hmmm, maybe I am talking myself into a flip… I’m seriously tempted…

If you're looking for discrete compact street / travel cam plus shallower DOF, I'd stop faffing with focal reducers etc and take the loss and switch to FF with something like the ZR. It's ridiculously small yet has a huge display, has best lens adaptability and you get FF R3D Raw etc. Not to knock the otherwise great GH7 but it seems like the wrong tool for this particular user case.

Ah gotcha, so to sum things up: exporting individual trimmed R3D NE clips fails, not rendering a full edit?

Same here. We are all excited for seeing a small package with all these features at that price. I like seeing these young "creators" publishing all these nice video handheld. But seriously, for travel or vacation do I need a RAW camera and a countless TB of storage with me? Despite the character, I mostly appreciated the honest Philip Bloom review of this camera.

Editing R3D NE raw clips in Resolve works fine. For example if you shoot H.265 you can use quicktime in MacOS to open and view your clips, trim unwanted parts out and save only the important to SSD. For NRaw that does not work. I have used Resolve to import the NRaw clips from CFExpress card into the timeline, trim (cut) the carbage out, and export (save) important parts as individual NRaw clips via Resolve’s Media Management For R3D NE and also for NRaw to R3D hacked clips Resolve’s media management exports the whole clips, not only the trimmed parts, so there is no way to save only the parts of Raw footage you want to keep. Red Cine X pro just fails on the export. After starting to shoot NRaw I took a habit to view, trim, edit and save my daily footage after each shooting day, so that my 2TB card would be empty for the next day. That way I would have only my important NRaw footage stored, and also a quick daily clip of those important parts edited, graded and exported as H.265 to view at the same night. With R3D NE you either store everything you shoot as Raw, or edit something out of it and store it as H.265.

I think they're acting either conservatively with a wait-and-see approach. IMO, they're waiting to see how the S1 series sells. Based on that and the market/competition, they'll act or not. I've been having a hard time getting excited about these newer bodies. Really, it's more about 4k120fps (if anything). I just cannot justify that kind of expense as a hobbyist. RAW isn't for me. I'm much more excited about lenses now, but even with them, they're becoming too similar across brands. I don't know why, but they're also becoming boring. The Chinese lenses seem to be where the more unique looks are coming from. I have a really hard time thinking that the ZR will be viable on the beach in summer with MF lenses. After the GX800 and S9, even though they can be bright, the EVF is non-negotiable now. Maybe I'm getting old.

Probably the more likely scenario, but at the same time, even the biggest of companies seem to make the most monumental mistakes. I guess that the same philosophy I have always had applies and that is just because you are in business, does not mean you are good at business and that can be applied to any size of company from one man band to massive global one and everything in between. It just takes one single person who has the power to do so to make a wrong decision and... Personally I think it is conservatism at work as in "we'll go so far, but not all the way" and that "all the way" is just one more step after nine already taken and it makes no senses to me as someone who is all or nothing. But the camera companies are all as bad as each other and each have their individual flaws. I just would have thought we were at the point (past the point) where at least one of them would simply cherry pick the pros of each, eliminate the Vons of each and bring something to market that is as flawless as it can be. These 'flaws' are more niggles than anything now for me. All the major brands offer all the tech I need or will ever need and I could easily and happily make any of them work; Nikon, Canon, Sony, LUMIX, so it comes down to personal choice and budget and there best choice for the latter is almost always the system you are in which for me is LUMIX/L Mount. The biggest example of conservatism/cost cutting within LUMIX is probably the reuse of the S5 body. OK, there S5II got an upgrade and the S1II and S1RII further upgrades, but how much more expensive would it have been to go another direction? Only they and other big manufacturers know but probably more than the bean counters were prepared to allow. The bottom line is there isn't really anything else I want (certainly nothing I need) but if I could choose just one single thing for my S1RII's it would be the same kind of mech as it already uses, but the screen size, res and brightness of the ZR screen. But that would then require either a larger body or a different type of body so I'm dreaming...

It's quite easy to focus. Physically it's well damped and optically it's really sharp so the limitation is in how sharp the taking lens is and what sort of monitoring and peaking you have on the camera. Minimum FD is around 60-something cm, which I think is what the spec says. IIRC I tested it on the Voigt 17.5/0.95 and didn't really notice differences between that and other lenses, although I'm not doing much close up stuff. Yep, why stop down? 😄 Test shots here: More shots here: and here: The GH7 is a dream to use. The only "downsides" are it's not FF, it's physically large/heavy/chunky, it doesn't have a 1.25x anamorphic de-squeeze (so I use the 1.33x one which works fine), and the punch-in focus assist only goes to 6x. That's literally everything I can think of. That would only let me focus closer, wouldn't it? I don't find close focus to be an issue with it, just looking for something with shallower DOF. My Takumar 50mm F1.4 arrived today, so I'll be playing with that.

Wait so Resolve can't export trimmed R3D NE clips?!! You have to transcode to h265 before editing?? If so that's a major issue. I don't understand the workaround of "edit your project straight from the CFExpress card"? As for h265 I think it mainly has to do with the super low variable bitrate which is probably to keep thermals under control, however according to Bloom's review the ProRes HQ displays similar softness which indicates the built-in NR is set way too high. Nikon needs to give ZR some NR settings to get detail back in compressed codecs.

