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I am in that camp and very happy with the current offerings and the lens line up...so hope the ZR is awful so I won't *need* to flip to Nikon. But in all seriousness, I considered waiting out this entire year to see what the ZR might be, but I suspect it will have a few less things that I need/want in a system, so will probably be vindicated going all in with LUMIX. And even if the ZR is an absolutely cracking thing (which I suspect it might be), there will not be enough for me to flip and entire system. Nope, I've made my bed and I'm comfortable with it.

According to CineD S1ii seems to have quite heavy NR baked in, unless you shoot Prores Raw and edit in Final Cut. As seen from those same charts, from ISO 800 to 6400, where NLog is shot, S1ii has DR of 12.6 to 10 with NR, and Z6iii DR of 12.3 to 9.6, without NR and with faster read out speeds, and with 6k60p Raw. I would like to be back in Panny camp too, but with current offerings and lens line up no thanks.

If folks don't like this, the solution is easy, - don't buy a VW. Other cars are available. But it won't happen because out of all the cars they sell per annum, a couple of hundred will complain on their favourite social media platform, a couple more hundred will buy something else purely because of this and the other near 9 million, will just shrug and accept it.

If they are making a Nikon/Red camera, why not use one of the sensors that Red uses, with RedCode raw, with Nikon conveniences and tech?

Its in DR boost mode that for whatever reason Nikon didn't use. Slop based DR is irrelevant as it doesn't represent the "engineering dynamic range" of the sensor, which is at 1:1 signal ratio. Here is max DR of S1ii in still mode, that uses the DR boost mode. Its 14.5. Ignore ISO 80/63/50. They are fake. And here is Z6iii Its 12.7. So there is 1.8 stop difference.

I think this post is enough to understand where we are headed. Adobe's subscription model is laughable in comparison. https://pluralistic.net/2025/04/15/musklemons/

Nice!! Good call having that HDMI clamp by the way!

The pattern is always the same: silencing those who are inconvenient to you through supposed copyright violations or lawsuits, knowing full well that 99% of the time, the people affected don't have the means or the funds to defend themselves. This is also a classic pattern in journalism here in The Banana Republic Of Italy. The big company or industrial group, or even the wealthy politician, sues the journalist. Anyway, they have a host of lawyers already on salary, and even if they lose the lawsuit, the amount doesn't even slightly affect their budget.

If it's the sensor that's used in S1 II, it has more than 12 stops of DR. The slope-based DR test on cined shows 15.1 stops visible and the OG Komodo shows 15.7. Also, did they say for sure it would use Expeed 7? And even if they do, is encoding Redcode really all that taxing? Red was shipping cameras that encoded 6K and 8K using it back in 2015 or so. I'd also keep in mind that whether or not Redcode has any advantage over nraw on this specific camera, there are marketing reasons to use it.

Some of the AI generated videos starring Trump, Putin et al are extremely well done and rather funny. I come across them on IG on a regular basis and there is definitely a high comedy value (some are more subtle than others - none, perhaps, would win a Fringe award at Edinburgh but nevertheless they are good). They are, of course, quintessentially the same as a drawn cartoon just using a different medium. But I agree with @Andrew Reid insofar as the lower end of the market will get bored and slowly disappear whereas the professional film making community will exploit what is a new tool.

When you see even the Germans hire more bean counters than engineers to survive in a China dominated market, you know its bad. Everybody is pursuing easy money, all under umbrella of legal system. From subscriptions to patent trolling to copyright harassment.

But Redcode is 16 bit. Overkill for a sensor with 12 stop of DR. And I'm not sure Expeed 7 can handle that.

With great interest and care! As an enthusiast with complex requirements myself I sometimes come upon a new set of requirements and try to find something that will suit my situation but it's hard to find something that meets all the specifics I have. This is typically when I would post as people who know more than me might know of a particular thing that meets all my needs. This is why it frustrates me when people just give random thoughts and riff on my carefully set-out requirements. TBH, now I just ask AI.

Did you even really read my post? I gave several suggestions and the OP never clarified or said his requirements were set in stone. Soft vs clinical, deep focus and circular bokeh right? There are a few ways to achieve that look. Most vintage lenses are soft compared to modern lenses. Does OP want REALLY soft? Why? Very easy to take a vintage soft lens and add a desired look in post for anything extreme. My vintage Yashicas and old Vivitars all have many bladed apertures and produce round apertures at f/2.8 so I get some low light benefits as I need it while still being vintage soft. But I can live at f/3.5 or f/4 as desired. So no, I wasn’t just waiting to talk, I was offering a perspective and fostering a discussion.

The new GO Ultra (vs the previous GO 3S) as well more footage and 18:49 review here (in Spanish). The 1/1.28 X5 sensor on 156º i.e. 35mm (FF) equivalent to 14mm lens. Amazing performance to say the least. Let alone the low light use per se. It's just now wait for the Nano by DJI and see what mandatory purchase pops up ;- )

Had a fun time trying out my X-M5 micro cinema rig on a low budget, 3 day music video shoot last week. No overheating or issues of any kind shooting 6.2k prores raw in open gate mode to an Ninja V+. Insane what this little guy can do for an $800 purchase (body).

Volkswagen are now selling you the whole car, but requiring a subscription to get the full performance of it. 🤮 https://fortune.com/2025/08/19/volkswagen-horsepower-subscription-economy-cost-features/ (Relevant to enshittification, not to copyright strikes)

Almost certainly. My guess is a mirrorless camera with Redcode raw which could be fantastic for people in Nikon's ecosystem.

Absolute scumbag behaviour from these American corporate fascists. The law and YouTube needs to stand up and say... enough. You should not be able to abuse so many innocent people via the legal system. It's all fair use.

Hello dear friends, I've been running like a motherlicker, but I just wanted to take a moment that personally thank everyone who jumped into this thread to offer their support! Right now I'm caught in all the extras in and around bicycle and support equipment etc. I'll update towards camera here when I get a little further along... Until then... I'm wishing you all well in your life and cinematic adventures! 🙂

No further words

They didn't use the full potential of that sensor in Z6iii. It can output two images per frame, one at first base ISO and one at second base ISO. Then the processor can combine them to achieve near 14 stop of DR. But as its 2x data, it takes longer to read out, hence the slow read out of S1ii when DR Boost is ON. Either Nikon's Expeed processor isn't capable enough for that task, or they didn't find that rolling shutter effect acceptable, or its a feature that needs premium license they didn't bother to pay.

If they commit to it, they'll be able to make a camera comparable to the S1II, with which share the sensor. But it's Nikon, and it will be a huge success.

Def getting there. As you said, bokek is better when it's not distracting, like in most of your recent images. That and the very contrasty-darker frames make the image better. I think that's it. You'd just have to add a couple of actors that move within the frame to fill the last piece of the visual puzzle.