Danyyyel

My guess, they didn't want to kill their RED brand. It would also have cost minimum, 5000+ USD to 10 000 USD, and not many Nikon shooters could have afforded this. I would have liked a bit better spec even with a more costly body. But in the end, this will be found in a lot of Nikon shooter camera bag, as a secondary or third body for professional. And it would become their primary body for video. For photographers, 5000 USD is already flagship level camera bodies.
This is also the ultimate content creator camera, people might not care or even despise it, but it is a big market. Nikon has loss so much market share, and more importantly in the younger demographic, that it might revive a new generation of shooters for the company. It is a bit of a jack of all trade, from someone who would just pick the camera and either film himself or do some content filming some dancers or skaters. To someone rigging it and going to shoot a doc or a short film. 

I would beg Nikon yo do a liter version of the REDraw. Many will soon discover, that they can't shoot in it because it is too heavy, and literally not use the camera for what they bought it for. It is easy from some of the youtubers to film an hour of content to show in their 10 20 minute review. But it is not the same when you are filming for 1 2 hours on a five day project. I don't know REDraw size, but from some people who have used it, the datarate on the ZR is very high. 

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.

Mood? I'm just saying we have never seen a cinematic work done by the Undone, and yet he thinks he is the one who defines what cine camera should be. 

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

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

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

I don't know, I think you answered your own questions... bigger LCD, internal Raw (multiple Raw formats... and ProRes HQ) ... those alone are worth the price increase. When you add internal 32bit float audio (a real game changer) ... as far as tools, I have a feeling some of Red's exposure tools may be implemented... I've heard a lot of folks refer to the stop light as being a really cool one?
Listen, I get it. I like Panasonic too. I still really enjoy my GH6 (with LogC) and will probably keep it. Am going to test the pixel:pixel mode today with some old Cosmicar c-mounts, but not every thread, or new camera release, has to be an affront, or comparison, to Panasonic.
That said, this idea of Raw video, r3D or otherwise, is NOT for most video shooters and probably unnecessary for most YouTubers and people who frequent this site. The storage requirements are insane. Someone upthread said that you get 28 minutes of footage on a 320GB CFExpress card... I assume that's 6K, so I'll do a little better with 4K but that's still a lot of media and storage needed. But if you look at the camera for what it is... a powerful, entry level, Raw video camera, then even with its quirks, it's an epic release.

That's about the gist of it.  But I'd add that the heavier body is also, from what it seems, a more robust body. Also, less rolling shutter, shutter angle setting, 2 hours vs 30 minutes recording, uncropped 4kp60, much higher resolution on the lcd, headphone port, environmental sealing, and CF express.  Also, ability to get an adapter and use Sony lenses for people who have invested in them.
On the other hand, S9 can do 3:2 recording if that's a selling point for you.  And aside from being lighter, it's noticeably smaller in side-by-size pictures.
I'd also add that at least a nubbin of a hand grip is preferable to a completely rounded body for a camera that I'd intend to shoot mostly handheld (making the ZR preferable)

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.

Keep in mind that most, if not all of the actual Red cameras from Red don't support redundancy recording.  I don't think I ever saw an older one with more than a single Red mag slot.  Komodo has a single CFast card.  Komodo-X has a single CF Express card.  I'm not sure about V-Raptor.
As far as open gate, yes, Reds do this, but their sensors are 17:9 so open gate matches that.  If they support 3:2 recording, it's by cropping the left and right edges of the frame.  I'm not sure if all of their sensors are 17:9, but again, every one that I've seen has been.

