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The more I think about this, the more I think it is a confusion between the release two days ago of the Silver ZF and that ZR cameras. No one predicted the Silver ZF and it is the only camera in the Nikon lineup that has a combination of SD and Micro SD card. It is too much coincidence, they must have mixed from their source. The likes of "Hey Nikon has a next camera with have SD and Micro SD, and it was the Silver ZF". For those that don't know the Nikon lineup. The Nikon Zf is a retro style FF photo camera that was in black only. And Nikon just this week, released a Silver version out of nowhere.

Canon Should try any current Lumix camera for hand held IBIS work. They are very good and there is a good portion of what I shoot now where I don't have to be on a gimbal!

Probably totally wrong, but if the microSD is included in the Zr and it is a "cinema" camera, then I am thinking that the microSD slot might be used to store LUTs, for firmware updates, or maybe more interesting... used for audio files for a separate built in wireless audio feature.

I think you are a 100% on the money, there was probably confusion with the ZF, which indeed does carry that card set up. Truthfully I have no idea how Red code and SD/Mirco SD can work out!

Absolutely. I could not work without a camera with great stability and I mean great, not merely OK. If it can be achieved digitally, I’m OK with that but yes, Lumix is the best I have seen and experienced. I have my S9 set up to be ‘gimbal like’ with both mechanical and digital IBIS, but it’s not reliable enough for consistency and next year I am going to pick up (for the 4th time 🙄) a gimbal, except this time it won’t have a camera that needs balancing, ie Pocket 3.

Honestly, I tried IBIS with the R5 and was underwhelmed. I ended up buying a second R5C and the Digital IS along with lens IS is perfect for my needs. But also, has Canon ever put IBIS in any of their C-line cams?

Remember Nikon 1 system? That was also crippled by microSD. Its a Nikon tradition.

Car wobble can be prevented by IBIS lock. Most of the heat comes from CPU and CFe cards, not sensor.

There is, car wobble, and thermal won't be as good as sensor sticking directly to thermal plate.

There is no drawback to have IBIS and not using it.

The new camera is coming out at a similar price point to the R5 II and I know several people who bought R5 series cameras primarily for video work. I'd be glad to be wrong about this one, of course. And as Django pointed out, they might go e-shutter only which would be likely to turn off a lot of photographers. Of course, if RS is <10ms, that might un-turn off some of them. Speaking for myself, the biggest question is whether it would have DGO. I would take 33 megapixels with 2 extra stops thanks to DGO over 45 megapixels. OLPF might also be a thing that would push it more to the strictly video side of things, but if it had one and between DGO and OLPF, it had an image like the C70, but in a smaller body with better low-light performance and more reliable AF, it might be in the rare category of cameras that I'd be excited enough to buy new as opposed to waiting 6-12 months for them to get a 10% price drop on the used market...

Bring back the C100 design. One of my favorite cameras I've ever used from a pure ergonomic standpoint. Enough of the modified DSLR bodies for video centric cameras.

Open Gate alone is a major game changer. 6K RAW / 32MP stills make it a serious upgrade for hybrid duties. Now stuff like triple-base ISO / DGO sensor & NDs would make it epic but I still doubt that'll happen. That said if you're happy with FX3 or locked into Sony, see this as more pressure on them to up the ante on FX3 II.

Or maybe they are a progressive thinking company for whom the glass is half full and their thinking is; we are a major player in the action cam market, we are a major player in the niche high end camera market, we are THE player in the drone market, we have a pretty unique piece of filmmaking kit in the cinema market, is there are reason we cannot bring some of our momentum and perhaps innovation and enter the MILC market? It’s not a question therefore if they can, but if they should and that is up to them to determine but brands come and go and if anyone can make a strong case for entering into this specific part of the market, it’s probably DJI. But we’ll see… They either will or they won’t but if they do, my money is it will be with L Mount.

Willing to bet that was a typo and should have said "EF mount."

