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The 12K line has a steep discount going now, too.

For people in the US, at least (I'm not sure abroad), Panasonic are running some trade-in deals. The one for the S9, in particular, is fantastic if I understand the terms right: https://www.bhphotovideo.com/a/trade-in/61933 The S9 is $1,197 normally, but there's a $300 instant rebate and if you do a trade-in, you seem to get an extra $350 + trade-in value of what they describe as "any working digital/film camera." I wonder just how much of a potato would still quality - $547 for a brand new S9 is genuinely tempting. It's pretty much the most pocketable full frame camera on the market now - would be nice if it had internal ProRes, but I think Panasonic's HEVC implementation is decent. Also, kind of crazy to get sensor shift stabilization on a FF camera for that size/price.

Presumably it is so that the footage from the ZR can be more easily color graded by those who are familiar with RED footage, and the material from the ZR can be mixed with that from RED cameras with easier and better color compatibility. Nikon's issue is that the video from its hybrid cameras (especially in SDR mode) is designed to color match with the stills from Nikon cameras and cinema people have their own preferences that differ from that of the stills world. Nikon has been gradually adding features to make it easier to make the footage look similar to that of RED cameras, and this is another step in that process. Personally I like the SDR colors from Nikon cameras in video as they are so familiar to me as a stills shooter, and if I want to present video and stills from an event, they match by default. I appreciate that for video there are reasons to use log formats for encoding the data in a more efficient way to get a wider range of tones and colors recorded while keeping file sizes in check, and this encoding can vary from camera brand to camera brand, making mixing the footage across brands to a cohesive whole more challenging. The 4:2:0 vs. 4:2:2 has to do with how the colors of adjacent pixels are encoded to save space, I don't necessarily see how this would affect the overall "look" or dynamic range of the footage, which the log profile might affect. Nikon does support 4:2:2 in Prores in the ZR. I would assume the RED Log profile would likely be available for Prores files as well, after suitable firmware updates have been made available.

Good morning, everyone! A short and super-relaxed video from the final days of summer on the island of Thassos. Featuring music from a bygone era— a time many of us wish we could live in! Enjoy a video that made with a7iv + Tamron 28-75 f2.8 and GoPro12 !

If the h265 is still 4:2:0, of what use is this slightly different log profile?

Nikon have announced an interesting firmware update for 2027. Could be a confidence that’s announcing this three days before IBC or maybe someone else is announcing a competing camera there that Nikon need to get ahead of. Either way, it looks like a great update for existing users. Full details here https://www.nikon.com/company/news/2026/0908_01/

Build 169 uploaded: https://groups.google.com/g/rawlogcam-closed-testers Most important test ROT button for landscape mode. In my Motorola Edge 50 Pro it stopped working. Test RAW and RAW+C for dropped frames—upper diagnostic messages. Use the METER to scan the scene for a few seconds and get the average exposure. The HDR button sets a shorter exposure time to keep highlights. In the COLOR section, you can switch off sharpening (Edge HQ). For IT8, push REF to load the reference file, then push the grid to adjust the rectangle, and push it again to auto-fit. Astro mode in the HIDE section is still under construction. Test DNG export in PROCESS RAW.

6K Pro gap is even wider of course but yes it has always been a compelling package. Meike never did do an L mount version of their EF adapter with the variable ND drop in filters which would have bridged one gap. Of course there is a strong argument for having a non-native EF mount with a proper AF system sat behind it over a native mount with a rudimentary AF-S system sat behind it. Its the internal ProRes that would definitely be a deal breaker of course if you need to hand off footage.

Unless you desperatly need build-in NDs, internal prores or EF lenses without an adapter. I would have retired my 6kPro a few years ago if the FF camera had ProRes, or even a good h265 codec.

They’ve managed to put themselves in a position where their full frame 6K is significantly cheaper than their Super 35 6K version so the latter will hit that sub $1000 point when they clear it out as it makes zero sense at this point.

They're the only one that could make a sub $1000 full featured super 35 cine camera and refuse to do so.

Yes, you should title them with as many poophemisms as you can find that sound like footage they’d like to steal. Building a log cabin Clearing the pipes Cutting a cigar Decorating the White House Downloading some software Feeding the fish Laying some cable Stocking the lake with brown trout Etc etc

That sounds like a sensible fallback. Keeping the RAW/RAWC master at full-res 60p is the important part, since it preserves the option for proper desktop export later. The proxy can be more pragmatic, especially if the Qualcomm encoder is going to be device/driver dependent. The HDR30 idea is very interesting, probably more useful than forcing a fragile 4K60 HEVC path on phones that don’t really support it. Alternating exposure RAW frames could give a genuinely different look from the normal phone HDR pipeline, especially if you keep the merge natural and avoid the over-processed local tone mapping look. Would be great to see a test with motion in the frame, to judge ghosting and highlight handling.

