Andrew Reid

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

18 hours ago, Fairkid said:

I really like the look of this camera but ultimately Canon just doesn’t have a native lens selection that appeals to me - they are mostly too expensive plus I don’t like the build of them. They need to open their lens mount for me to be persuaded back to them. Still think the FX3 is the better all round camera. 

Less adapters as well and no Sigma (full frame).

24 minutes ago, Django said:

There are some great things in this camera: R3D code, huge screen, 32-bit float audio, IBIS etc but then some real head scratchers like the micro sd, micro HDMI, battery card slot, no fan, no open gate and overall confusion with the dual color sciences that indeed makes this a Frankenstein camera. Clearly feels like a first gen collab product. I think I'll wait to see the next iteration but it's still very encouraging and solid effort. 

Well, Nikon have come a long way in 10 years since the D750 at least.

R3D, a proper screen, 32bit float, IBIS all very welcome as you say.

But Nikon should have made a much bigger splash with the first Cinema Z camera.

It should have been a cutting edge flagship at a really aggressive price.

Instead they have gone with what is practically a point & shoot camera.

It fits the philosophy of the "DSLR video revolution" though doesn't it? Cheap (by today's norm), small, light, cinematic image quality, great codec and hybrid photo/video features.

Micro SD and HDMI is idiotic though.

Btw I think it's a strange first Nikon RED launch product.

They don't seem to understand marketing.

The first camera with RED tech should be higher-end than this, a statement.

Instead they've gone and done a YouTube camera.

It'll be interesting to see whether the volume of sales to content cretins makes up for the devaluation of RED's brand.

It's not really a cinema camera... maybe it's 2025's answer to the Blackmagic Pocket OG?

WOW they finally did it... A world beyond the 3.5" LCD exists!!!

If it is cheap and does REDCODE 6K to CFexpress then it's game on.

Cripple hammer may have to retire.

4 hours ago, Django said:

As with all rumor mills take this with a grain of salt, instant-buy if this is verdict :

 

Canon EOS C50 Sensor and Image Processing

32MP Full-Frame BSI CMOS Sensor: Adapted from R5-series tech but at a reduced 32MP resolution for better heat management and faster readouts in video modes. (~6936 x 4624 pixels in 3:2 aspect ratio for stills; supports Open Gate full-sensor readout for video). Features Dual Gain Output (DGO) for enhanced dynamic range (15+ stops), borrowed from C300/C70 technology.  Analysis: With the help of the BSI CMOS sensor, the low-light performance of the camera improves, as well as heat management issues become much better due to the lower resolution sensor compared to the R5 Mark II with 45 megapixels. So, the lower resolution choice makes it an ideal sensor for cinema workflow, making it highly efficient for solo professionals.

DIGIC Accelerator + DIGIC X: Dual-processor setup added with AI DIGIC Accelerator, the Canon 32MP sensor has fast sensor readout, despite being a non-stacked CMOS sensor, and reduced rolling shutter.  Analysis: The image processor is responsible for the overall performance of the camera. Paired up with Canon’s homegrown AI image processor known as DIGIC Accelerator, it boosts the AF performance of the camera. The Accelerated Capture system reduces rolling shutter distortion, ensuring smooth footage during fast action. Advanced Dual Pixel Intelligent AF, powered by the DIGIC Accelerator, offers precise subject tracking.

Canon EOS C50 Video Capabilities

Resolution and Frame Rates: Canon C50 is available to capture 6K RAW at 60 FPS (full-sensor readout; oversampled from 7K / 32MP for high detail). 4K at 120 FPS (uncropped or minimal crop, 10-bit 4:2:2 internal). Additional modes include 4K 60 FPS oversampled (from 7K-equivalent downsample for superior quality, no line-skipping) and Full HD at 240 FPS. Analysis: The core video specifications actually outperform the Sony FX3 4K 120 limit in resolution flexibility, focusing more on cleaner capture by oversampling from 7K. The Canon C50 camera also has an active full cooling fan inside, so no recording limit.

Codecs and Log Profiles: Canon RAW Light (LT/STD/HQ), Canon Log 2/3, HDR-PQ, XF-AVC, MP4 (H.265/H.264). Features internal ND filters (up to 10 stops), timecode I/O, proxy recording.  Analysis: The above codecs, resolution, and frame rates all qualify for high-end production needs, and it will very easily make its space in top Netflix-recommended cameras.