Exactly. We live in a world where component and platform sharing becomes increasingly the norm. IMO, if DJI were to release a FF mirrorless and try making that fly (not literally, - they have other products that do that) with their own tiny range of lenses, good luck with that, but it would be a recipe for disaster. E Mount is dead so yes, using older lenses etc is all well and good, but Canon are all in now on RF. And to truly compete against the likes of Canon/Nikon/Sony/Lumix, it almost certainly needs to be a hybrid rather than a pure cinema camera. DJI already have strong links with Lumix, - the S1RII and Ronin 4D share a sensor (not officially stated but the general consensus is it is) and are already in the L Mount system, so a bit of a no-brainer. But then maybe the the whole DJI mirrorless camera is just a fantasy...

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves? And E mount coming third-party rebranded by DJI? And EF and PL mount from third parties? If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount. I think you're just flat-out wrong on this, sorry. DJi have a total of 6 lenses for DL mount, IIRC. 16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ. These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens. The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car. I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP. There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses. This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration. So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera. That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

Not necessarily... Hasselblad might be owned by DJI, have their lenses built in Japan and source their sensors from Sony, but are still a Swedish company designing and building their own cameras (and I believe in designing their own lenses) and based on their most recent release, seem to happy to be chasing a purely stills orientated market. I can't see them producing a FF or smaller sensor camera as it wouldn't make sense but instead leave that to parent company DJI... ...who from an aerial perspective, makes sense to use their own mount or fixed lenses. But any new FF camera, who would their customers be? Well there is no existing DJI camera (outside of the Ronin 4D and that is a different thing) so they would wish to nab customers from all of the existing brands, so; Canon, Nikon, Sony, Lumix, Fujifilm etc Realistically, in order to do that, they would need to be both innovative and mainstream, ie, have 'something' that the others do not but at the same time, be able to do what say your typical 'mid' mirrorless can do, ie, photo and video. A handful of lenses wouldn't cut it so they would need to launch with a lot more than what is on offer or they'd be dead in the water. People don't buy bodies, - they buy systems. Well business users do anyway, maybe not the average Jo Public. As an existing L Mount user for all my ground based photo and video needs and DJI for aerial, having something that fits in with that has a lot of appeal such as my S9 is currently the most 'at risk' bit of kit in my lineup and it's currently part back up, occasional semi-static, sometimes gimbal-like use and I'm toying with getting another gimbal and making more use of it than I do, but this is where DJI might fit in with their history as also a maker of gimbals...and if the lens mount ties in with what I already use, it makes sense. I guess we'll find out in a few weeks, but if DJI do enter the camera arena, I hope it's FF and it's L Mount and to me, it makes perfect sense that these are the most likely options. But then what do I know?!

I don’t object to that ie, ‘stuff I was going to do anyway’ that just makes my life easier, all good. I already use it in fact in Lightroom, but it’s the wholesale image generation that I oppose.

For once I'll give you all a reason not to get a new camera 🙂 The thing with the Komodo is you have to believe it's worth the hassle, in terms of cinema magic. Special sauce. And so on. The colour science is tip top, we all know that the codec is pretty special too. But cinema cameras are tanking in the lower-end of the market for a reason. They are clinging onto the sensor in a box concept without the convenience factor of a stills camera. They are still designed to be rigged up into something unwieldily, heavy and slow to operate. And in the past it was worth it for the image. But now that internal RAW video is commonplace on mirrorless cameras and you have a sensor as good as in the Z8 or EOS R3, the special sauce is right there along with the small body, small battery, power economy, EVF, IBIS and so on. Which makes cinema cameras completely obsolete. They now serve only non-creative functions like impressing clients or fitting existing workflow expectations. ARRI is still a bit special in terms of the cinema magic in the images, but you can't really say the same about the Komodo vs a $3k mirrorless camera. In fact I dare say the Sigma Fp-L has a more cinematic look in uncompressed 4K RAW mode.