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Or is Mackey playing Depp playing Mackey...

Why are you guys in such a bad mood this morning? Is everyone a Roger Deakins now? I'm not a professional, and a camera for less than 3K would be great for me. I film underwater every week, and sometimes I do small jobs too. Nevertheless, knowing that every time I film I bring home half a terabyte of stuff scares me, because I would also like to have the option to make some compromises. Right now I film with a GH5MII, and I only use the ALL-I codec when I'm doing something special. Having a camera that only shoots RAW is too limiting for me. So yes I leave my garage sometimes but Nikon should address that. 😄

This was at the top of my YouTube feed today. Genuinely thought at first glance it was going to be Mackey’s review of the ZR. Maybe the world has got so twisted around that Depp is now cosplaying Mackey.

And that mount. Megadap will be rubbing their hands at the amount of E mount lenses that may well be finding a home on this camera. Not just from Sony defectors either but from new owners of the ZR who look at the plethora of appropriately sized E mount lenses on the new and used market and will consider the ZR as a de facto E mount camera.

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.

Nikon’s Japan site showing official release date there of 24th of October. That tax inclusive price of ¥299,200 is taking the value for money to another level really isn’t it 😂

Somehow I missed this promo short film, its kinda brilliant in how it showcases a lot of the features in a pretty creative narrative, really liking the overall image from this new sensor:

So is NRAW really REDCODE or is REDCODE really NRAW, I am confused now.

During my “Shall I get a Z8” research project - which has been going on so long it is featured in the Bayeux tapestry - I found the MC-N10 grip really appealing if a little pricy. However, what is a setback is that it is a right handed grip (good for me) that connects by cable to cameras, including the ZR, with left sided USB ports. I initially thought “well that’s awkward having to have that USB cable trailing across the camera but will use it over Bluetooth anyway”. Except that was a flawed assumption as it doesn’t have Bluetooth. Nikon makes a virtue of it being wired only in their product page. ___________ Reliable connection This grip connects to your Nikon camera via USB-C, ensuring a stable connection no matter where you shoot. You won’t have to rely on a wireless signal if you’re shooting in a crowded location where radio interference is a problem. _____________ And I completely get that of course. There are always cable routing solutions to make it less janky than Nikon’s own promotional materials of it show so I’m sure some mitigation can be had. The £69 Smallrig ZR cage has locking clamps for USB C as well as HDMI ports so it’s only a couple of zip ties away from not being a massive issue. At £400+ though, I’m sure they could’ve incorporated the small addition of a Bluetooth capability with a small internal rechargeable battery to provide the option and still made money. With the ZR having fewer hardware buttons it’s a product that could have a lot of appeal if you can swallow the price and the lack of wireless.

If you're upset about hybrid-styled cameras with somewhat awkward ergonomics being called "cinema camera," you must have been frustrated since 2018 or so. https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera I'd be inclined to say that "cinema camera" is just about as meaningless as calling an image "cinematic." It means plenty of different things to different people. "How can you call it a cinema camera when it doesn't even have SDI output?" "That ain't no cinema camera, it has no mounting points on top or the sides!" "Cinema cameras don't have autofocus" "Cinema cameras need to be dedicated to ultimate image quality and it's not a true cinema camera without 16-bit raw." The ZR is obviously not going to be the A camera on a lot of professional shoots. It has no TC, no SDI, bad HDMI, and bad memory card location. On the other hand, it might finally be fulfilling some of the promise of the Komodo - a small, light crash camera that you easily fit in small spaces - or that you can easily throw at an AC/second shooter to go get some b-roll or a second angle handheld or with a light tripod and have it be a good match SOOC for what you're shooting with your Komodo-X or V-Raptor. Lack of a physical shutter lock is a bummer for some crash cam use cases. Sorry it's not for you, regardless! I'd be willing to bet that the next iterations of the Z6/8/9/etc start working in Redcode NE too.

It’s the international break. The world turns to shit when there is no club football. There is only so much England vs Andorra that people can take. Everything will be OK again on Saturday.

Newsshooter is there and brings these exciting news: https://www.newsshooter.com/2025/09/13/viltrox-nexus-pl-to-e-pro-adapter-that-enables-full-af-capabilities-when-using-pl-mount-cine-lenses/ Comes by 4Q 2025 in the end of the year...