Canon EOS C50 Autofocus and Stabilisation

Dual Pixel CMOS AF II: AI subject detection for people, animals, vehicles; up to 1,053 AF zones; face/eye tracking with registration for up to 10 subjects. Analysis: The need to track 3D moving subjects even in complex scenes makes it very ideal for documentary-style or event shooting. At the same time, with the AI enhancement, users will experience a major shift in autofocus performance compared to the Canon R5C.

In-Body Image Stabilisation (IBIS): Up to 8 stops, with electronic IS coordination for video.  Analysis: The Canon C50 allows you to shoot handheld videos due to the presence of its sensor-shift image stabilisation system. Further, you can also use gimbals or external stabilisers to enhance performance. Canon R5C and FX3 — neither of them had IBIS.

Canon EOS C50 Build and Connectivity

Compact Box-Style Design: Aluminium alloy body construction, weather-sealed; active cooling fan for unlimited recording; weight ~650g (body only); RF mount with EF adapter support. TBA: Optional electronic viewfinder (EVF) attachment (5.76M-dot OLED); 3.2-inch vari-angle touchscreen LCD (2.1M-dot).  Analysis: The new Canon C50 is a rig-ready camera, a mix with the Sony FX3 design. You can easily mount several accessories on the mounting threads all around the body.

Ports and Storage: Dual card slots (CFexpress Type B + SD UHS-II); full-size HDMI 2.1; USB-C 3.2; XLR audio inputs via optional top handle; Wi-Fi 6E, Bluetooth 5.3; Ethernet via adapter.  Analysis: Lots of upgrades in the new C50 body — starting with a full-size HDMI port (HDMI 2.1) and timecode I/O support for multi-cam setups, positioning it above consumer hybrids.

Battery & Power: LP-E6P battery (2+ hours of 4K recording); power delivery via USB-C; optional battery grip or V-mount compatibility.

Other Features

The Canon C50 will be Canon’s first cinema camera to offer Open Gate recording for flexible aspect ratios. Waveform/vectorscope monitoring will also be there, along with false color. A new feature is anamorphic de-squeeze functionality, and AI upscaling to 8K is proposed (not available in the initial version of the camera).

 

Canon C50 Pricing [Expected] and Value Proposition

Canon C50 Price: $3,499–$3,999 body only [Approx]. Analysis: At this level, the C50 enters the higher-end cinema EOS lineup, positioned below the C70 ($5,499). It offers more than the FX3 ($3,899), but the C70 was less popular due to its price point and limited Canon’s RF lens ecosystem (lenses start at $300+). Hopefully, this year, third-party makers will release a massive range of full-frame RF autofocus lenses. For indie filmmakers, the C50 represents excellent value for money—delivering 6K capabilities at half the cost of a RED Komodo ($5,995). However, if Canon opts for a higher tag (e.g., $4,799), it risks alienating budget-conscious creators.

https://thenewcamera.com/canon-c50-rumored-specs-price-release-date-and-in-depth-analysis/

Doesn't seem right to me.

650g with internal ND mechanics and IBIS, with a full frame sensor?

I don't think that's realistic.

A clearer shot.

I am running Linux on a gaming machine... Bazzite on a Legion Go. Windows 11 on that was a catastrophe and it was a massive relief to wipe the slate clean of Microsoft's spyware.

Still no video mode on the X2D II.

The DPReview preview doesn't even mention it.

https://www.dpreview.com/reviews/hasselblad-x2d-ii-100c-initial-review?utm_source=self-desktop&utm_medium=marquee&utm_campaign=traffic_source

Yet they added IBIS and an articulated screen, like the GFX 100 II... it has the same sensor as the Fuji... yet doesn't even do 1080p, let alone 8K!

This is odd behaviour from DJI!

Also still no curtain shutter, so no adaptable lenses (electronic shutter speed is too slow).

DJI are not handling the Hasselblad brand very well in my view.

And X2D II sounds more like a star wars robot than a camera. X Two D... Two... Why the two twos?

Why isn't it called the X1D Mark 3?

On 8/25/2025 at 2:54 PM, Davide DB said:

This is also a classic pattern in journalism here in The Banana Republic Of Italy. The big company or industrial group, or even the wealthy politician, sues the journalist. Anyway, they have a host of lawyers already on salary, and even if they lose the lawsuit, the amount doesn't even slightly affect their budget.

As with the fair use copyright strikes there needs to be a layer of legal protection for the smaller guy who doesn't have access to lawyers. Before the lawyers get involved, a judge should be able to quickly throw out spurious BS cases.