What happens if you know the boat has a hole in it and you know it's going to sink if it's out there? This might be the more realistic situation for Panasonic. They have the camera, but does it make sense at the price they can make it for (and still make money)? Or, perhaps even more likely, they can make a few of these awesome cameras they've designed, but there are some sort of tooling or production issues that prevent making a lot of them at the right price.

Almost all of entrepreneurs in silicon valley are fascist, some are dumb enough to reveal it at first stage, and some are smart enough to keep it in the closet until the time is right. When your mindset is wrapped by this self generated notion of "people are too imbecile to understand what we actually do everyday", the next step is to assume they're not qualified to govern themselves! Forget Trump, the bigger one is JD Vance. They're all members of tech bro club who think they know how to rule the world. By the way, BBC is known as a outright lier in my home country now. When I was a kid it was the only alternative source to absolute garbage propaganda of the state Radio/TV. We couldn't care about the integrity as much as we had thirst for "different voice". But after the internet revolution, everything changed. Not only it was easier to see how manipulative is their practice of so called journalism, but also was possible to research about their claims, their interviewed "experts", and even the statistics. But the most stab in the back move was giving the mic to hardliner individuals, or their advocates, with this silly justification of "giving both side the chance to express themselves to let people decide themselves". I don't need to hear Bin Laden's side you assholes. Or "former" ISIS members. Or "current" Hamas member, or an orthodox settler that even IDF is struggling with. I know what's their narrative. Just tell me what they've done. As a UK taxpayer you may not very well informed about the damage BBC caused outside the west. They sometimes pushes the narrative of a Washington DC based think tank that is literally a branch of Qatar/Iran/Syria/Russia/Saudi foreign ministry, despite all these criminals call BBC the "Zionist mouth". Its a long sad story with tons of nuances that a camera oriented forum is not a right place to expand.

Ha! Ans it's said one is supposed to get more conservative as they get older. For me, I just can't shake capital being the vehicle for fascism. Souped up and hot-rodded to fly down the drag strip. And, yeah, since pseudo-capitalism is now global and we're on the verge on climate collapse? Woo boy. Buckle up. Yup, sure is hard not to be conspiratorial about it all. As someone once said, have a nice day "you fucking dumbasses" 😉

I had an Alice cam on order. they are scammers, I have zero proof of Alice cams actually delivered to buyers. My second wave cam was never ready to be delivered, even when wave 4 funding was being done. At one point they asked for a full payment to get on the delivery list. Never was I contacted to pay the remainder for an existing, ready to ship unit. now prominent Youtubers are posting about the new cam with Zero reference to the previous gen, as if it never existed. So there was no scam either…

If Blackmagic hadn't have existed, there would have been a less colourful period in cameras between 2013-2018. But the rest have caught up now though, and there's not really much need as an indie filmmaker or enthusiast to get a Blackmagic Pocket Cinema Camera over something like a Panasonic S1H. They are a high-end broadcast / pro cinema camera company now. The 12K sensor is very impressive. But they are not doing as much value for money as they used to do... Panasonic still is though.

I will always remember what a Leica manager in Germany said to me, which went like this: “I have read your publication today, and I have to admit that the tone is from my point of view unreasonable. However, we respect that journalists can make up their mind independently. But I think even for your reputation within the worldwide video community this article might not be helpful.” Continues on front page: https://www.eoshd.com/news/same-career-psychopaths-who-sold-out-filmmaking-are-destroying-our-political-parties-and-the-bbc/

After shooting with ZR and 135mm F1.8 Plena outside for a few hours in depressing Autumn darkness, and another few inside with 35 1.4 it’s pretty clear the ZR and R3D NE have their perks. ZR feels quite small and nimble with the 35 1.4, and ok with the Plena without extra L grip. I can live without Z6iii EVF, barely. Focusing and exposing via ZR display works ok even from 20m away with the Plena at F1.8 during and after sunset. Exposing via highlights set to 245 work fine, as does the Cinema tools false color LUT. With CT LUT there is no zebras though, only with built in Rec709 LUT. The Red colors are a bit different (better?) than with NRaw and blue is not over saturated with LEDs. In low light R3D NE is clearly better than NRaw. With IPP2 pipeline grading is also a bit faster to get better results, both in SDR and HDR in Resolve. The only big downside is that neither RED Cine X Pro nor Resolve cannot export the trimmed R3D NE clips from the timeline at the moment, probably due to a bug in Red SDK. Resolve just copies the whole clips. Shooting longer periods from sticks is then a no go atm, unless you compress the raw to H.265 and save that, or edit your project straight from the CFExpress card. Copying whole 2TB to SSD is just stupid, if there is only 100-500GB of footage worth saving. Hopefully there is an update to Red SDK and the ZR could need a FW update too for some minor bugs and for H.265, which did look softer than Z6iii H.265.

In an alleged board meeting, it was suggested but in the end, ZR narrowly got the vote.