After playing more with NEV to R3D converted Z6iii clips I prefer the Resolve’s NRaw Camera Raw panel controls, especially for adjusting WB, exposure, highlights and shadows. In Red Raw panel your options are a bit more limited. Chroma NR tab is nice and could be the reason why ZR DR is said to be better, at least it cleans the raised shadows a bit without touching Resolve’s other NR controls. Tried also to shoot from the hip by using Z6iii’s LCD to mimick shooting with ZR. Hard to imagine how big a difference a 4 inch screen could make compared to 3.2. I guess I am just an EVF shooter, as on my first Canon 550D back in 2010 I had EVF loupe attached,which magnified the LCD 2x and gave additional contact point. But it’s nice Nikon users have now more options to choose from.

ProRes RAW... https://www.blackmagicdesign.com/media/release/20250910-02

No indication C50 can do this either but they should definitely consider it if not already. I also hear they are releasing a bunch of "stylised" LUTs including day-to-night for the C50. As for open gate, if the R5C (or even the R5 II) sensor could actually handle full-height 3:2 video readout, Canon would have probably leaned on that already.. either through firmware or at launch. Instead, they built a brand-new lower MP sensor for the C50. That tells me the older 45MP architecture just isn’t optimized for it (whether it’s readout speed, heat, or the processing pipeline). So while open gate on the R5C would be fantastic, the fact Canon didn’t already enable it when they had the chance is probably the clearest sign it’s not coming. Also for product segment reasons. But you never know..

This is getting tedious, you’re over-correcting things I never claimed. I didn’t say FF magically changes lens physics, just that for equivalent framing it naturally gives shallower DOF compared to S35, which is why focal reducers even exist in the first place. You basically repeated that back to me, so we actually agree there. Same with open gate: yes, 17:9 is technically “open gate” on many cinema sensors, but when filmmakers talk about open gate they often mean 3:2 / 4:3 full-height readouts because those give more latitude for aspect ratios and anamorphic use. That’s all I was pointing out. As for “character,” I never said every FF lens suddenly blooms with quirks on 44×33, just that bigger sensors can reveal parts of the image circle not usually seen, which some DPs (like Fraser) like to exploit. Whether that looks beautiful or boring depends on the lens and the shooter’s taste. No need to nitpick every word.. we’re actually saying a lot of the same things. At the end of the day, people are going to pick whatever tool makes sense for their workflow, budget, or taste. I never claimed MF was a magic bullet, just that it offers options and aesthetics some shooters care about. You prefer the practicality of the Raptor, others might be drawn to the Eterna 55. Both views can be true.

Technically a sensor by itself doesn’t have a “look,” but bigger sensors change how lenses behave and how we can use the image circle, which is where the cinematic signature comes from. FF already gives shallower depth of field for equivalent framing and a FoV closer to classic 35mm photography. Open gate modes on 3:2/4:3 sensors take that further by giving you the full vertical readout, letting you reframe, use anamorphic, or extract stills without losing resolution. Medium format pushes this even more, however Fuji’s GFX sensors aren’t “true” MF like Alexa 65 or Hasselblad backs, but it’s about 1.7× the area of FF, which is enough to reveal more lens character, smoother falloff, and a slightly different perspective than FF or S35. So when you pair the sensor with fast primes and open gate capture, the format really does offer creative possibilities that smaller sensors simply can’t match. I'm loving what I'm seeing from the Eterna so far by the way!

No translation, but you don't need to.

