Marcio Kabke Pinheiro

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.

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. 

Nikon cornered themselves with nomenclatures in this one.

They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle.

This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake.

If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year.

I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed.

Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting.

And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

Nikon cornered themselves with nomenclatures in this one.

They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle.

This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake.

If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year.

I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed.

Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting.

And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

Nikon cornered themselves with nomenclatures in this one.

They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle.

This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake.

If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year.

I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed.

Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting.

And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

A 2.36mp EVF and a fixed LCD in a $5100 camera. Oh boy.

A 2.36mp EVF and a fixed LCD in a $5100 camera. Oh boy.

A 2.36mp EVF and a fixed LCD in a $5100 camera. Oh boy.

A 2.36mp EVF and a fixed LCD in a $5100 camera. Oh boy.

Liked the lens, probably will get that in the future.

Probably the casualties on my side will be the two Nocticrons, the 35mm and 50mm. Lovely and cute little lenses, but I almost do not use them - this year I probably only used the 18-50mm f/2.8 zoom and the Viltrox 75mm 1.2.

And remembering that this camera (and predecessors) only have 8-bit color.

The problem with Olymṕus is their codecs - they have high bitrates but are much softer than other companies, since the E-M5 MK II days. If you like the look (I had a concert video form the E-M5 MK II that you clearly see that is far from perfect, but it looked fantastic), could be a compelling option, but it probably falls apart very quickly with grading.

The thing that amazes me (and the only explanation is that it have a VERY good patent) is that no other company implemented Live Bulb - it makes long exposures a breeze, you see the image "developing" on screen, you just pause when I think it is good. It the feature that I miss the most from my Olympus days (and the IBIS perfectly tuned for video).

Still think is a high price, but in the same ballpark of the X-T50 outside USA, it's ok.

Could get one only for stills - or just be sane and stay just with the X-S20, since even with just one camera almost don't have time to use it properly...

We have today a new sub-forum expressly open by our webmaster in order to include this niche as many others of similar kind. Have you already noticed it?
https://www.eoshd.com/comments/forum/38-gimbal-dji-drone-action-cameras/
I believe once up now by Andrew, it would be nice to have a few selection of these threads moved to there instead?
If not for anything else, it might help to establish a new trend and become people here used to visit the sub-forum too, increase the visibility and diversify the offer for valuable information on topic.

Just as an add-on to the topic: Feiyutech realsed a new Scorp Mini, with stronger motors (good) a detachable wireless back handle (kinda good - the remote function is interesting, but I have concerns about robustness) and an updated tracking model (better, but not as good as DJI's).

Performance look almost on par with the RS4 Mini, but much cheaper.
 
 

This camera is not made for us - is for the youngsters that are getting old P&S cameras to experiment something different. If fact, Fuji marketing strategy should be: reach the Tiktokers that created the X100 V and VI frenzy and drop a shitload of money to make this become viral.

Saw some reviews, there are some very lovely things there and a ton of likely mistakes - but as I said, we are not the target group.

- Video: forget, is crap. Less than FHD resolution, bad AF, 30 seconds max. A lost opportunity, goodish video with the film sims would be great.
- Camera is VERY cute and small, but at the same time could have some more "details", have some toyish vibe.
- The interface is very simplistic (kinda a cross of the digital Instax cameras and the current Fujifim menus). The use of the left display for the menu item and the bigger for the itens is intriguing.
- The diptych idea is very neat, but as some reviews said, easier to do in the app instead of doinf it in camera.
- The "film mode" is VERY gimmicky, but could have some traction. Again, the target group will have the veridict.

Biggest problems in my point of view:
- Flash photography is a VERY big use case of the youngsters getting old cameras. They love it. And this camera could NOT use any flash - the camera have a led instead of a flash, and a cold shoe without any connection. Huge mistake - if they don't want to put a proper integrated flash, at least could provide a center pin in the shoe to put an external manual flash. And since the camera is so bad for video and don't have a mic port, don't know how to use this dumb shoe for anything.
- The rear display is very small - and since the younger people probably will use it a lot, could be a problem. In fact, when the rumors started, I said that Fuji should go full Instax mode, making the camera to be designed "vertically". But this would not bring the retro vibes.
- OVF looks good, but have zero infos. Could have some displayed settings.

Biggest problem: the price. A camera with no EVF, very basic AF, with a very small main LCD, very few buttons, no integrated flash, a coldshoe, very basic video, for $850? You can just get a X100T or X100S used for the same price, and is a miles better camera.
I know that it is a "experience" and fun camera, but it should cost much less, around $600. The X-M5 with kit lens is just a tad more. Don't know if the "experience" with this price will get traction. Hope it does - at least is something different.

I miss Ming a lot, the guy is brilliant. But now he have a very well respected watch company, only shoots for some clients and (of course) all the media for his watch company.

https://www.ming.watch/

I think it's OnSemi.
They are ARRI's partner on the new ALEXA sensor.
TowerJazz had / have a joint venture with Panasonic, but OnSemi make the more up-to-date sensor tech and there are quite a few parallels between the ALEXA sensor readout tech and latest Panasonic cameras.
In 2022 Panasonic exited the semiconductors business and sold all the assets. The organic sensor project is official dead, but it allowed them to partner with more than just Sony for sensors.

