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Here's a preview, very early days yet but the idea is to have a wiki page for every camera that draws together all the trusted resources for that model onto one single page with a clean design, no spam, no tracking malware banners, and no clickbait. Within each page: A ranking system In-depth detailed info and specs at a glance. LUTs and downloads, such as links to firmware updates, colour profiles, etc. A box with only "trusted" high quality YouTube reviews sourced per camera. Links to the top 5 best quality written reviews, manually sourced by me per camera. That will replace DPReview and Google search results for camera models, both enshitified to the point of unusable now, with so much AI and clickbait.

I agree. I had an EOS-M when it was first hacked, sold it, and then broke my own rule and bought it again when Crop Mood hit. Now I have two of them: one built up, and one bare bones. And the developers are improving it all the time -- especially lately. Have you checked out Amit's new builds? They are based on Bilal/Danne's last release so they are seemingly just as stable, if not a little more-so. But the new UI is great, and he seems to be unlocking a new feature every day!

Canon EOS-M with Magic Lantern in 1:1 mode. These are the resolutions currently available: 3072 × 1308 2880 × 1226 2560 × 1440 2520 × 1080 2160 × 1620 (doesn't work with a monitor plugged in) 1920 × 1280 Yes, there's a major crop. And yes, it is possible to overload the buffer with the 3K and 2.8K modes when shooting 12-bit. And rolling shutter is pretty terrible. But it's a digital 16mm camera with 1:1 readout that shoots raw. Practically no moire or aliasing. And a beautiful image (one of my favorites right now, bar none). Plus, one developer has been making major updates to the UI and simplifying the menus in the past 2-3 weeks. It's like a whole new camera.

As a person who is waiting for used ZR prices to drop a bit more before picking one up, this all sounds good to me. 😅

At least so it seems https://www.dpreview.com/news/panasonic-did-what-apple-sony-and-nikon-couldnt-overturn-a-red-raw-video-patent/

The ZR is a smaller and lighter body and thermal management could be the issue. The Z8 and especially Z9 have a lot of mass that includes heat sinks that help keep components cool. None of them have cooling fans. The Zf (the one with the dials) is another smaller and lighter body (compared to Z8; it is not nearly light as the ZR) and it's actually quite easy to get it to get hot in stills shooting. Nikon made a choice to keep the ZR design quite thin without a built-in fan, and to make long recording times available, they seem to have compromised on the shadow noise reduction algorithm to reduce processor load, the result is a h.265 codec which in log mode is soft. They have indicated that they are working on a firmware update with a higher quality h.265 in mind.

There is one important point here : ) A Japanese decision invalidating the Japanese patent does not, by itself, kill equivalent patents in the US, Europe or anywhere else (even if they belong to the same patent family). Patent rights are territorial and each national right has, legally speaking, its own existence within its own jurisdiction. So no, compressed RAW has not suddenly become free for everyone everywhere : ) What is interesting is something else: if the claims are substantially equivalent (and that is obviously the important bit), the reasoning used in Japan may well become useful ammunition in other validity challenges. That is why, for me, the really interesting question is what Panasonic (or anyone else) does next. If equivalent RED claims start falling elsewhere too (particularly in the US), then yes, we may be looking at a very different landscape. - E. :- )

That’s so awesome. Amazing to see how far ML has pushed the life of these cameras.

The dev who is working on it said that it would be easy to port to the 5D3, but he doesn't have one to work with. From my limited experimentation, it seems to be on par with Crop Mood, which was never as solid as the 5D3 (I still have mine). You can still overload the buffer and have the camera stop recording by pointing it at a very bright light in the higher resolution modes. Turning off global draw seems to help avoid this. The other thing I've noticed is that sometimes the preview goes dark after finishing a recording or powering on. The histogram is still in motion, but there's no image on the screen. Power cycling brings it back. It's probably still much easier to use than a real 16mm camera -- that's how I'm looking at it.