On 8/25/2025 at 8:34 PM, eatstoomuchjam said:

Yes, this is also a symptom of late-stage unrestrained capitalism when there is no longer a lot of competition in the market, but instead there are a handful of well-established/entrenched players who can gamble with losing some sales in the short term.  Don't buy a VW this time around because they added a stupid subscription?  They'll be in the running next time after all the others add shitty subscriptions too.

The same applies to stuff like car vendors trying to move away from supporting Carplay/Android Auto because they really want to sell you subscriptions to connected features in the car, despite that you already have all of those things paid for in your phone already.

I think more than ever there is a power struggle between the law and corporations, we'd do well to keep an eye on that - since most of the normal rules which keep companies in check like product and competition are becoming less of a factor. We have quite a few duopolies, even monopolies in many markets and in many countries.

What the corporate bastards have also realised, is that since the pandemic they are able to act like a cartel with patterns of cartel-like behaviour like all of them raising prices in unison and creating exclusivity of market share for themselves, and also making the consumer increasingly dependant on tech as a service... Less of a product, more of an app or a cloud based service. The pandemic accelerated all of this.

And that of course is where all the recent subscription bullshit comes in.

But of the two quite different topics raised in this thread...

I am way more worried about the abuse of the legal system to stifle journalism.

The companies in question are Nvidia and Universal Records.

I suggest to think twice before handing them your hard earned.

Absolute scumbag behaviour from these American corporate fascists.

The law and YouTube needs to stand up and say... enough.

You should not be able to abuse so many innocent people via the legal system.

It's all fair use.

On 8/22/2025 at 5:54 PM, KnightsFan said:

Disregarding the use of AI by professional filmmakers as a tool to make serious content, can I just say, fuck those same 2 voices reading garbage AI scripts in YouTube videos, and all generated images of celebrities. And especially fuck AI images of real landscapes and mountains on Facebook. The Grand Canyon doesn't look like that.

It reminds me of the early dot com bubble and all the junk websites and businesses.

All the junk side of AI is going to get swept away later this year when the market crashes.

Turns out I had the Makinon in a cupboard all along and will also give it a go.

Some of these old zooms have terrible 1.5m+ minimum focus distances or rely on an awkward to engage separate macro mode, but some have the macro mode on the main focus ring and some are even par-focal. The Exakta 28-70mm F4 MC Macro (made in Japan with 62mm filter thread, and mine is an M42 mount version) in particular stands out for me, nice vintage look, nice size and weight, ergonomic to use, decent optics and distortion, covers GFX 100 well, especially in square 1:1 aspect for stills or 16:9 for video, and focuses down to 1:3.2 macro with one turn of the main focus ring (no funny separate mechanism to contend with).

The best for flare is the absolutely pre-historic Voigtlander Zoomar 36-82mm F2.8, think it was the first ever zoom lens for SLRs, the distortion is absolutely insane at 82mm but if you stay between 36-70mm it has a lot of cinematic goodness. 

I have tried a number of cheap/crap 28-80ish lenses on the GFX 100 and they all have a knack for covering the sensor perfectly if you zoom in past 35mm

So the Makinon I am interested to hunt down in Berlin and try... The Nikon in theory has the perfect focal length for the GFX 100, but I am not sure I share our YouTube friend's enthusiasm for the flare... The Makinon was much nicer to my eye

15 hours ago, MrSMW said:

Carl Zeiss Vario Sonnar f/3.5 40-80 ‘push-pull’ zoom.

I have that as my ‘oddball’ lens and used it a few times with an EF-L adapter with built in VND.

Quite a few focal lengths covered there in a single lens!

Have you compared it to the replacement 35-70mm? The latter lens is very handy on the GFX 100 and filmic looking.

Here at a camera store in Berlin we have the 3 musketeers.

2012 vintage RX1R OG, the one without the AA filter.

It's very nice and I can't understand why it only goes for $900 used. Because it's got a much better lens than the Leica Q.

No red dot though.

RX1R II, the one with the tilt screen, phase-detect AF and pop-up EVF. It also shoots 120p, albeit no 4K. It also has a further innovation - the AA filter can be switched on and off.

This was Sony when they felt they needed to catch up with Canon and Nikon by really pushing the boat out. 2014-2015 vintage Sony. The $2000 mint condition used RX1R II is reasonably rare but when you do find one, it's still cheaper than the Leica Q OG and closer to the Leica Q2 in terms of image quality.

