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An older comparison between Nikon Z6 III and Sony FX3. Nikon Z6 III has the same sensor as Zr so this comparison is still relevant. https://www.youtube.com/watch?v=2Uz0pJvveoA While in lab tests Z6 III and Zr semi stacked sensors have one stop less of a dynamic range in practice this different is hard to see or notice in most scenes. I wouldn't worry about dynamic range. Once weakness Nikon Z6 III and Zr have and also Z8 is the fact that if you want the best video picture quality you have to shoot in RAW. NLog used in ProRes and x265 internal codecs is not as good as Sony or Panasonic Log profiles. x265 codec is 10bit 4:2:0. Shooting in RAW would require more time and work in post production as de-noise and lens correction have to be done in post. https://www.youtube.com/watch?v=8nyTnnbszZg This is because when de-bayering RED RAW files in resolve and RED software you have this option to reduce chroma noise. Until somebody does a proper test with RED RAW file I think semi stacked sensor in Nikon Zr and Z6 III is still one stop lower than sensor on Sony FX3 for example. As previous tests shows this difference is undetectable in real world shots, it can be measured only in tests Here is how to get rid of the blue channel clipping without renaming files to RED RAW (R3D). Yet renaming the files gives more options and better results, so people will keep doing it https://www.youtube.com/watch?v=G7U-WysxaRw

Maybe next year… Currently on a 13 Pro bought as a refurb a few years back and it’s about the right size for me as I travel a lot and a Mini is too small and Macbook a pain unless I am actually working. The 13 does everything I need it to do but I’d like a better camera or rather more lens options so…

Another super-busy week, but I did manage to create a couple of new music tracks to share with the community...free, as always, to use with attribution, like my thousands of other tracks. They are: On my Sci-Fi 14 page: "MOONLIT CYBER STREETS" https://soundimage.org/sci-fi-14/ On my Positive/Upbeat page: "SHUFFLIN’ AROUND TOWN" https://soundimage.org/positive-upbeat/ PLEASE READ 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 synthesizers which are very expensive (I make monthly payments) 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/ Anything you can manage will be very helpful...thanks. 🙂

This video is very interesting about the conversion of the Nikon NEV to RED red file. The thing that is the most interesting to me, apart from the blue channel clipping, is about the dynamic range of the camera which he test as from 8.25. I think he has a Z8, if this is true in the highlight, the z9 which has been rated at 8.5-9 stops of latitude in the CineD lab test, could be either a solid 9 (Panasonic S1ii, RED V-RaptorX), or closer to 10, that would be Arri Alexa LF territory!!! I saw someone saying that his Nikon is like a new camera, about the highlight, but also that the chroma noise reduction was also very good. The Nikon Z6iii/ZR, is supposed to be the same sensor than the S1ii, with the only difference is that the Nikon's are at 9.1ms and the Pana is at 12ms. I would dream if nikon could give a slower version mode with the S1ii DR/Latitude. Because most of the time the slower read, creats less noise and thus more DR.

It’s not as risky as it sounds. You’re never pulling the active recording card, only the idle one. The camera is writing to one slot while the second slot is completely free, so you can safely swap it for a fresh card without interrupting the recording. That’s how Canon implements “relay recording” to allow essentially unlimited record times. Of course if you pulled the card that’s actively being written to, you’d corrupt the file, but the workflow is designed to prevent that. It’s not really a new trick on the C50, it’s fairly standard in Canon’s cine line and a reason people trust them on long form shoots. Most hybrids including Canon R line doesn't allow this as they're photo centric and that could cause issues, I'm not even sure this works when in the photo mode of C50.. another benefit of having dual OS systems. On a side note, I hope Nikon includes more RED OS features like traffic light system etc.

100%.. definitely what's happening. I heard it was a flop. One reason I didn't mind having a smaller phone is that I don't really do a lot of stuff on it, as I prefer using my laptop. If I used my phone as my main device I'd be wanting the largest thing I could practically carry around. I'll be curious to see how it goes. On my last trip I bought a Pop Socket, which I found to work really well actually. This is what it looks like if you're not familiar, and means you can hold it really securely, and it folds almost flat. I put it towards the bottom and on one side so I could open it, pull the phone out of my pocket, open the camera app from the Home Screen, take some video, lock the phone and put it back in my pocket again, all with one hand. The flaw was that because the socket wasn't in the middle of the phone so when walking the weight of the phone would rotate the phone. I got another one for the 17 and I'll put it in the centre of mass of the phone so when I walk with it there's no rotation induced from unbalanced motion. I don't know what that means for how usable it will be one handed. I guess sacrifices have to be made to go from h265 HDR to Prores with Apple Log.

Are you sure this is safe for this camera? While it may be that just pulling the card out while the camera is on in most cases causes no harm the manufacturers do typically warn that the camera should be turned off before removing or attaching the card or there could be data corruption.

