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Here is my understanding about 4K NRAW in Nikon Z6 III / Zr and Z8. I don't have the camera just gathered info from Internet. Correct me if I am wrong. Z8 as others already mentioned uses two different methods to get 4.1K NRAW / RED RAW from 8K. Gerald Undone gets a lot of criticism on this forum but he mentioned those methods in his Z8 review while many other reviews don't. Typically for all 4.1K from 24fps to 60fps and 120fps Nikon Z8 uses line skipping with all artifacts that come with this method. Only for 24p,25p and 30p Nikon Z8 has a special EXTENDED OVERSAMPLING mode. This method of course gives more detailed / better image. It is not without it's own issues. Those issues becomes logical when we ask ourself how do they over sample a RAW video stream and at the end get another RAW video stream ? https://alikgriffin.com/nikon-z8-color-shifts-4k24p-nraw/ https://www.youtube.com/watch?v=YyyiKwlRXCA IMHO this small green cast in the shadows will be easy to fix. Still will require some work and time. The extended oversampling is not available for 60p and 120p. In this case APS-C crop is an option for better non line skipped image. Nikon Z6 III / Zr 4K NRAW is line skipped, but 6K full sensor width NRAW has only slightly higher bit rates when shooting with NORMAL quality. They are comparable to Sony Intraframe codecs. IMHO for RAW video 24Mpx sensors represents the best balance between resolution and speed. Too many mega pixels and large portion of them should be discarded somehow for 4K RAW video or we have to deal with huge 8K filesand do the down scaling in editing. 12Mpx sensor on the other side actually has less pixels than theory suggest are needed for perfect 4K DCI debayering. Rumors about what Sony using probably a fully stacked 24Mpx sensor in next FX3 make sense. Nikon Z6 III / Zr Achilles heel in NRAW so far is dynamic range / latitude. All tests of Nikon Z6 III so for show 1 stop less of both dynamic range and latitude compared to sensors in Nikon Z8, Sony 12Mpx one in ZV-E1, A7S III, FX3, FX6, 50 MPx one in A1, Sony Venice 2. They all have dynamic range between 12 and 13 stops and 8 stops of latitude. I really hope Red Raw better log profile, chroma noise reduction and 6K to 4K resolution down-scaling will give one more stop of DR and make this sensor on par with the rest. After all same sensor in non DR Boost mode in Panasonic S1 II when using ProRes RAW codec reached 9 stops of latitude. It is hard to believe Nikon used some trimmed down version of the same sensor. x265 10bit 4:2:0 in latest Nikon hybrid cameras is visibly of lower quality compared to RAW video but it may turn out to be perfectly fine for most tasks and most people. Nikon x265 10 bit 4:2:0 may turn out to be as good as other brands x265 10bit 4:2:2. I don't know until I try it myself or see a detailed test. Between Nikon Z6 III and Zr I would choose Z6 III. It has good EVF, shutter, Full HDMI port and is a true hybrid. Internally for video they are practically the same and by renaming NRAW video files we get access to the better RED RAW pipeline and color science in Resolve. Current Nikon Z6 III price in a local photo shop is 2050E. Nikon Zr price is 2375 Euro and camera is not yet available. Nikon Z6 III doesn't sell well, price was decreased significantly from original 2500-2800 Еuro most likely because it doesn't offer significant upgrade for photo shooters and all those talks about lower dynamic range. Second hand Z6 III bodies pop up locally from time to time in the 1700-1800 Euro range and still with warranty. IMHO Nikon Z6 III and Zr are for people who want to shoot RAW video. Theory and practice tell us 10bit 4:2:2 is equally good but sometimes we just want something 🙂, for whatever reason. 12bit NRAW with RED RAW hack is really a great choice because it offers fairly compressed industry standard RAW codec. ProRes RAW has higher bit rates. I edited in Resolve some sample NRAW video clips from Nikon Z8 and Z6 III and can say that if video is exposed properly there is no need of noise reduction. Editing, color correcting and grading them is not more difficult or time consuming than SLog3 internal footage from Sony. They take more space but still nothing crazy and for certain projects and people it could be acceptable. Bottom line: If you want to shoot RAW Nikon Zr, Z6 III and Z8 as well are great options, first two being quite affordable. I am worming up to the idea to get Nikon Z6 III. Use it some time and compared it with Sony ZV-E1 which has one of the best Sony sensors for video. Then eventually keep one of the two and sell the other.

Pretty good summary. After shooting NRaw almost a year now with Z6iii I can relate to almost all of that. According to Gerald and Cinematools Z6iii FX 4k NRaw is line skipped but DX is pixel to pixel, which is the reason why in Cinematools’ Z8 vs Z6iii comparison the 4k120p with Z6iii looks better. The only extra step with NRaw IMHO is to use Resolve to trim the NRaw files and export important parts via Resolve’s Media management. If you do the Red Raw hack after export, Resolve won’t accept the renamed files. If you do the hack first, Resolve won’t export the trimmed R3D files. Have not tried Red CineX pro though. Hopefully it or some other method works with the Zr’s R3D NE Raw files.