For context, I went to film school and have worked on many projects with 2-3 people per camera, ones where I managed multiple cameras on my own, 16mm film projects, and everything in between. On the other side, I've also shot live concerts for music videos, which, incidentally, the ZR would be a fantastic choice for. So while I don't have the experience of many of the active pros here, I understand camera use cases. I never said anything about single cards being a requirement. I said that if you use the camera on any kind of support (tripod, jib, car rig, shoulder rig, gimbal) it's going to be a massive pain to change the card, ergo the ZR is designed almost exclusively for handheld, unrigged use. Almost every shot on most (not all) cinema projects uses a support system. The Alexa and Raptor are quintessential cinema cameras. Actually, I consider dual cards to be most beneficial in documentary settings, where retakes are impossible and you don't have multiple cameras for coverage. @eatstoomuchjammentioned the Z Cam F6. Z Cam's original prototypes for the E2 put the CFast card on the bottom, but they changed it because of feedback saying it would be too cumbersome to access. I consider the F6 to be a cinema camera, as a category, because it is designed to be used in a variety of situations that are typical for cinematic capture, and Z Cam discovered that included being able to change the card. Obviously, it's a lower end camera, relatively speaking, and there are plenty of photo cameras with better video quality. Because it's impossible to tell on the internet, I'll reiterate that I'm quite happy to agree to disagree about terminology! And I am genuinely happy when people do things differently than I would.

I hadn’t truly appreciated just how much of a normalised activity this was until I saw these for sale in my local supermarket recently. I do fear for what people are eating who use this one if their bowel movements are such that they have to take their watch off to do it. Although maybe that is to stop the watch thinking they are having a vigorous workout when they are doing a more old fashioned bathroom activity.

Gerald is pissed that they call it cine camera, then complain why the only dependable codec of the camera is the one used in cine cameras. Tho I understand for a video shooter who never leave his garage room YouTube studio, the quality of h.265 is important and Nikon should address that.

People here would have dreamed about this camera just two years ago. People were crying for 10 bit and log like 5 years ago, and some people filmed movies with the Gh2 or Canon 5D. I am not saying this camera doesn't have flaws. But saying this is a camera for content creation when you have multiple Raw formats, and one color science that was only available to cameras costing 7k, but more precisely 10 k when you add the accessories in the apsc red komodo, and about 15-20k in full frame. In fact you can film a movie with this. I am sad it did not happen 10-20 years ago, or I was not 10-20 years younger, thinking about this I prefer the later... Oh shit, looking how the world is going, I prefer the former. LOL

Canon managed to make a slower sensor than ZR sensor, twice the price, with less DR.

+7 focal length options: 13mm 24mm 28mm 35mm 48mm 100mm 200mm (+ macro) +many other goodies... Among them, genlock... via the new Blackmagic Camera ProDock (Hello 3D! Not only though... for sure) for US$295 (next time, it will come as giveaway, very likely, what else? ; ) Simply WOW etc. https://www.apple.com/iphone-17-pro/ https://www.apple.com/iphone-17-pro/specs/ https://www.apple.com/newsroom/2025/09/apple-unveils-iphone-17-pro-and-iphone-17-pro-max/ https://www.apple.com/newsroom/2025/09/apple-announces-final-cut-camera-2-0/ Nobody is talking about TBH if this isn't a game changer, I have no idea what this means anymore... : ) Where's that Coppola's little fat girl in Ohio?

Yes I think Techart do but they are quite expensive at something like 400+ and I do need AF for some of what I do, but I need it to be highly accurate. The weakness of the old Lumix cameras such as the OG S5/S1H/S1R was forward tracking AF when ideally you needed a stopped down aperture, crop mode and some tweaks to the tracking to stand a chance. Since the S5II, not an issue, but even if there is an M to L Mount adapter with AF (and I have not been able to find one), I would not trust one to do this specific job above any better than the old Lumix system. The rest of the time, I don’t need AF and at 400+, might as well just have a cheap AF lens for this purpose. The Zr looks very interesting however as I always suspected it might. Enough to warrant any kind of flip, is too early to call and there is so much to consider such as… Zr stills mode vs S1RII stills mode I suspect is a win for Lumix being the sensor is 20mp larger and has a mech shutter. Video probably also the Lumix, especially as it has open gate which I shoot in all the time and Nikon does not…but probably can and maybe can in a future firmware release because it’s the same sensor as the S1II isn’t it? Red Raw ‘lite’ makes the Zr very interesting but where it gets even more and most interesting to me is I could build an even more compact kit, both bodies and lenses and tripods, than I currently have. Anyway, 6 or so months to consider and by that time there will be used Zr’s on MPB (so I could at least try one with their 14 day return policy) and Lumix may have brought a more cine-orientated camera to market than the current offerings as maybe, just maybe, they might ditch the current format for any S1H replacement…??

