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That card placement is rough for anything other than handheld which is why it screams content creator to me. You can certainly find specific projects where it's not an issue, but if you're like me and only have a single camera used for all projects, that's a complete non starter. No way am I taking a camera all the way off the gimbal/tripod/jib/car rig to change cards, when there are other cameras--including the Z6III--that would save all that trouble. I understand some people really get into Raw, but I haven't cared about Raw ever since decent 10 bit capture became the norm, and you implied a similar thing earlier so we're on the same page for that, I think. I mean of course I agree that 10 years ago, this would have been mind blowing, but that's just how it goes, right? Higher ability leads to higher expectation. And to be extremely clear: everyone who finds this to be exactly what they want, that's great! Nikon just made a lot of strange choices in my opinion.

People here would have dreamed about this camera just two years ago. People were crying for 10 bit and log like 5 years ago, and some people filmed movies with the Gh2 or Canon 5D. I am not saying this camera doesn't have flaws. But saying this is a camera for content creation when you have multiple Raw formats, and one color science that was only available to cameras costing 7k, but more precisely 10 k when you add the accessories in the apsc red komodo, and about 15-20k in full frame. In fact you can film a movie with this. I am sad it did not happen 10-20 years ago, or I was not 10-20 years younger, thinking about this I prefer the later... Oh shit, looking how the world is going, I prefer the former. LOL

Double post... sorry.

I have been interested in Nikon for so long. My favorite lenses are vintage Nikkors, one of my favorite cameras was the D5500 and the Z9 and Z8 look like fantastic hybrid cameras but waaaay beyond my budget as a hobbyist narrative filmmaker. The Z6iii got me close and the Z5ii even closer... the ZR... I think I may be sold. And Cam Mackey doesn't love it... so... LOL. Just kidding Cam if you read this site.

The guy problem is that it is written cinema on this. So either you can film a hollywood movie with it, or it is shit. Someone should give him a film camera to see how many functionality their is, and hold and behold perhaps he might see something call grain. I mean I have been using Nikon since the z6, a Nikon files have been extremely robust. I got my Z9 3.5 years ago. At first I didn't even touch the 10 bit h265. Then I just used it just like that for some personal things, and nowadays I only use the RAW format when I want the absolute best. He just look at 400% at the files, he knows nothing about grading etc.

That’s the end of an era right there. I’ll have to part ex my S5ii and some lenses to get the Z8 like I should’ve done two years ago. Less the end of an era and more the end of an error.

I watched half of Mark Bone's video... I get it. Last week, I sold the final part to my old BMMCC rig... SmallHD Focus and I have no intentions of ever using an external monitor again. Honestly, I get annoyed with fully articulating LCDs... I use the camera strap method and when articulated, the image is blocked by the strap. That's why I love the GH6's LCD sled. Greatest design for a camera screen ever!

I don't know, I think you answered your own questions... bigger LCD, internal Raw (multiple Raw formats... and ProRes HQ) ... those alone are worth the price increase. When you add internal 32bit float audio (a real game changer) ... as far as tools, I have a feeling some of Red's exposure tools may be implemented... I've heard a lot of folks refer to the stop light as being a really cool one? Listen, I get it. I like Panasonic too. I still really enjoy my GH6 (with LogC) and will probably keep it. Am going to test the pixel:pixel mode today with some old Cosmicar c-mounts, but not every thread, or new camera release, has to be an affront, or comparison, to Panasonic. That said, this idea of Raw video, r3D or otherwise, is NOT for most video shooters and probably unnecessary for most YouTubers and people who frequent this site. The storage requirements are insane. Someone upthread said that you get 28 minutes of footage on a 320GB CFExpress card... I assume that's 6K, so I'll do a little better with 4K but that's still a lot of media and storage needed. But if you look at the camera for what it is... a powerful, entry level, Raw video camera, then even with its quirks, it's an epic release.

