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I think this is a really compelling camera, especially for the price, BUT the card slot on the bottom, lack of active cooling, and no back up recording is really disappointing. The screen is very cool, though. I really hope more cameras come with larger, brighter screens like this. If I was choosing between the C50 and the ZR I think I'd go with the ZR on price alone, but also because of IBIS. Overall though, I'm pretty content with my Lumix S5IIX and two S5s set up. None of these releases have made me feel like I'm missing out.

For the aforementioned reasons I would call it a Frankenstein release. First try in the pure video centric camera market. Regardless of the marketing monstrous rigs showed, this camera is a pro v-logging tool and essentially a naked run&gun kit. Internal 32 bit audio and ibis are the key points and let's see if Nikon was able to solve its issue with that sensor as Lumix did.

Between the two, the new Canon and this, obviously if you are in the Canon ecosystem or with Nikon, the choice is obvious, providing either of these things can do what you need them to do. I think they both look the part, but neither of them really suit my needs so still perfectly happy I went full Lumix, and even if they had been Captain Amazeballs, I still wouldn't have jumped. If I had gone for one of them, I'd have gone the Nikon route, but only if I'd stayed within the Nikon body, adapted E Mount glass camp where I partially previously was. I am happy they exist even if they don't tick all my boxes.

I don't really know much about what their highlight recovery actually does, but if you're talking about super-whites (levels above 100) then they might get decoded and might be available in the nodes? My GX85 records super-whites and in my standard node tree for it I just pull down the Gain slightly and they just get pulled down into the working range. If you're talking about the smart behaviour of using some colour channels to recreate a clipped colour channel then I think reducing the saturation of the highlights might do broadly the same thing. There are also other tricks you can use like combining masks with the channel mixer to effectively copy one (or both) other channels to the one that's clipped. That will preserve the saturation of the recovered area, useful for recovering things like tail-lights or flames, whereas reducing the saturation obviously won't.

I feel like this is a supercharged version of Sigma Fp

Off topic, but nice image.

$2,200 at B&H. The memory card placement is definitely funky, and the rumored micro sd second slot is real (why, Nikon, why?), but for me, I think this camera really nails the form factor and the price point. My question will be whether to trade for a new one in October when they ship or wait a bit for the first wave of returns/sales to hit. Even though it uses a lesser Redcode, the size of this camera is a perfect match for Leica M glass and full frame makes it a better match for that glass than my Komodo/Komodo-X. Just wish it had any sort of internal ND to make it easier to use some of my beloved Leica lenses that don't easily take filters (like the 35/3.5). Also, any of the pictures showing it in a full rig sort of boggle my mind. It kind of plays against the strengths of a super tiny raw-shooting video camera with a big, beautiful rotating internal screen.

Nikon Zr That's it, the real news is here. So it's definitely the Z6III sensor (6K), there's Redcode, BUT it's a 12-bit version (instead of 16), the extension is different (.R3D NE... "Nikon Edition"?), and you can't choose the compression. However, it comes with 3G10 Log (where you can shoot N-Log in N-Raw and other modes). There's NO fan, you can only shoot in 16:9 (no Open Gate, no 17:9), the camera menus are the same as usual for Nikon (so no RED menus), and there's no anamorphic support either. 32-bit float sound compatibility (with external accessories), there's IBIS, and a 4-inch screen (that's more convenient!). Finally, the media: CF Express and microSD (so the rumor was wrong about SD instead of CF Express Type B). no ventilation, which is bound to be a problem in the long term. It's a big disappointment that the menus remain the same or that we don't have the option of more adequate measuring tools (especially RED's GioScopes).

Is that official? I didn't see it mentioned in the Newsshooter article or Nikon's site, though there is that one picture. If so then I guess at least that one is solved for.

Wish it had external SSD recording. How you're supposed to change the CFe card in this setup?

Official announcement: https://www.nikon.com/company/news/2025/0910_imaging_01.html Redcode NE?

Tascam will have one

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there. I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things. Highlight recovery would be nice too. Maybe more advanced controls will come in subsequent versions.

What a bizarre camera. R3D, but dinky micro HDMI. 32 bit float audio, but no XLR module. I'd consider this one the most egregious misuse of a "cinema" moniker of the recent releases. The card slots are on the bottom--have fun getting to those when it's on a tripod. I don't see a mention of timecode input. The only reason I would even call it a video camera is that, without an EVF, it's useless for photography. Edit: and yes, I realize it's relatively cheap, I'm not exactly saying it's a bad value, just contradictory in some ways

I'm so happy that I (hopefully) will never need to use Raw Converter again! (Not that it's a bad app, I just want my disk space back)

Good and solid camera but nothing groundbreaking or exciting. Sensor is non stacked and slower than the one in Sony FX3. Dynamic range probably will be a bit lower as this is typical for Canon sensors. Low light won't be as good too. In general good compromise, 14ms is still good rolling shutter. Apparently same sensor will appear in Canon R6 III. It all make sense for Canon and nicely fits in their cinema line. Because of lower key sensor characteristics I don't see it as serious threat for Sony FX3. FX3 II for sure will be even better. I am curious to see if Sony A7 V will have stacked sensor as some rumors indicate or will follow Canon strategy of having 30-40 Mpx faster than A7 IV but non stacked sensor.

Yes ! Great news for all Resolve users !

and also confirmed here (linked to timestamp):

Oh my goodness FINALLY YES!

It's official! 🤯 https://x.com/Blackmagic_News/status/1965611991441252600

Also, the new iPhones all use a new "Apple Log 2" profile, so that will require Resolve to be updated as well to support the new colour space:

They mention it at 1:06:21 - below is linked to timestamp: I must admit that if BM camera supports it then it's a step towards it being supported in Resolve. It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet: I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't! 😆 😆 😆

Yeah but I imagine Smallrig/Tilta could maaybe make a special cage that has the right compatibility with those screws? I shot Smallrig a quick email just to see what they say. So much of their stuff is inspired by custie requests and I love them for that! Just looking at my R5C right now, it technically might be doable. The tradeoff would be reduced access to the power switch and top facing LCD panel on either side of the hot shoe. But of course that's all provided that the hot shoe is even compatible 🤷🏾‍♂️

I don't know about electronically, but the new handle definitely wouldn't be physically compatible with the R5C, given that the top isn't flat and doesn't have 1/4x20 holes to screw it in.