I’m looking at M-L for my current system but that won’t happen for about 6 months or so even if I do not flip to Nikon because my season is over in less than 2 weeks so other than some play time (and nothing really compares to actual work) so too soon. I didn’t know there was an AF adapter or rather I think there is for Nikon but is there for L Mount? It would be useful but not 100% necessary. If I went Nikon, I’d go E Mount though as it would make more sense as all my glass would be adapted. I have looked at every cine lens going and based on; price, size, weight, sharpness, character, shorter than normal focus throw, close focus distance, they are a clear winner for me. I have some final manual focus tests to do with my AF Lumix lenses next job first but other than having just one camera designated to AF duty, currently my S9 with zoom, I’d prefer to go MF on my hybrids as I’m not 100% happy with the AF hit rate with pics and stickiness with video…another area where based on my experience with the Zf, Nikon is better than Lumix and it can pick out faces at something like less than 3% of the screen which is bloody good!

The only real drawbacks I see are the card slots being crammed in the battery door and the lack of EVF, lack of open gate. The interference between the screen and the headphone jack would be a minor drawback as well. Otherwise, it looks like an exceptional value stacked up against everything else that's out there. The 4" screen really reduces the need for an external monitor and I would like to see other manufacturers follow and the 32bit audio removes on more manual adjustment from the shooter's slate. I'd love to see these things integrated into another body with a slightly more professional build, and then I could be swayed to move over to Nikon. Maybe if the XLR adapter ends up working with the Z6 III that would be the move. It's also a little shameful that Lumix wasn't able to build a camera with this same sensor that doesn't overheat. I wonder how that came to be.

Agree. My point is that we can see for the first time FX3 and Zr image side by side. Nikon Zr image when R3D codec is used looks good.

Good test and comparison with Sony FX3. https://www.youtube.com/watch?v=eCBg8Tsc7Xw

Cool stuff. I look forward to trying it later this year when less busy as Lightroom is my go to for stills, but I would like to get out of Adobe in 2026. 👍

If you ask why they don't add another hole to make it more secure on tripod, here is your answer. Its bottom of Z6iii. There is no room for another one lol

I was simply agreeing with ND64's statement that the C50 most likely has 12-bit video readout in standard FF 16x9. There is a connection between electronic shutter limitations and video readout speed, although the S35 sensor crop can allow for higher bit depth or higher readout speeds. Moreover, cropping into S35 will not reduce noise. It will have the oppositive effect. The sensor is also not dual gain like the one in the Panasonic S1II and doesn't offer any of those features. The only way you are getting more DR out of a sensor crop is to switch to a higher bit depth (13 or 14 bit). If you compare the C50 with the R5C, which has 12-bit video readout, you see almost identical latitude (4 stops over and 3 stops under) as demonstrated in the CVP review: I will admit that the C50 has a beautifully sleek design, and may be worth picking up for the open-gate mode alone, but I don't see much in the way of image improvements over the R5C that I already own. I guess it is a camera made for those who don't have an R5C or those who may need another compact body. In that case, however, I would rather go with a camera that has IBIS, high ISO performance for low light, and greater DR in highlights and shadows. These are qualities I miss in the R5C and that have apparently not been addressed in the C50.

Depth of field wise 35 mm full frame has more options (on the shallow side). However, the "look" has other characteristics including tonal and color quality and richness. If the MF sensor is used at base ISO and given as much light as it can hold, the SNR, tonal range, color sensitivity etc. are better than the MFT. Since most of these sensors and cameras were mainly developed for stills, these characteristics may or may not translate into video image quality. Also shooting at base ISO for stationary subjects is always possible when shooting stills (using a tripod) but because of shutter speed requirements for video, and the ability to process consecutive images and merge information from them to improve SNR, things get more complicated for video. If similar interframe/dual-gain-output strategies are used across formats, if there is enough light, and if the processing power is adequate and read time can be minimized then the MF image should be superior at base ISO. However, these things are very implementation-specific and so video image quality differences between formats do not always mirror still image quality differences.