Lately for really long recordings like conferences and lectures I’ve been transcoding the BRAW to h.265 with a conversion LUT and minimal CC, then editing from that. I delete the BRAW once I confirm nothing went wrong. Sure it adds a step, but it keeps my Pyxis in my normal rotation of jobs rather than just brought out for the “big” jobs. For really important shoots I still keep all the BRAW, though.

I'll be sure to fill up any cloud storage they give me, then. Maybe I could treat them to a retrospective of my year in toilet flushes, but give it a bunch of other labels like "Doing a sick jump on my bike"

No surprise at all that someone grabbed it. Too bad the mount can't be user-swapped - I saw one in a bit more beat up condition, but still good for like $1,000 - but with EF mount. It is bigger than H.265, but there's also not, in my experience, a lot of reason to fear some of the higher compression ratios. I think I see some artifacts in some difficult places (narrow/flaring highlights) 8K at 12:1 on the Ursa LF, but I need to try exporting from Resolve and/or try some similar scenes with 12:1, 8:1, and 5:1. I'm not sure how well ProRes 422 bitrates compare with higher-compression braw, but they might not be too far off. For now, for later, for just about forever if you want it to. That's a hell of a camera - though it'd be nice to have something a little smaller to pair with it. The C500 II ain't tiny (though it's also not enormous).

Funny that sony raises prices and blackmagic cuts prices. Allthough for me with the storage space costs at the moment. Braw isnt cutting it. It is better then h265, sure. But I just cant justify the storage costs. I wished they included compressed prores again. Love blackmagic though, it has an amazing look. I think I owned lost of their cameras until the pyxis. But its shitty on gimbals, and storage adds up, not as much as the nikon zr though. I hope nikon announces good news on IBC in a couple of weeks. My c500ii will do for now.

; ) https://petapixel.com/2026/09/04/gopros-founder-promises-it-isnt-done-making-consumer-cameras/ Sure not... why should it be kinda different? LOL :- )

Last time you did it, I bought one! : D

My finger was hovering over the checkout button on that one for a few hours today, but it looks like someone nabbed it. I picked one up during the $1500 fire sale in 2024 and regret selling it later. Amazing camera for that price.

It's also worth noting that IBC is in 1 1/2 weeks. It's not at all out of the question that after stiffing end users with their NAB presentation that BMD are finally going to announce something that isn't squarely targeted at arenas. With Pyxis 12K at $5,500 and Ursa 12K at $7,700, assuming that these recent price drops are permanent, BMD don't really have any compelling options in the $3,000-4,000 space. I am going to take a wild stab in the dark and hope that it's Pyxis 8K with a cheaper variant of their RGBW sensor, supporting 8kp100 or so with a 4K non-cropped option and a 6K S35 mode. At $3k or so, that'd be another camera that has me taking a hard look at what I have and figuring out which I will reasonably use any time soon.

You beat me to posting it. If you want IMX410 and usable autofocus, it'd be hard to find a better choice. Let's see how used prices react as well. Judging by B&H, they're reacting very nicely for the CC6K - there's an L-mount one for $1,435 right in condition 9 right now. That's... even slightly lower than the new price was for a minute a few years ago. 😅 But for $1,435 - that's a hell of a camera. If I didn't already have the problem of "more cameras than I actually use, I should sell some of these," I'd be furiously clicking buy right now. Pyxis 12K used prices seem to only be about 10% off new on B&H and on Adorama and MPB, they didn't catch up at all yet so used are now much more expensive than used. Now... if they would drop the price of the Pyxis 12K to $3,500, I'd already be in the middle of figuring out which camera I'd be making myself sell to justify getting it.

More reductions and from the wording of the press release they could be permanent as they’ve found cost savings in production. £1463 for the Cinema 6K and £1830 for the PYXIS 6K are excellent prices really, particularly in light of the AF updates for both cameras. Both those prices INCLUDE VAT by the way. Hopefully they find some of these cost savings in production for the PYXIS 12K, despite it already being very decent value for money.

All of them of course. Gotta make that coin whenever and wherever you can.

They will be very important as the cameras will be the capture device for the worldwide free training data they’ll be getting from the cloud storage/editing function that will be offered to the users who’ll be unwittingly doing the training for the company. And paying for the capture device as well. And they ban DJI for being untrustworthy eh? Makes you wonder which family member is backing this financially ?