If no-one is able to assist here, might be worth asking in the relevant sub-forum on liftgammagain.com where the colourists all hang out. Of course, you might get an answer that's more technical than you'd like...

Hey everyone! I wanted to share something I've been working on for the past while - Lumap, a DCTL for Resolve that consolidates all your basic grading adjustments into one intuitive panel. The Problem I Was Trying to Solve I got tired of using complex node structures just to do basic exposure, contrast, and saturation adjustments that would look natural. Coming from a photography background using Capture One and Lightroom, I missed having simple sliders in one place that just worked without having to think about CSTs, colour spaces, and multiple different nodes. What Lumap Does Instead of wrestling with lift/gamma/gain wheels, Lumap gives you: Photometric exposure - Linear stops like changing exposure in-camera Temperature and Tint - For white balance Intelligent contrast - References your source’s format's middle grey without overcooking the toe/shoulder Brightness - Targets midtones while preserving highlights and shadows Organic highlight/shadow recovery - create organic, film-like roll-offs that seamlessly blend into your midtones Smart saturation - Preserves luminance and prevents skin tone oversaturation Film-style density - Control the intensity and depth of colours you get from subtractive saturation techniques Why Sliders Instead of Wheels? Most of us aren't using professional grading panels - we're using mice and trackpads. Sliders are just faster and more responsive for cursor input. Plus, if you're coming from photo editing, this interface will feel immediately familiar. There's a free demo version so you can test if it fits your workflow. https://www.dhyanverco.com/lumap Would love to hear your thoughts if you give it a try! And happy to answer any questions.

Mid season report. Actually, I am nearing end of season with just 2 more jobs to go this year until June next…which is quite normal for me. The TDLR is I almost love it… Why ‘almost’? I’ll get to that… The Good = The body design actually. Yes I would rather Lumix had moved to a body style more like the FX3, but I guess they thought that might scare photographers who expect a hump. Whatever the reason, it’s not as innovative as it could have been and despite not having a top screen, really is like a smaller S1H in the hand and IMO, that is a good thing. In my hands, with no battery grip or any other adornment other than the smallest Senheisser mic, it feels just right in terms of size, weight, build, comfort, ergos. It’s a true hybrid. It would be even better with an internal electronic VND, but hey ho, maybe that will come with the S1H2? With 5x C1-5 custom settings and a simple photo-video switch, it’s fabulous for hybrid work. I don’t even use all 5 photo and 5 video settings, but have it set up basically as: landscape photo, portrait/candid outdoor, portrait/candid indoor and low-light, all with a starting f stop, aperture, WB, ISO and equivalent matching settings for video so it’s actually only one flick of a switch to flip between video and stills in any given scenario. Brilliant. The sensor. 44mp. Perfect 👌 for me sweet spot between the more traditional 24mp and the 100mp of the bigger MF sensors. Suits both photo and video. Video files and capability. I shoot 7.2k 30p open gate and the file sizes are not huge or slow to work with. With baked in conversion LUT, SOOC I love them. Yes raw would be even better, but an almighty faff and overkill for my needs. The open gate allows any number of crops, 30p a 20% reduction in speed on a timeline and the 7.2k quite a bit of scope for punching in etc. Having said that, not fully edited a finished production yet but I have checked and edited a few bits here and there and it’s even better than the 6K I was using before which itself was better than the 4K from Lumix FF cameras so thumbs up. The Not So Good = Battery life is pretty poor. I’ve always scoffed at people reporting poor battery life and never experienced it on any camera. Until now. It’s not great, but a spare battery in my pocket at all times is how I now roll and is what it is. AF accuracy for video is good but not Sony level. Ditto for photo. Having come directly from an A7RV, I’d give the nod to the Sony for ultimate outright stills quality and AF, but the S1RII gets the nod for video and body. I don’t think there is anything else other than I have a pair of them matched with the 35mm f1.8 on one and the 85mm f1.8 on the other. The S9 is on lighter duties of video only, mostly longer than clips and sometimes even full length ceremonies and speeches and has only overheated once and that was on a very hot day in direct sunlight. The S1RII by the way, I have never even had a warning and has never got hot to touch, - just the usual warmth you might expect shooting a thing all day long. I may replace the S9 next year with an S1IIE for a bit more robustness and utility, but waiting to see if any S1H2 appears before doing that, if I do that. Almost certainly will trade the Sigma 28-70mm f2.8 for the new Lumix 24-60mm f2.8 next year as I think it will suit my needs better and appears to offer better AF and detail/rendering. S5II soldiers on in its static role and just does what I need it to do. I do need to find a way to get rid of the battery grip and the heavy tripod however and working on that… So ‘almost’ love it. It’s the battery life and good but not stellar AF plus the less than exciting body design that drops it 2 points for me so I’ll give it an 8/10. Along with the Z8, probably the best all round hybrid camera available today? At least for my needs. Taking into account lens options and prices.