Phil Holland comment

Not trying to jump into your apparently long discussion, but EXACT look of Full Frame can be achieved on M43, but you need faster lens, and once you go that fast, the lens becomes so big and heavy that the size advantage of the M43 format loses its relevance at that point. But the difference between 44mm wide sensor and 36mm wide sensor is far less than FF and M43. Its basically f/1.2 vs. f/1.4. And at the same time, lens makers of the two systems went opposite direction. FF lenses are now bigger and faster than 44mm MF lenses, cause FF systems want to differentiate themselves from low end cameras, even at the expense of size/weight, while MF systems want to break the collective mindset that MF=Bulky/Inconvenient.

@eatstoomuchjam Funny enough, the Greg Fraser quote you referenced actually underlines my point. He’s saying outright that moving to a larger format opens up creative possibilities precisely because you’re seeing parts of the lens you wouldn’t on a smaller sensor. The lens itself hasn’t changed, but the relationship between the sensor size and the lens’ image circle absolutely changes what’s captured. That’s all I was getting at: bigger formats don’t alter lens physics, but they alter what part of the lens’ projection you get to play with, which translates to a different look/feel on screen. This is similar to when you have open-gate (true 3:2 or 4:3, not just 17:9), you’re also opening up different aspect ratios and lens visibility. Whether you see the extra image area as flaws or character is subjective, but the distinction Fraser is making is exactly the one I was trying to point to. I know many GFX users like to put certain FF lenses for identical reasons, and the GFXRF & Eterna 55 use that high MP large sensor to open up multi aspect ratios which is why I don't think its irrelevant to the discussion.

Sorry, but this sentence makes no sense. A bigger sensor doesn't change how a lens behaves. The lens always behaves the same and projects the exact same image circle. And "cinematic" is a meaningless term so "cinematic signature" is equally meaningless. This is untrue. Assuming that you mean compared with S35, to be more specific, FF gives shallower depth of field for equivalent framing at the same focal range and aperture. You can get an identical image by using a wider S35 lens with a bigger aperture. This is exactly what focal reducers do when they focus the image circle of a FF lens down onto an S35 sensor. In fact, when using a focal reducer, a Komdoo or Komodo-X has slightly less DOF at equivalent framing than a natively FF camera (the equivalent crop factor at that point is something like 1.05x). This also becomes largely an academic distinction if you don't insist on shooting fast lenses wide open 24x7. And even if you do, do you need shallower DOF than Army of the Dead, that Zack Snyder movie from 2021 that was shot entirely with the Canon 50/0.95 dream lens wide open? This is true, but irrelevant to a discussion of whether there is or isn't a medium format look. It only reveals more lens character in the sense that for some lenses, you see the worse parts of the image circle outside of the standard 35mm film size. In some cases, it also just means you can't use the lens at all - for example, my Noctilux-M 50/1 only barely covers 24x36mm and already has dark corners and edges. On a GF sensor, you just get the edge of the image circle surrounded by blackness. That lens has plenty of character already on FF. On film, yes, but this is related to the inherent resolution limits of film. On the 100 megapixel GF sensor, this is technically true vs 35mm format cameras that have 61 megapixels, but it's largely an academic distinction that is barely noticeable in practical terms. But when you're using line skipped/binned 4K off of that sensor, you have less smooth falloff than off of a 35mm sensor recording 8K. This is also academic and can barely be seen. At the same focal length, sure. Luckily, we can change lenses. It would be true to say that you can capture a different image with the same lens as a smaller format. So if your goal is to get a different look out of your vintage Nikkor 200mm lens and if that lens has an image circle big enough to nominally cover a sensor that's 44mm wide. If you're shooting 16/17:9, will that difference be substantially different than the image from a V-Raptor XE with a 41mm wide VV sensor (that costs $1,500 less)? No. That or if 3:2 capture isn't a concern, go rent the Ursa Cine 17K 65 with a 51x24mm sensor. Yeah, footage from the GFX 100 II looks nice too. But so does footage from the GH7, a camera with a much smaller sensor. For video, I prefer footage from my UC12K LF to what I get from the GFX 100 II.

Really funny indeed, it seems with long takes the only way to trim and save only important parts of footage is through Resolve’s Media management. Tried to rename clips to R3D first in CFExpress, but exporting trimmed parts from Resolve did not work. Compared one old clip and other than R3D’s chroma NR there was not much difference to NEV. Have to test this more with clips that are saved straight from card as NEV.