Sadly the mini was a flop, it didn’t sell well. People want big phones apparently which I find annoying as one hand gesture operation is impossible, not to mention pocket ability and discretion while shooting. Those are the reasons why I still use my 13 mini as my daily driver despite having a « better » regular size iPhone.

Just like camera manufactures i guess. You can get option A & B but not option A & B and C, or option C & B but not A Mini size factor may have less of a profit margin as well and perhaps even overheating, mostly i suspect its more about marketing segments and better profit margins. however i think you know this already 🙂

I don’t see the ZR & C50 as direct competitors even though they were announced at the same time and take inspiration from the FX3. Different builds, specs and price point. Not to mention the ecosystems. The way I see it, the DR per price argument is a bit of a stretch. A camera is more than just a sensor, and the two bodies are not in the same hardware category. I love for example that you can open the side door on the C50 while recording and hot swap cards. The built in fan, screw mount, included XLR top handle with zoom rockers and record. It all reminds me of the C100 which I shot so much run & gun with. ZR feels more like a vlog cam with a Z6iii in comparison. Reminds me more of Sonys ZVe1. DR wise, yes C50 shows about a stop less than the ZR in Gerald’s tests at its 6.9K RAW base, but it also gains an extra stop in S35 mode and two stops in 4K H265. On top of that it’s open gate 7K vs 6K. Different sensors, different pipelines. IBIS would have been great on the C50, but Canon just doesn’t include it in the cine line, just like RED, BM, FX6, FX9, etc. Bummer but not a deal breaker for me, C50 ergos look good and with 7K open gate that leaves a lot of wiggle room for stab in post. The ZR is great value image wise, but in my opinion it has some valid hardware quirks and R3D RAW comes with massive data rates. Gerald’s DR score of 10.9 was with R3D RAW, but it drops to 9.74 in NRAW, so in practice the gap is smaller than it first appears. For me the C50 checks most of the boxes I need, and opens up a slew of lenses including anamorphic but also s35/s16. But for others the ZR with Z mount adaptability and R3D RAW at a mid level price point might make more sense, and that’s fine.

I also really like the Mini size and form factor, and TBH it frustrates me quite significantly that they don't put the good cameras in the smaller models. It's like forcing you to buy a truck just to get power-steering. I also agree that the square selfie-camera is a cool addition. I'll be curious to see how wide it is, my recollection of previous versions was that they were a bit long of a focal length for what I wanted to shoot (me in a cool location) so I'd normally just use the wide-angle camera and turn it around and shoot blind.. hardly ideal. The holy grail for these cameras is to look the same as a nice camera with a stopped down aperture. I'd suggest that those iPhone 15 Apple Log vs Alexa videos showed that it was getting pretty close, although now with RAW it will be interesting to see how close it really is. When the first Android RAW samples came out there was something about the footage that still looked like a phone but at the time I couldn't work out what it was. There will be other things that might give the game away, but these will probably be how the camera is used rather than some innate property of the image itself. I'll be putting mine through its paces once I get back from my trip and upgrade to Resolve 20.2 to get the RAW support. I might have to do some side-by-side comparisons too.

My daily driver is an iPhone 13 mini and that won’t change (lowkey wish they’d reintroduce the mini line, everyone I know that has one loves them). But my secondary iPhone will be getting a substantial upgrade to the 17 Pro. It’s the first pro model that resonates with me. Love the rugged unibody design, previous pro models still had that fragile precious feel I despise. And of course the specs. One that few seem to mention is that open gate will be supported through Final Cut Camera 2.0. And the front camera sensor is square which allows multi aspect ratios, a cool direction. I do more and more vertical work for social and a lot of times they want the “iPhone” look not a heavy graded shallow DoF look so main benefit for that will be the cameras but I have seen impressive videos shot on iPhone Pros. 28 years later included. So who knows to what capacity all these codecs, log, open gate etc will be used.

Just be sure that the apps you will use will all still fit on the internal drive. Apps are getting more and more "featured" and are more and more bloated with things, or they do things like cache data and store it locally for enhanced performance. You might also benefit from some wiggle room, depending on how you're going to use it and how long you'll keep it. My iPhone 12 Mini from 2020 is still going strong and if I didn't use the cameras so much I wouldn't feel the need to upgrade, so you might end up keeping it for quite some time. Yeah, I've seen tests of this configuration and they looked pretty good. I suspect I'll end up just using the default camera app for speed of use, and I don't think it allows this combination (Log and h265) so I'll have to see what it allows me to do. Ideally I'd go for 4K and Prores 422, which is around 500Mbps, so large but still manageable. I think there are a few very specific situation where you'd want to get the dock and use a phone rather than just use a proper camera with a (much) larger sensor, but not that many. I am in chats with a lot of professional cinematographers who shoot a variety of client projects and the consensus seems to be that when the client wants something to look like it's been shot on a phone it's far far easier to just shoot it on a phone rather than try and get that specific look in post, but of course while shooting this "look" on a professional set you'd still want all the functionality like remote directors monitors and timecode sync for audio etc etc, so it's a very niche product but if you're doing that then it can save an incredible amount of hassle. Besides, now you can get your phone, add the external box, get a proper battery setup, and add a HUGE monitor.. no more being forced to shoot video on your iPad!!