With dynamic range, the actual number that results from a measurement depends on a number of factors, what SNR level is used as the lower end limit of acceptable quality, and whether the SNR is calculated based on patches or pixels, or something in between. An 8K camera at pixel level will have lower DR than a 4K camera or 8K camera downsampled to 4K which in turn will have lower dynamic range than 2K native camera or a 4K/8K downsampled to 2K, and so on. Noise reduction that is applied to the footage also affects the dynamic range. Only by applying an equal test at equal final presentation resolution can a fair measurement of DR be made. In stills there are well-defined standards (PDR at  photonstophotos and engineering DR by DXOMark, for example, all evaluated after resampling the images to 8 MP size) but for video there doesn't seem to be any unified standard which would result in comparable numbers. 

https://www.nikon-asia.com/cinema-z-r

They just don't want to alienate their customers. The people or rental companies that bought 30 000 to 40 000 USD camera and system, will be pissed if their investment is gone in days. They are already offering Canon to Nikon Z mount swapping, and my guess it will take at least 5 years or a total change. 

My guess, they didn't want to kill their RED brand. It would also have cost minimum, 5000+ USD to 10 000 USD, and not many Nikon shooters could have afforded this. I would have liked a bit better spec even with a more costly body. But in the end, this will be found in a lot of Nikon shooter camera bag, as a secondary or third body for professional. And it would become their primary body for video. For photographers, 5000 USD is already flagship level camera bodies.
This is also the ultimate content creator camera, people might not care or even despise it, but it is a big market. Nikon has loss so much market share, and more importantly in the younger demographic, that it might revive a new generation of shooters for the company. It is a bit of a jack of all trade, from someone who would just pick the camera and either film himself or do some content filming some dancers or skaters. To someone rigging it and going to shoot a doc or a short film. 

Yep, Nikon sells like 700 000 cameras, and my guess RED only a few thousands at best. The economies of scale are enormous when you think the Expeed 7 processor is used in nearly all their models. 

I guess I'll be curious to compare it with the OG Komodo.  Its dynamic range is really nothing to write home about.  It's some of the best DR I've seen from a global sensor, and definitely better than the E2-S6G - but compared with other cameras that I have which do 12-bit raw like the Ronin 4D, it is definitely not better and grading doesn't seem that much smoother either.
(Komodo-X is a lot better)
Also, a noisy image in raw partly just tells me that the manufacturer isn't baking it in - and I'm pretty OK with that.

Sort of a new Raptor.  It's just a reduced/cheaper version of the existing V-Raptor.  It's basically the same as Komodo vs Komodo-X.  At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise.  I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding.
 
Why shouldn't they?  They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows.
 
This is where I am, but $2,600 isn't "cheap" for me.  Sub-$2k, though, and I'm starting to pay attention.  Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

I think the 2600 is the body only price. Because he says "keep in mind that this range also includes some lens kit options". 

I gave a quick look at the CVP review and it seems the S1 II has more exp latitude than the C50. Especially underexposed.

Anyway I'm still skeptical about those raw codecs without a fan. 

If somehow the "Red tech" is Redcode and the rumors are wrong and that it has a CF Express, this could be a big seller (and interesting to me).  But yeah, those things look increasingly unlikely.  Still, Nikon Raw to SD card could be compelling, depending on other features/specs/price.
The big question, really, is how much Nikon want to preserve Red as a "premium" brand vs trying to make Nikon a name that people associate with cinema/video.

I don't know, but REDcode uses RED processors, I remember the guy from RED saying how the Nikon one, that is the Xpeed, was super efficient. 

I don't know, but REDcode uses RED processors, I remember the guy from RED saying how the Nikon one, that is the Xpeed, was super efficient. 

Its not about selling more, it is about installing Nikon as a viable video/cinema brand to every potential buyers from the Nikon z30 to the Z9. The message will be, here you have a camera that for 3-4000 USD, uses the same tech as the V-Raptor, that was used in the 200 millions latest Superman and Tron Hollywood blockbusters. For this reason, they can't make a toy of a camera. They have to show a good to great camera, to showcase their new status and ambition.
With an FX3 style body and price range, it is perfect for the Nikon users who are not used to buy 7000 to 30 000 USD cameras. A 3 to 4 000 camera, is still within the means of many Nikon professionals, that can add it to expand their market to video, or even some RED users, that want a second body, or a director that uses rented Raptors for features, but could buy this for personal use and scouting etc. I expect them to come out with a future FX6 style camera as the next Komodo and mirror the Sony lineup, which has become very very successful.