I’m actually seriously considering going over to Sony for stills at least, purely due to the lenses and the FX2 is a contender, but the A7RV more likely. It’s lenses. L Mount still does not have viable contender for: 28-70 f2 50-150 f2 70-180 f2.8 OK, there is the Sigma 28-45 f1.8 and the 28-105 f2.8 but the pairing of Sony’s 28-70 for mainly indoor work and their 50-150 for outdoor, would be a dream single body set up for me. Most likely Megadapted on a Z8 body… But then again, all L Mount need to do to retain me is produce at least a longer focal range sibling to the 28-45 f1.8 and I’ll be a happy boy.

I have one URSA Cine 12K just waiting for... ;- )

Pentax Q and Nikon J1 are worth a look for 1080p and absolute smol size with fast aperture primes

I ordered one, should be here by tonight.

At this point, I am pretty sure that I'll still be asking for it next January - and the January after that. 😉 It makes some sense that BMD would bring all of those upgrades to two of their most popular cameras first - now let's just hope that they don't leave the higher-end stuff out. Judging by their last set of announcements, there is some hope for new features coming to the Ursa LF, given that they're focused so heavily on pushing it into the broadcast market, but I could also see them pulling most of the people working on camera firmware and shoving them over into the firmware that runs on their boxes that are designed to fit in a server rack (the main focus of their recent announcements).

Sure : ) That's actually how this thread started back in January, and I updated it again in March with the 9.9.2 firmware update : ) So yes, PDAF itself isn't the new part here. What I meant by "quite an update" was 10.2.2 as a whole (and AF finally graduating from beta), especially "10-minute pre-record" and all on the "Same hardware" (which is why those were the two bits I put in bold), that's the news! No need for a new camera ; ) alongside 4-channel audio, Cloud Streaming and the rest. And yes, you were already asking for the URSA Cine 12K LF back in January... let's see if that one comes next ; - )

Mission 1 and Mission 1 Pro are now $100 off everywhere. It's still on the pricey side for an action camera, but my Insta360 One R/RS's are getting older/a little beat up and the batteries seem to be showing signs of age too. I'm not sure how this person did such a deep dive on the imaging pipeline, but it was an interesting read. https://gethypoxic.com/blogs/technical/gopro-mission-1-gp3-image-pipeline Info on the sensor: https://www.sony-semicon.com/files/62/flyer_industry/IMX06A-AJ1R-J_Flyer.pdf (Also saw that Sony now has a 247 megapixel MF sensor while digging that up, that's a lot of dots)

I'd be interested in testing it. I currently have a Nubia Z60U which is capable of capturing 4k 60P RAW without any dropped frames using Motioncam. So, yes, this phone is a power horse!

Hi everyone, I’m wondering if anyone here has tried to build a small digital RAW camera specifically around Normal 8mm / Regular 8mm cine lenses, especially D-mount zooms like the SOM Berthiot Pan-Cinor 8–40mm. The idea is not to make another action camera or phone rig, but something closer to a tiny indie digital 8mm camera: small sensor matched to the Normal 8mm image circle D-mount flange distance RAW10 / RAW12 capture global shutter if possible simple HDMI preview recording to SSD film-like color pipeline: linear matrix, log curve, gentle highlight roll-off maybe later: piezo micro-shift or a controlled “organic” sensor/optical movement to reduce the fixed digital feel I have been looking at sensors/modules such as Sony IMX900 and AR0234. The IMX900 seems more realistic as a ready Raspberry Pi 5 camera kit, but the AR0234 is very attractive because it is cheap, global shutter, 1920×1200, RAW10, and available in color and monochrome versions. The problem is the usual one: MIPI carrier board, Raspberry Pi compatibility, V4L2/libcamera driver, power rails, initialization registers, etc. The goal would be around 1080p or 2K rather than fake “4K”, because these old Normal 8mm lenses have their own character and don’t need a huge modern sensor. I’m more interested in a compact RAW camera with a real vintage 8mm optical look than in maximum resolution. Has anyone here tried something similar? I would be especially interested in: D-mount digital camera experiments Normal 8mm lens coverage on modern sensors Raspberry Pi / Jetson / RK3588 MIPI RAW capture AR0234 or IMX900 RAW workflows custom small camera bodies monochrome sensor + RGB filter experiments piezo sensor shift / film gate weave simulation I’m currently trying to understand whether it makes more sense to use a ready IMX900 Raspberry Pi kit, or to go deeper with a cheaper AR0234 OEM module and somehow solve the carrier board / driver problem. Any experience, links, warnings, or crazy ideas welcome.

