Danyyyel

Q&A from Mark Bone 
 

They are from the same sensor and if the ZR can achieve the same as the S1ii, then it would already be very very good (RED Raptor territory). The S1ii has the DR boost mode which showed 10 stops of latitude, that is Alexa LF level, but with 27ms, which is not great at all. 

Nice video from Nikon India.
 
 

You seem to post nothing but angry negative stuff.  Why waste your time with all of us talentless hacks?

Another very nice video 
 

Funny how the ZR has reached legendary status even before its launch. Youtubers getting destroyed in the comments when making some stupid comparison. This is one example, but I have seen others... if you would have told me a Nikon camera would have got so much support, I would not have believed it. They really have got some momentum, I hope they try at least to satisfy the request of the people toward the ZR, because it is their Canon 5DmarkII moment.
 

Funny how the ZR has reached legendary status even before its launch. Youtubers getting destroyed in the comments when making some stupid comparison. This is one example, but I have seen others... if you would have told me a Nikon camera would have got so much support, I would not have believed it. They really have got some momentum, I hope they try at least to satisfy the request of the people toward the ZR, because it is their Canon 5DmarkII moment.
 

The R3D NE is only available in bitrates similar to N-RAW high quality, not normal, which is what many people seem to be complaining about. 

I noticed that in Cinema Tools comparison between Nikon Z6 III and Sony FX3 in the first section both cameras use x265 codecs. Watched it on big OLED TV and didn't notice any visible differences in color. IMHO Nikon x265 is perfectly usable option if maximum compression and smaller files are needed. If still in doubt about x265 quality, ProRes 10 bit 4:2:2 at 4K is good alternative. 
Here are the compression ratios of all Nikon codecs in Z8. We can easily extrapolate them to Z6 III / Zr
https://zxi.mytechroad.com/blog/photography/nikon-z8-prores-prores-raw-bitrate-and-compression-ratio/ 
NRAW / RED RAW normal has a compression ratio of 7.5 which is comparable to BRAW 8:1. NRAW / RED RAW high quality - 4.5 compression ratio comparable to BRAW 5:1. Those are very good compression ratios. ProRes HQ 422 10Bit - 5.2 ProRes RAW - 2. We have several RAW or non RAW codecs and compression options.
Last Z6 III firmware version 2.0 brings shutter angle. Z6 III has wave form too. The few options that are missing are open gate, anamorphic desqueez and LUTs. I don't need the first two and can have the last one with external monitor.
Overall Nikon Zr / Z6 III are great cameras and quite affordable compared to the image quality in video they give. 

I still have problem with Gerald Undone, and this is exemplified with Canon C50 vs Nikon ZR review. I don't question his numbers, but how he interpreted them for his bias. Man pissed on the ZR t every corner, but excused the worst or the worst for Canon. The simple example is the ZR micro hdmi vs Canon C50 lack of IBIS. Yes it is an inconvenience the ZR doesn't have a full size hdmi, but it can be remedied with a 100 USD cage plus lock. But what about the lack of IBIS, you would need a full set of big supporting gear. Either a tripod, shoulder mount or gimbal. But hey, his excuse is that he talked with some first AC, and they told him that they prefer the sensor to be locked, as if the C50 principal use will be on movie sets!!!!!
He is revolting, how dare Nikon put cinema on the ZR, but does he think that the ZR/C50/Fx3 will be primarily use on cinema sets!!! Is he crazy, 99.9% of their use will be in events, corporate videos, weddings, reportage, social media content creation etc. At the top you will find them used on small to average advertising production, short films, small to no budget films. And in rare case as specialist camera like crash cam, in higher end production. But again in those 99.9% cases, stabilization is a big big plus for those production. But hey, Nikon dared to put Cinema on the ZR. I mean a camera that has better image than 90% of digital camera just 5 years ago. 

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 it is true, for me, the pefect workflow for RAW use, will be the 4k Nraw converted to RED raw. As it should be around 350 Mbs, which is very good for RAW. The only thing I don't know is how do they get this from a 6k sensor. In Gerald Undone, it did look a bit mushy, but I don't zoom 400% in my shots. The 4.1 k from my Z9 is perfectly usable. But in this case it is just half of the pixel.
 

I've noticed this in a couple reviews. Kinda surprised because the h265 on Z8/Z9 is quite good, even when compared to NRAW. So I do wonder if the h265 on ZR is somewhat "bad" maybe perhaps as noted above to circumvent overheating. I like having options on a camera but if the h265 is horrible than yeah that means this is an ultra high bitrate cam only. 
..which kinda leads me to ask who would prefer the ZR to a Z8? both are around the same price here in EU.

So this is a very good test of the ZR. I don't know if the english AI translation is 100% correct, but anyone can try it. He was ecstatic from the start about the DR of the camera and did a latitude test, using middle grey and overexposing and underexposing to see the level before clipping the highlight and the noise barrier.
This test is very good for the ZR as DR/Latitude test have been a bit all over the place. If you watched the CVP test, it was like 6 at best 7 stops of latitude!!! The ZR was clipping even before the Z6III !!! My guess is most of the test were done before Davinci last update to incorporate REDraw NE etc. And the guys were using REDsoftware to convert the files in Tiff etc. and it might be that file did lose some information. He is getting 5 stop over and 3 to 4 stop below. So, a 8 to 9 stops of latitude, at nine it is huge. If you watch CineD lab test, you are in the RED raptorX, Panasonic S1ii territory. The Z9 approaches that, but most of the other Sony cameras (but mostly in compress format) like the Sony A1, Sony Venice (RAW) etc are at 8 stops. In their test, their is only the Sony Burano, Alexa LF at 10 stops and the Alexa 35 at 12 stops!!!
His complain is like everyone about micro HDMI, and huge file size. I sincerely hope Nikon does give us a lower bitrate REdraw. He also says the h265 is bad, my guess it is that when you get use to that RAW, you see everything around bad. Matti Haapoja had the same reaction when comparing the ZR side by side with the Fx3. He then changed after using the h265 a bit more and said it was at least equal to the fx3 or better. Nikon Zr is its on worst enemy, when people compare its h265 to the raw, because the raw is so good, they feel the h265 is bad. But in the end very very positive about the camera.  
 

I'll be honest. If anyone is starting from zero (including myself) - we'd all jump on this...

In fact, if anyone asked me... "which one should I go for".... this is it.

Its the same price as a Canon R7 (more or less, no matter where you are coming from with more features).

Size comparison site updated their list.
ZR vs. FX3

ZR vs. S9

And C50

lol

Agreed and one of the reasons why as much as I like the look of the new Canon, the lack of IBIS is a no go for me and if that puts me in the camp of being a non-serious filmmaker, 🤷‍♂️
I also do not want to and will not rig anything up so the micro hdmi I could not care less about.

I will never understand this thinking when someone likes photography or videography. Today the only true thing they are changing in phones is the camera. My 2 years old Samsung will handle all my social media or call perfectly. Why not invest in a camera and lens, that will be their for the next decade, rather than buy a new phone every 2 3 years for 1000 USD and more, that will sorry to say, never match a FF 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.
 

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

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
 

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.