Still have my LX100 OG, only will part ways when I get a MK II with a price that I don't have to sell a kidney. Panasonic is so dumb, just upgrade to the 25mp sensor (would be a 20mp camera), put a decent EVF (leica already done it in the D-Lux 8 ) and PDAF. Even IBIS could be forgotten (the lens have a ok-ish OIS). WOuld be a instant hit.

Would say my Fujifilm S5Pro, but is a DSLR. Best skin colors ever.

And my Olympus X-A1 (it don't have a mirror 🙂 ). Cute as hell, great image and one of the most thinking outside of the box cameras ever.

They could got a flood of new customers just bringing the camera that all non-professional customers are looking now: a compact stylish camera. Basically, a FF GX9.

They launched it, but without EVF, hotshoe, mechanical shutter and proper controls. And the worst kit lens ever made. I know, they want to get in the video creator bandwagon, but was a niche product.

Call it ARRIBA, impossible to sound less Germany. Lawsuit avoided. 😃

Just passed through this, and my 2 cents:

- If you work professionally, go Mac (and yeah, I'm a windows guy). Even a M1, for video editing, run circles around any price comparable WIndows machine.
- If you are not a professional and/or Apple costs 2,5x more in your country than in US (my case are both), Windows is still good.

But there is a VERY important point the narrowed a lot my choices, and a lot of people doeas not realize it until is very late - codecs and chroma subsampling support. If you want to edit without proxies, is a must have feature.

What H.264 and H.265 Hardware Decoding is Supported in DaVinci Resolve Studio?

If you work with h.264, bad luck: only 8-but 4:2:0, except if you get an RTX 5xxx series.

If you use H.265, you have better support, but pay attention to the subsampling - the 4070 (and all the RTX 4xxx) does not decode 10 bit 4:2:2. This was my case, and that narrowed my choices (when I did the upgrade, the RTX 5xxx were not launched).

I had to buy a Intel non-f CPU (as you) to use the internal GPU enabled just to use Quicksync for decode. For encoding, I did not found a comparable table like this, but since almost all reviews test the encoding (rendering) part, is just to look for the desired card.

Ryzens are much more performant (and chepear to build, specially motherboards) but have almost nothing decode support in the iGpus. But a Ryzen with a RTX5xxx card, or an Intel ARC Card would be a choice for me nowadays.

In my case, since the money was short, went for a i5-12600k (for good decoding for editing) and a RTX 3060 with 12gb (was better than the 4060 for because of 12gb instead of 8gb - and since I have not hurries for rendering, top performance in rendering was not a problem). Works with Fuji open gate 6.2k in 10-bit 4:2:2 as champ, albeit I only do minor corrections - with a lot of effects it could not be the case.

But I saw a guy that made a system with a top i9 processor anda a 4090, but when tried to edit 4:2:2 10-bit, it was slow as hell.

But probably was the last PC that I put together - I built all my computer since the 286 days. The new Mac Mini is a steal - for video, is better than a PC costing double the price of the Mac Mini.

Just passed through this, and my 2 cents:

- If you work professionally, go Mac (and yeah, I'm a windows guy). Even a M1, for video editing, run circles around any price comparable WIndows machine.
- If you are not a professional and/or Apple costs 2,5x more in your country than in US (my case are both), Windows is still good.

But there is a VERY important point the narrowed a lot my choices, and a lot of people doeas not realize it until is very late - codecs and chroma subsampling support. If you want to edit without proxies, is a must have feature.

What H.264 and H.265 Hardware Decoding is Supported in DaVinci Resolve Studio?

If you work with h.264, bad luck: only 8-but 4:2:0, except if you get an RTX 5xxx series.

If you use H.265, you have better support, but pay attention to the subsampling - the 4070 (and all the RTX 4xxx) does not decode 10 bit 4:2:2. This was my case, and that narrowed my choices (when I did the upgrade, the RTX 5xxx were not launched).

I had to buy a Intel non-f CPU (as you) to use the internal GPU enabled just to use Quicksync for decode. For encoding, I did not found a comparable table like this, but since almost all reviews test the encoding (rendering) part, is just to look for the desired card.

Ryzens are much more performant (and chepear to build, specially motherboards) but have almost nothing decode support in the iGpus. But a Ryzen with a RTX5xxx card, or an Intel ARC Card would be a choice for me nowadays.

In my case, since the money was short, went for a i5-12600k (for good decoding for editing) and a RTX 3060 with 12gb (was better than the 4060 for because of 12gb instead of 8gb - and since I have not hurries for rendering, top performance in rendering was not a problem). Works with Fuji open gate 6.2k in 10-bit 4:2:2 as champ, albeit I only do minor corrections - with a lot of effects it could not be the case.

But I saw a guy that made a system with a top i9 processor anda a 4090, but when tried to edit 4:2:2 10-bit, it was slow as hell.

But probably was the last PC that I put together - I built all my computer since the 286 days. The new Mac Mini is a steal - for video, is better than a PC costing double the price of the Mac Mini.

This firmware was released some time ago, and I already used a lot the 40mm zoom mode. Yes, there is almost no drop on image quality - only "problem" is that it only works in the Normal color profile, don't work with Log.

Did not tested the breathing compensation, but from the reviews that I saw, it works really well.

This firmware was released some time ago, and I already used a lot the 40mm zoom mode. Yes, there is almost no drop on image quality - only "problem" is that it only works in the Normal color profile, don't work with Log.

Did not tested the breathing compensation, but from the reviews that I saw, it works really well.

Does this mean that those specialist art films his wife made back in the old country will now have a 100% tariff ?