I think the closest thing to what you're looking for is the cinepi project. That or there was at least some project recently where somebody removed the glass from a smartphone and juryrigged a lens mount to it. That'd be another place to start.

Hi, you are not being rude at all 🙂 happy to have a convo as we all use our gear differently. Unfortunately where I failed was assuming the H265 was normal, at the time of purchase it seemed like a perfect camera for most projects where for higher end stuff you could shoot red code and for more lower-end project (talking heads/ social content) you could shoot H265. The 2 surprises once we started shooting with it was just how massive the red code is compared to other red cameras (we also have other reds with other DOPs on projects) and how unusable the H265 is So camera was sold and we're back to using Lumix's / Sony FX for lower end projects and Pyxis 12/Komodo for higher end projects. This is just my use case in my little world..... I know we all have different wants and needs 🙂

I have very simple needs and if I was forced, I could shoot ML Raw in 1080p on my 5Diii for the foreseeable future. I posted a video here a while ago from some Nordic guy that mixed 5Diii/ML Raw with Osmo Raw drone footage and I was blown away by the Osmo Raw. At the time, the camera by itself was too rich for my blood, but I couldn't deny the image. On the complete opposite scale, I recently used my friend's Pocket 3 and I must say that it reminded me of my camcorder days, where you just collect footage in as interesting ways as possible to tell the most important thing... the story. That said, I would be an instant buyer of a $2000 raw video version of the Osmo Pocket camera... preferably with a larger sensor, but I would be okay with the 1" too if need be. I can only imagine how much fun the pro version is... even with its headaches?

Honestly, I am a little confused. Why buy the ZR if you want an h.265 codec camera? The ZR will probably be my next camera purchase but I am buying it for the RedCode Raw/n-raw and 32bit float audio. I wish there were better 4K raw options but that doesn't exist so I'm going to deal with it, I won't buy it and then say... Nikon needs to fix the lack of 4K raw options in the camera that I already knew didn't have good 4K raw options. If I decide to shoot 4K for "lesser" projects, I'll just use the ProResHQ with n-log or even Nikon Flat for certain things. I don't mean to be rude, but there are so many cameras on the market that shoot great full frame h.265. Raw video isn't for everybody, nor should it be.

Nikon are in trouble. Camera sales down 22%. RED suffering in the filmmaking downturn. Patent has lost the biased ref. 1-0 down and could be 5-0 by full time.

Ouch! I thought H.265 was fixed in the last update... I was wrong.

The main reason these patents have been considered legit in the US patent system despite the so-called inventions being obvious to any technical person familiar with photography, is probably that the US patent office's main purpose is to protect the interests of US-based companies, such as RED, against foreign businesses. Rational arguments don't necessarily apply, if the case involves a US vs. foreign manufacturer and the litigation happens in the US. Now, since a Japanese company (Nikon) currently owns RED, it's quite possible the US position also changes (not because of Panasonic's arguments but because there is no longer a US-owned business interest for the US patent office to protect). It is difficult see how a Nikon lawyer would defend these patents with a straight face, so their arguments may be ineffective. Anyway, most camera manufacturers nowadays seem to have some raw video capabilities in their cameras so the issue is not that pressing any more. It made sense for Nikon to buy RED to gain expertise and a presence in the mid and higher end video markets, irrespective of any patent issues. What do users complain the most about the first Nikon video camera? That the raw video files are too big. So, why was there so much fuss about the patents anyway, if people don't actually want to use raw video recording in practice?