That's about the gist of it. But I'd add that the heavier body is also, from what it seems, a more robust body. Also, less rolling shutter, shutter angle setting, 2 hours vs 30 minutes recording, uncropped 4kp60, much higher resolution on the lcd, headphone port, environmental sealing, and CF express. Also, ability to get an adapter and use Sony lenses for people who have invested in them. On the other hand, S9 can do 3:2 recording if that's a selling point for you. And aside from being lighter, it's noticeably smaller in side-by-size pictures. I'd also add that at least a nubbin of a hand grip is preferable to a completely rounded body for a camera that I'd intend to shoot mostly handheld (making the ZR preferable)

I was exactly the same watching the CVP review. And then right at the end they showed some Z8 clips. The one I’m least arsed about is the HDMI port as no matter the size they can all snap off if you hit them. Theres an argument to say the Micro version is preferable because it’s a smaller target 😂

Maybe it's me, but the ZR seems more like a S9 with a bigger LCD, internal RAW, and a slightly more functional hotshoe in a heavier body, worse IBIS, not as many tools, and roughly for $1200 more. Am I missing something? The ZR also has 4k 120 in S35, which could be a big deal for some.

Latest rumor on the pricing was published today - $16,499. I think it's going to be a really hard sell at that price. Red just released a V-Raptor variant with a 40.96mm-wide 8K global sensor for about $15,000 with a global shutter and similar or better dynamic range. For non-tall aspect ratio use cases, the 43.8mm-wide sensor of the Eterna is not really much wider and unless some change was made for Eterna, suffers strong rolling shutter in many modes including the wide DR mode. Though 4:3 open gate is certainly a reason that some people might choose Eterna. Outside of that, for me, at least, I'd almost definitely take 8k with no RS over 4K with strong RS from a sensor that's about 6.5% wider. I think Fuji said that they were trying to price it in an owner-operator tier, but I suspect that rental houses will be the main purchasers and a lot of owner-operators would go V-Raptor (or FX9 / C400 /Burano) in that price range.

In the CVP review, they made a point of confirming that the sensor can NOT be locked.

One thing that I'm curious about, and I don't think I've seen it in any reviews yet (though admittedly I've only watched like 2) is whether turning off IBIS comes with a physical sensor lock on this camera as it does on some other Nikons. Given that the camera has <10ms of rolling shutter, I'm really strongly considering selling my Z Cam E2-S6G and remaining Z Cam accessories toward it. My main use for that camera is attaching it to my car on bad roads to film the drive. The ZR could be an ideal and much smaller replacement for that sort of thing - but if the sensor floats even with IBIS off, it becomes a terrible choice.

I get what you're saying, but I'd also say that almost none of those cameras are a direct competitor for the ZR - either in size or price. Cameras that I would think of as direct competitors to the ZR would be Panasonic S9 (micro), Sony A7C series (micro), and Sigma fp (micro), or Fuji X-H2S (full-size) - or a used R5 (micro). It's weak, but no weaker than a majority of the cameras in a similar size/price range. I get that, but I'd say that the intersection between "times when a monitor or recorder needs to be attached" and "times when the camera isn't rigged" is a small one. And again, if that's your main use case, you should almost definitely not pick the ZR. Similarly, even more common use cases like "camera is on a tripod and you want to swap the CF card" are weaknesses. Luckily, they're use cases that are well-covered by a bunch of other cameras.

I really like the look of this camera but ultimately Canon just doesn’t have a native lens selection that appeals to me - they are mostly too expensive plus I don’t like the build of them. They need to open their lens mount for me to be persuaded back to them. Still think the FX3 is the better all round camera.

I know the phrase of the day is content creator, but I, personally, see this as the ultimate, low/no budget, DIY, short film camera. I don't think I have ever been so tempted to hit preorder. I understand its inconveniences and there are a couple things I need to research... battery life (the FP is atrocious), overheating, IBIS quality, etc... but I must say this is the most excited I have been for a camera since I bought my 5D3 and installed ML Raw onto it.

