mercer

Maybe NRaw from the Z6iii onwards is Redcode?

8 hours ago, BTM_Pix said:

This was at the top of my YouTube feed today.

Genuinely thought at first glance it was going to be Mackey’s review of the ZR.

Maybe the world has got so twisted around that Depp is now cosplaying Mackey.

 

Or is Mackey playing Depp playing Mackey...

33 minutes ago, BTM_Pix said:

 

Double post... sorry.

30 minutes ago, BTM_Pix said:

That’s the end of an era right there.

I’ll have to part ex my S5ii and some lenses to get the Z8 like I should’ve done two years ago.

Less the end of an era and more the end of an error.

I have been interested in Nikon for so long. My favorite lenses are vintage Nikkors, one of my favorite cameras was the D5500 and the Z9 and Z8 look like fantastic hybrid cameras but waaaay beyond my budget as a hobbyist narrative filmmaker. The Z6iii got me close and the Z5ii even closer... the ZR... I think I may be sold. And Cam Mackey doesn't love it... so... LOL. Just kidding Cam if you read this site. 

44 minutes ago, BTM_Pix said:

I was exactly the same watching the CVP review.

 

I watched half of Mark Bone's video... I get it.

1 hour ago, BTM_Pix said:

The one I’m least arsed about is the HDMI port as no matter the size they can all snap off if you hit them.

Theres an argument to say the Micro version is preferable because it’s a smaller target 😂

Last week, I sold the final part to my old BMMCC rig... SmallHD Focus and I have no intentions of ever using an external monitor again. Honestly, I get annoyed with fully articulating LCDs... I use the camera strap method and when articulated, the image is blocked by the strap. That's why I love the GH6's LCD sled. Greatest design for a camera screen ever!

18 minutes ago, John Matthews said:

Maybe it's me, but the ZR seems more like a S9 with a bigger LCD, internal RAW, and a slightly more functional hotshoe in a heavier body, worse IBIS, not as many tools, and roughly for $1200 more. Am I missing something? The ZR also has 4k 120 in S35, which could be a big deal for some.

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.

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.

25 minutes ago, eatstoomuchjam said:

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there.  I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things.

Highlight recovery would be nice too.

Maybe more advanced controls will come in subsequent versions.

 

Off topic, but nice image. 

Weirdly, Red announced a new Raptor where you can choose between RF or ZF mounts...

If the pricing is at the lower end, it would be a tempting purchase. As much as I have been enjoying my FP and GH6, both are nowhere to go systems for me. Not really interested in L Mount or m4/3 for the long haul.

I really enjoyed shooting with my borrowed R7 and was considering picking up an R50v with the goal to sell and save up for a C50 but since that lacks both IBIS AND internal NDs, it seems slightly overpriced for my needs.

I guess we'll see in a few hours about the ZR. So far, I like what I'm seeing. Lots of Raw and ProRes options and hopefully some form of RedCode.

Updated specs from Nikon Runors...

Here are the latest/updated Nikon Zr cinema camera specifications:

24MP partially stacked sensor

Dynamic range: +15 stops (RED system)

Very large LCD screen: 4″ LCD screen, 3.07m dots, 1000nits

6K (intra-frame compression)

Many features and tech from RED will be incorporated inside

RED internal up to 6K 60p

N-Raw/Prores Raw/Prores 422hq

Smart hot shoe (for external EVF I assume, based on  the leaked pictures)

Image stabilization

1 CFexpress Type B and 1 microSD card slots

Dimensions: 133 x 80 x 48 mm

Weight: 540g

Pricing based on Euro conversions should be around $2,600-$3,750 – keep in mind that this range also includes some lens kit options

Brick-shaped, video-oriented design, without pentaprism and EVF – a combination of the current RED models design, the Sony FX3, and the Nikon Z30 (we already know that from the leaked pictures)

Announcement tonight around midnight EDT

https://nikonrumors.com/2025/09/09/nikon-zr-cinema-camera-specifications.aspx/

It doesn't even say full frame anymore?

Probably totally wrong, but if the microSD is included in the Zr and it is a "cinema" camera, then I am thinking that the microSD slot might be used to store LUTs, for firmware updates, or maybe more interesting... used for audio files for a separate built in wireless audio feature.

If they are making a Nikon/Red camera, why not use one of the sensors that Red uses, with RedCode raw, with Nikon conveniences and tech?