This has to be fixed! I'll ask Jarred about this (particularly about the possibility of a lighter R3D NE option) and see what he says (E. :- )

You are totally correct, however a fair bit of what I (we) shoot is delivered at the end of the the day, and TBH I can't bring myself to delete OG files when our productions are in the six digits. I ended up buying two 1TB owc cards, but still download and backing up to hard drives for a client and or producer end of a shoot day and asking them to hang around for another 40 min after a 12-15 hour day is not pleasant. Also I've seen this a few times on set where they shoot Raw and convert over to PRR LT without utilizing any of the raw capabilities and then deleting the raw, which makes me always wonder why shoot raw in the first place!!!!

The FX2 makes a lot more sense than people give it credit for. If you actually need open gate, internal RAW, 4K120 or the stacked sensor, then sure: FX5. If you don't, you're paying nearly another $2K for features you may never use. FX2 gives you full frame, 4K60, S-Log3, proper AF and an EVF already built in. For a lot of jobs that's enough. Different job. Different tool.

That works for long-term storage, but there are really two separate problems here. Transcoding R3D NE to H.265 solves the archive size. It does not solve the card capacity, ingest time, temporary disk space or transcoding time. A more efficient compromise might be to keep R3D NE only for the selects that actually benefit from RAW flexibility, then batch-transcode the rest to H.265 in REDWideGamutRGB / Log3G10. So the weak internal H.265 still matters. The workaround is viable, but it moves the cost from storage to workflow.

Why does nobody talk about the FX2? Much better value for money!

I quite liked it, but do know that if you're trying to capture anything with sound, the fan noise on the raw is really obnoxious. The image was pretty nice, though!

If you can afford the cards and temporary space on an internal drive, you could shoot in R3D NE in camera and then after transferring the files to the computer, convert it to log h.265 and delete the original files. By doing this you can get high-quality h.265 and avoid the long-term accumulation of storage otherwise needed for the raw files, not much different from having a high-quality h.265 codec in the camera, apart from the fact that you would need large memory cards and some space on the computer's internal drives for this step. I'm not trying to make an excuse for Nikon for the h.265 but suggesting a workaround who have this camera for one reason or another, and need a practical workflow.

Compressed RAW is probably the part I'd focus on before adding more film simulations. For the dropped frames, a small diagnostics page could be useful: sensor timestamp delta, queue depth, compression time per frame, sustained write MB/s and dropped-frame count. That should make it much easier to see whether the bottleneck is capture, compression or storage. I'd also preserve per-frame black/white levels and WB/colour-matrix metadata where the device exposes them. Especially useful if you want the RAW processing and calibration to remain consistent across ISO changes. Interesting project.

Have you thought about background continuity too? With people and traffic constantly changing, wouldn't traditional coverage sometimes make things harder rather than easier when you get to the edit? I wonder if longer takes, a few selective close-ups and plenty of B-roll might actually suit this kind of shooting better. ☺️

I bought one and ended up selling it. While the RED NE looks great, it's way to much data for what I shoot and the H265 is terrible, I can't understand how Nikon does not understand the urgency of fixing it.....

Exactly. What you call availablism is central here. But with Wong Kar-wai it never feels merely opportunistic. The available does not remain simply available. It becomes emotional architecture. Pre-handover Hong Kong gave him the lights, the colours, the cramped spaces, the corridors, the streets, the reflections and the limitations. But the art is in turning those given elements into mood, memory and desire. That is the difference between just using a location and allowing the location to become part of the film’s inner life. In that sense, the uncontrolled city is not only a background. It becomes a collaborator. Wong Kar-wai does not simply take what is there. He finds what is hidden inside what is there.

Amazing spec really. Looks like it could be my forever camera….