Sure, I get what you're saying and thanks for making the distinction but I guess what I meant by "true open gate" is when a taller sensor (3:2, 4:3, etc.) gives you extra vertical resolution that’s actually recorded, not just the full width of a 17:9 sensor. On RED, if you want 3:2 or 4:3, you’re essentially windowing/cropping horizontally, you’re not capturing new image area above and below the 17:9 frame. That's what I mean by "pseudo open gate". That’s where cameras like ARRI LF, Alexa 35, or mirrorless bodies with 3:2 sensors have an edge: their open gate modes really open up more height for anamorphic or reframing flexibility. Different design philosophies, but that’s the distinction I was getting at. I dunno for a camera that’s marketed "Cinema Z" under the RED name, micro HDMI feels like a completely unnecessary weak point. Most modern mirrorless bodies (R5 II, FX3, Lumix, even Nikon Z) have full-size HDMI now. It’s not just about rigging the cam but it’s about having a reliable connection for external monitors or recorders when needed. For a camera that’s trying to position itself as a serious compact cinema tool, micro HDMI in 2025 looks like a surprising step backward. That said yes kudos on them for the bright 4" screen!

The lack of a full size HDMI doesn't bother me too much because it doesn't support RAW over it anyway, and the 4 inch screen looks really nice that I don't think an external one is necessary. I suppose it might be frustrating for those who want to rig it out or absolutely need an external monitor, but there are quite a few things about this camera that makes that impractical regardless of what the promotional photos show. It'd be nice to have a full size HDMI, and anything that limits how you can use a camera sucks, but it'd also be nice to have two of the same card slots and not located in the battery compartment. If you need that, or want to rig it up, this camera just isn't for you.

My turn to be nitpicky: Red cameras do offer true open gate. The sensor itself is 17:9. Open gate refers to using the entire sensor to record. Open gate on a Micro 4/3 camera or GFX would be 4:3 aspect ratio. On most mirrorless or DSLR's, it will be 3:2. Open gate and 3:2 get conflated a lot because that's the ratio for the sensors in the cameras that a majority of people have. Micro HDMI sucks really bad. One of the worst connectors I've ever seen. That said, there's also a very nice 4" screen built into the camera and I'd still say that the camera's strength is not in being built out for cinema, but in being small and relatively inexpensive. If you're rigging the camera with a cage, you could use a cable clamp to avoid the connector breaking as soon as somebody breathes near it. If I'm using the camera as a tiny handheld, I'm not connecting an external screen. But definitely, if your use case is to put an external monitor on the camera without a cage, this camera is a terrible choice and you definitely should not buy it. FWIW, the EOS R5 also has a micro HDMI port. I think that was improved in the II, but in a couple of years of owning and casually using the R5 as my small/handheld camera (similar to how I see thie ZR), I don't think it's ever bothered me because I've never connected an external display to it. Anyway, for me, if I were going to rig up a camera, I'd just use an OG Komodo (available used for not much more money than the ZR costs new). I have a pretty nice minimal Komodo rig for handheld and it's pretty light. Still a lot bigger than my R5 which is, in turn, bigger, I think, than the ZR.

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This is the most exciting cinema camera I've seen since the 5D3 got cDNG RAW with Magic Lantern. Not a fan of Z mount but the camera specs make it irrelevant. I may even buy into their lens ecosystem now. Hopefully Sigma starts making FF natives for their system. Anyway. Instant buy. It's amazing, cuz I never thought I'd own a RED. Nikon buyout is the best thing ever. Edit: Note to self, buy Megadap ETZ21 Pro+ and Sigma 28-45mm f/1.8 in Sony E.

Hummm, IDK if this could be an everyday camera for all the v-loggers out there. IIUC according to Gerald, all of the codec implementations, with the exception of RedCode, are more than mediocre and are anyway worse than on other Nikon Z cameras. In practice, if you want to use it, you have to use RedCode, but at 6K@60p, it consumes 470MB per second, and a 320GB CF Express card is full in 28 minutes. Surely the FW is alpha or beta, and then with updates, things will change but ATM, we're shooting ants with a cannon.

This is interesting. Now, what I want to see is software that converts CinemaDNG in to ProResRaw.

I get that RED cameras don’t offer media redundancy or true Open Gate, but in a small mirrorless form factor, some form of redundancy is more expected, especially with a hot CF/SD slot near the battery that could potentially cause failures. RED at least has RED Connect / IP streaming for backup, and SDI. All we have here is micro HDMI not exactly safe externally either. Even a “pseudo” Open Gate mode could’ve been implemented without needing a bigger sensor, just flexible readout. Maybe I’m being nitpicky, but these shortcomings feel like crippling.