The pop-up EVF is mechanically a thing of beauty and offers a big field of view. Although without a rubberised eye cup, it isn't the most ergonomic or comfortable.

So to the new one, the one with the 10 year gap.

Sony have made sure to price it so that nobody buys one, which is good because they want you all to buy E mount lenses.

Just to summarise the street prices:

RX1R: $800-900 used

RX1R II: $2k used

RX1R III: $5100 / 4900 euro

The lens is identical to the previous cameras.

Which is fine to be honest, but I had more issues with the AF in macro mode on the RX1R III vs II. Weird.

I also dislike the finish and build quality, doesn't feel as premium. It feels a bit like the A7CR. Not great and nowhere near a Leica and the RX1R II also feels more premium. I do prefer the buttons though on the new camera, they are raised for a more tactile feel.

Gone is the pop-up EVF, in place of it a smaller standard one. The resolution of the live-view feed is better, but the overall optic is worse and more pokey.

Gone is the articulated screen. Which is a really weird one.

In comes a fatter battery - very welcome.

4K is there with no crop in 24p/25p... However, there's no IBIS or even OIS, which is a downer.

The AEL button has changed to an AF-ON... Again a welcome change, because the first two models had no back-button AF at all. Well done Sony.

So if you're looking for a full frame compact, the first two models are a steal.

I got the RX1R II again.

I regretted selling it the first time out!

I'd also argue that the conventional wisdom over high resolution sensors needing better glass is false unless you are heavily cropping the image.

I've had soft 50 euro lenses look better and better, the larger and higher the resolution of the sensor.

Same soft lens on a Micro Four Thirds camera or X-T5 looks terrible.

Put it on a GFX 100 and it completely transforms and looks so much sharper when you're viewing the whole shot as intended, as long as you don't start pixel peeping it of course.

You can't compare a fast 35mm to a 50mm F8 macro lens or whatever it is they usually use on the DPR test scene.

It's a fantastic lens, always was.

Even wide open at F2.0 it's close in sharpness to F5.6 stopped down.

Of course, only in the centre - but the DPR test scene is a sensor test scene, it isn't designed for wide angle lenses.

The real-world performance of the lens is what matters.

It's not as good as a Leica M APO 35mm F2 for 4 grand or the 35mm F2.0 lens on the Zeiss ZX1, but it's still very good.

I have always treasured the shots from my RX1R and RX1R II

That's what counts, not the pixel peeping at 2000% magnification.

I think it does just fine...

By far the most important thing with a lens is to go out and take real shots with it...

The Panasonic 28-200mm on paper is a piece of garbage.

Is not the sharpest, not the fastest, F7.1 at the telephoto end, and yet it shoots shots like this... Which look like they're shot with a high-end 135mm F2.0.

The rendering is just superb at 200mm F7.1

Does it look like F7?

Nah.

For the first time I got my hands on an S1 II yesterday, just in a shop. All my initial suspicions are correct, it's a second rate sensor in a very plasticky cheap feeling body. Not impressed at all with the way it feels in the hand given the lofty price tag.

6 hours ago, EduPortas said:

I think they saw the high prices the previous RX1 models go for after 10 or more years.

Not too bad...

RX1 OG: 700 euros used

RX1R: 900 euros

RX1R II: 2000+ euros

The Mark II price is only going to stay high and may even go up as it has features the Mark III removes such as the articulated screen, oops. The old pop-up EVF is more premium and funky too.

I think the hiatus was about protecting E-mount, as for some people a fast 35mm is all you need, and the return is about trying to out-Leica Leica on profit margins. Sony are a very numbers driven company.

I have always liked the RX1 series as it was one of the very few options if you wanted a full frame sensor and beautiful fast 35mm Zeiss lens matched to the sensor, in an overall package that is smaller than even Micro Four Thirds.

Hands down one of the best compact cameras ever made... the Contax T3 of our times.

The successor was never going to be cheap, but the price escalation in the camera industry really makes me an unhappy customer. I haven't bought a camera "new" for years.

Same sensor as the Nikon D4.

I had a play with the Sigma BF recently, and the controls are quite frankly batshit.

I came away a bit underwhelmed and it's definitely not an intuitive camera when you first pick one up. Some very strange decisions by Sigma going on with it.

It does look pretty though.

22 hours ago, ntblowz said:

Man all the recently released camera price have gone through the roof, I guess this will be the new norm

After all the social media shilling of the last 10 years maybe Sony want to see if they now have the brand power to pull off Leica level mark-up (without the German bits) and enter the luxury goods business.