Right : ) Apples to oranges anyway. I wouldn't mind to ignore a premium to pay for any of those 512GB, 1TB and 2TB, though.

https://www.redsharknews.com/adobe-premiere-pro-25.5?hs_amp=true Finally, I was surprised with the massive man power at Adobe they couldn't make the transition themselves? With so many editing program offering transition build-in Premiere is really lacking until now. Also Canon Cinema RAW light is finally hardware accelerated.. was it on software all these time? Might makes me want try raw for some shoots, it was kinda meh experience back then.

Found a flaw. A big one. Price to change 😂 Just costed it and it came out at around 15k to purchase everything I need even using used prices for some of the gear and with trade in for all my L Mount gear not much over 1/2 of that, it’s not happening…which is fine as what I have is great. Just wrestling a bit with that S5II/biggish lens/battery grip/heavy tripod conundrum, but I’ll work it out and not pollute this thread any further with dirty Lumix talk. The Zr though I think is THE camera of 2025, especially considering the price. It depends on your needs of course but it pretty much nails mine and I didn’t think it would, but then again, Nikon have been on a bit of a roll lately and in the hybrid mirrorless world, might just be the system to beat right now…

I'm not going to get an iphone, so unfortunately this isn't something I can use. I do, however, use a phone mounted on top of a camera for 3D motion tracking, when tracking the main footage isn't possible. For example, if the actual shot is a tight handheld shot of something with no tracking positions, I mount a phone on the camera rig, and use the wide angle for tracking. In an extreme case, I add tracking markers outside the main camera's field of view. Since I can't sync them, I shoot the phone at double frame rate, then choose whether to drop the even or odd frames, whichever gets closer to the exact timing of the main camera. So then my maximum timing offset is sub-frame. Genlock would make this all so much easier! Although--to be fair, at $1300 for an iphone + dock, I can probably just get another camera to dedicate to tracking.

BM camera app will allow you to shoot Apple log in h.265 with very good quality. Saves soooo much space and looks great.

I wonder how soon with a firmware update they might bring the new RED Raw ‘lite’ to the Z6iii and Z8? I guess not for at least 3-6 months after the launch of the Zr in order to not hurt sales… It’s taken me 3 whole jobs to get my S1RII’s dialled in (note to self, never make any fundamental changes mid season, ever again) and for hybrid work, easily better than the Zr… …but the Zr is comfortably better than my S9 and I think at least matches my S5ii and these two are the ‘weaknesses’ in my lineup. ’Weakeness’ in the case of the S9 as the Zr has it well and truly beaten (IMO) and in the case of the S5II because in my specific use case, it’s attached to the 70-200mm f4 which is bordering on being a bit of a lump by my standards and needs the battery grip due to battery anxiety for long takes and that lot requires the use of a heavy duty tripod. I’d prefer no battery grip, a more compact and lighter and faster (f2.8) lens…such as the Tamron 70-180 and a lightweight tripod. Clean sheet today, I’d build a system based off a pair of Zr’s and single Z8, because my ultra compact 4 body Lumix set up, can be beat. I haven’t found a single flaw yet in the Nikon set up, but still searching…

Me too here, very likely. For the first time. Windows and Android user, so far. There's external SSD recording, and they're pretty on the nano side these days, so the 256GB version is enough.

Nice. I'm getting the Pro one to replace my 12 Mini, so it should be quite the upgrade. When I'm on trips I use the big camera for shooting the surroundings and environment and my phone for quickly shooting the people I know as we're out and about doing things. Ironically that means that it's my most important camera and the other stuff is my secondary setup. I'll be curious to see what the lower-bitrate files are like, as shooting at full res gives very little recording time.

I am; should be delivered tomorrow. Main reason is it's my normal upgrade cycle time. But, even if it was a year early for me I'd still be compelled to buy it. I've been using my phone for critical pick up shots for a while now and the addition of ProRes RAW makes it even more useful for me this way. The 200mm equivalent telephoto also will be great for casual concert and event photography so I'm pretty happy all around.

Anyone getting an iPhone 17 Pro / Pro Max?

I was going to say the same thing! My neighbour has a pale blue one but he won't sell it to me...

Finally arrived : ) Here are the 1st clips with real footage popping up now: And more yet randomly, so not exactly made for clickbait (his best selected shots speak by themselves), from another source, here's the same level of outcome: Last but not least, this impressive set of specs for such 1-inch CMOS, 50MP capture device under 250g match both the most real expectations to the wildest: https://www.dji.com/pt/mini-5-pro/specs