ND64

NR is stronger on ZR, but its not just NR. There should be something else.

Its so rare with Nikon that I can say it never happens. They may fix a couple of bugs, but tweaking features and performance after announcement date and before shipping date? Very unlikely.

Optyczne published their review: https://www.optyczne.pl/107.4-Inne_testy-Nikon_ZR_-_test_trybu_filmowego_Jakość_obrazu.html

The average buyer doesn't even need 10bit and log profiles. Most of them hate color grading. A TikTok girl I follow was asking the followers the other day to help her find a camera that has good color science and doesn't need grading, because she has no time for that.

English audio is enabled https://youtu.be/uXyWiPO7DoE

At ISO 6400, ZR is way better than Komodo X, and equal to S1ii. With noise reduction, even ISO 25600 is useable. And thats what matters for the target market. They're mostly one man with no or very limited lighting equipment. Underexposing and lifting the shadows in post is not what they usually do. Its good to have lower noise floor, but you don't want to go much down there anyway. Because despite less noise, you're still dealing with poor SN ratio, due to shot noise, which is inevitable side effect of underexposure. That's why much of R&D money in CMOS sensor industry is directed to improvement in saturation level (more room for overexposure), and solve the noise problem with AI.

People are using Z5ii, a $1700 camera, to shoot raw video, with changing extension hack. 4k30p, 450mb/s on SD. Yea its soft, but its filmic soft. I like this approach when I don't want to deal with massive files.

Thats with today storage technology and prices. 20 years ago, CompactFlash was expensive and one of the reasons people complained about raw. That's why they were insisting that 12 megapixels is enough and 24mp is unnecessary huge!

Maybe NRAW has a metadata piece that automatically activates a default value of sharpening and noise reduction in Davinci that you can't set to zero. They should compare the files in REDCINE-X Pro.

Yea, definitely NRAW has baked in NR/sharpness, R3D NE is pure and clean.

Test at 37° C. 1h40m, and no overheating:

LOFIC is inherently noisy, because its optimized for saturation. Its like having a sensor that its base ISO is ISO 25, but its max ISO is 400. Thus you need a second readout optimized for low noise to combine the two. And you can't get really good noise performance in the second one until you go up in size to at least 1 inch format.

Same arguments were valid in still photography. Lot of news/event shooters stuck with jpeg while the rest of photographers see the "jpeg only" sign on the camera display as a catastrophe. Its been always about having flexibility for artistic purposes. If your work is concentrated on documentation of real world as it is, Standard color profile Jpeg is the best choice.

Either these reviewers don't know what they're doing or R3D NE is not exactly repackaged NRAW. Nlog is noticeably softer, in both NRAW and h.265. R3D details is close to SDR h.265, even at second base ISO. Even the skin tone is different

Other than marketing, raw is easy. I mean in electronics, bandwidth is always cheaper to provide than processing power, and raw needs less processing and more bandwidth. Note how soon Sony increased the bandwidth per sensor lane from 4Gb/s to 12.5Gb/s. 8 of these can handle 100Gb/s, enough for 10k60p 12bit!

For anyone who knows one or two things about imaging science, it was obvious we can't go beyond 16 stops with current combinations of tech, as DR is not just about pixel's saturation. You can save harsh highlights from clipping but you get an overall contrast level that doesn't match to that saved highlights, which is what exactly demonstrated here.

Same technology used in Xiaomi 17 Pro. It has more DR than G9m2, but the lens quality and the algorithm used to combine low gain and high gain are horrible and so the extra highlight stops are wasted.

4k120 R3D And some artifacts on basketball net Yet I think 99% of the viewers wouldn't notice.

There is this conspiracy theory that its a damage control campaign by Sony, which I don't agree with. Sony's position is strong enough to not bother at all. But YouTubers shouldn't behave in a way to make it easy for conspiracy theorists. I mean they all made it about FX3 since day one. They didn't even mention that S9 IBIS works better than ZR, or S1ii extract higher DR from the same sensor, or what about Canon? Nobody made a comparison with any EOS. When they all talk about just one brand and one specific model of that brand, which is not even in the same price segment, some people may get suspicious.

A Chinese Weibo user who knows Sony Semi stuff said they developed a 5k sensor with 14bit readout and DCG, for next gen A7S/FX3; and the next day this rumor appeared. Probably somebody thought its perfect for S1Hii. The only thing certain about this sensor is that it's expensive.

The h.265 itself is not the problem. Its that you can't turn off the NR with h.265, and in low light its too much. Nikon didn't change this even after all firmware updates they did for Z9/Z8/Z6III, so its safe to say its not going to happen with Expeed 7. Probably because power consumption will be noticeably higher if the encoder has to compress noisy image.

Among all the firmware requests by YouTubers and RED shooters, this one was almost out of the radar. Which tells me is an indirect response to whining about raw file sizes. Which means an internal lower bitrate R3D NE became even less likely.

If you gain something in SN ratio, sure you lose something in details. Its almost impossible to extract "true" 4k bayer from 6k bayer.

ZR 4k raw is not line skipped. Its read out speed is the same as 6k raw. So it uses the whole pixels, but some kind of digital downconversion happens that has SN ratio of 3k image but resolution of 4k image, with a downside of some high frequency aliasing.

Nikon gave this camera to so many different people I wonder how they did even find them. Some just have 500 followers, but are locally known in their country. Maybe Jarred Land is behind this.