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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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By eatstoomuchjam · Posted
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. -
By Ilkka Nissila · Posted
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/
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