It would be funny if turns out RED and Nikon couldn't push Davinci developers to address the issue with nraw rendering and decided to fix it themselves by a metadata trick.

The ZR does accept timecode input via bluetooth and can output TC via HDMI.

Which is exactly how I’d use it with Tamron zoom’s, the: 20-40, 28-75 and 70-180 f2.8’s.

Admittedly only looking on my phone but I wouldn’t know which is which unless I was told. At the extreme, I am sure the RED camera has a marginally better image/latitude, but for 99% of the time for 99% of real world users needs (the latter of which is not RED’s market of course)… The 2 best things this camera has is the image quality using the RED raw 12 bit and that screen.

$2K vs. $15K Not 16 bit, but not bad! The only problem here is that R3D NE (12 bit) is likely destined for much greater things, like the 8K Z9 II with a new sensor and better DR. That camera should be arriving in early 2026.

I'm not sure I agree... I think some folks expected Nikon to take everything from RED and simply dump it in a Nikon body and to then charge 20% of the price of a RED. Was never going to happen. Who would then buy a RED camera going forward if they could basically get it all for a fraction of the price? Virtually no one and they would have cooked their golden goose. What they have done is made a RED-lite camera (arguably more Nikon than RED) that can either act as a B cam to a RED user, or something for the Nikon user to use alongside other Nikon cameras they may already have such as the; Zf, Z6iii, Z8 or Z9. and give them a taste of RED, if not the full-blown illusion of shooting something much more than it is (the 'Creator FX3 effect'). Or for the minimalist, low-budget filmmaker (or content creator) who fancies a bit, but not full on, RED colour science and 'RAW-lite'. I've watched a few reviews now and I'd definitely have gone for this (subject to overheating and battery life tests) for my needs as a hybrid shooter. In fact a pair along with a pair of Zf's (a pair of the new black & silver models) for a pretty compact, capable and fun to use set with a super-nice image output. It's not a full-blown cinema camera and I do agree, the choice of placement for the card slots is bloody awkward (as it is for my S9), but that rear LCD more than makes up for it for me. Now if they could just get the spec of the Zr into a Zf body...

Chinese netizens have a proverb saying: don't squeeze the whole toothpaste at once. A product that satisfy everyone might become a disaster for the company. Cause nobody will upgrade to Version 2.0. So they never define a line in their design goals to satisfy everyone. Every iteration keeps some pain points to reserve room for improvement in those specific areas in the next generations. Cripple Hammer is not a broad crippling with a rough hammer. Its a surgery precision cuts with at least three gen ahead in mind. Of course there is always a risk of bleeding. But the risk of not having a plan is greater. RED and Arri didn't have such a plan, and ended up searching for a buyer who has.

I know the phrase of the day is content creator, but I, personally, see this as the ultimate, low/no budget, DIY, short film camera. I don't think I have ever been so tempted to hit preorder. I understand its inconveniences and there are a couple things I need to research... battery life (the FP is atrocious), overheating, IBIS quality, etc... but I must say this is the most excited I have been for a camera since I bought my 5D3 and installed ML Raw onto it.

And with the Techart Pro MZ adapter you can have them autofocus as well.

This camera is using the same S1II sensor and Lumix was able to squeeze a lot from it. More than Nikon. So, what is Lumix missing to make a camera similar to the C50/Zr? Nothing.

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

Yes, but as long as some people still buy VW and some people buy the upgrade, other car manufacturers will be inspired to do the same. This is how the enshittification race to the bottom works. It used to be that if I bought a plane ticket on any airline, I got a checked bag for free. Not only that, but overhead space was plentiful and I could be a bit chill about boarding the plane. Then one airline started charging for checked bags. When people didn't stop flying with them, the other airlines followed suit. After all, people are apparently willing to accept a shittier flying experience. Now checked bags cost money and overhead space is crammed full which makes me one of the annoying boarding buzzards circling around the boarding stanchions so that I can be sure to get on in time to put my camera bag above me and not get into an argument with the boarding agent about whether I'm going to gate check it (and no, gate agent, I cannot relocate all of the lithium batteries into my other much smaller "personal item" that goes under the seat in front of me). Anyway, the shrugging and accepting it is basically what is at the core of enshittification.