Although it's not exactly what you're looking for, I'd have to second the Nikon Series E lenses. They truly are remarkable little lenses. I haven't been able to find a good copy of the 35mm 2.5 but the 36-72, 50mm and 100mm are nice little lenses, especially the size of the 100mm. Also the older non-ai lenses are pretty spectacular as well. One lens I hate to mention because it does get such bad reviews is the 35-70 3.3-4.5 ai-s lens. It's tiny and a lot better than the bad reviews give it. I mean, it isn't great, but there's something very Nikon in its not greatness.

Another zoom lens I love, which I assume you're familiar with is the Canon FD 35-105mm 3.5. This lens is ALMOST parfocal. Obviously constant aperture. Internal zoom. Fairly compact. I've had a few copies over the years, then end up selling it because I didn't use it too often, regret it and seek another one. My most recent copy I put on the Sigma FP and here's a sample of it at 105mm wide open...

No mind-blowing image by any means, but fairly sharp wide open and I like the way it handles the highlights. Of course it's a mess in direct light... as I found out last week during a shoot. However, there are rumors that Canon considered putting the L badge onto it because they were so happy with the lens.

As far as primes, other than the Nikons, the Takumar lenses are a personal favorite of mine. I've heard people argue that the 28mm 3.5 is one of the best 28mm lenses they've used. I haven't used that one but the 35mm 3.5 is excellent.

I've used a couple of the wide angle Tokina lenses from the late 70s, early 80s and they were decent, but I think they were f/2.8 lenses. Obviously you could get a cheap Neewer fixed ND to pop on the lens and leave there to give you that slower stop and to protect the front of the lens. Also check out the old Vivitar lenses, I have a set of mostly Tokina made ones in the m42 mount and I have always been very fond of them. The image instantly feels like an old 70s made for TV movie. I'm probably going to sell them though, not because I don't like them, I just have too much stuff and really need to scale back.

I guess you could also look at some of the older Zeiss Jena lenses... even the MF ones would give you the slower apertures you were looking for wide open.

Great thread! Wish there were more threads like this on here like it.

It was just a joke because @MrSMW has switched back and forth between systems (cameras) a few times in the past couple years. No offense intended. 

You'll be back to Sony and/or Nikon by the fall. 

I have it in my GH6 and I feel like it's a game changer for that camera. Didn't love the camera when I had it a couple years ago. Felt like vLog was only slightly better than CineLikeD. With LogC, the mapping of the DR seems way better and the images look higher end to me. YMMV.

On 7/3/2025 at 11:06 AM, eatstoomuchjam said:

Speaking of IS, the entire thing culminated in me buying a 24-70 f/4L IS from somebody on ebay - since an irrelevant search result when looking for info on the 28-300 reminded me that it existed - and it's smaller and lighter than the 24-70/2.8L II and has IS.  And being an f/4 lens, it's not popular and cost me less than $400 used.  If I decide to bring the R5 as a second camera, I'll just put that on it and call it good.  The entire combo will be smaller than some of the Fujinon lenses for GF.  😅

I love that lens. Wish I didn't sell it. 

10 hours ago, John Matthews said:

I have a question about this. If you use it on a GH6 and later upgrade to a GH7, does it still work or do you have to purchase it again? I guess the value of the GH6 would be slightly more in this case, but it would be better to be able to uninstall and reinstall on a different body if you upgrade, rather than paying 200 euros every time you upgrade.

I wondered the same thing. I noticed when I activated the code, I could also deactivate. And it states to keep the activation code handy in case I need to reinstall after a firmware update, so I think you may be able to use it for one device, but I'm not certain. The code may forever be tethered to that serial number. 

2 hours ago, John Matthews said:

I also had the GH6 for about a year, but I'm really considering getting one again. I'll probably do like @kye and use that 14-140 most of the time. I'm still debating in my head though. The problem is simple- there are just so many old smaller "good enough" cameras, but nothing small and modern that can do 4k120 in the system. The G9ii is the smallest.

On another note, I'm not exactly how MPB decides to offload cameras sometimes. One day, there're 20 GH6 bodies and the next day none. 

I went with the GH6 again for for a few reasons...

1. Official Arri LogC profile - it's even embedded in the metadata, so FCPX reads it as Arri footage. For someone who will probably never shoot with an Alexa, I must admit it's a stupidly cool thing...

2. ProRes

3. IBIS

4. Flip up screen

Honorable Mention - I didn't realize how good the preamps in it were going to be. With good mic placement,  some of the audio is perfectly usable. 

Just now, John Matthews said:

I thought the GH6 colors looked so good and a big step up from the previous generation. I've been eye-balling one (965 euros, brand new with the 25mm f/1.7). That's a crazy deal.

I've read that they are good. I had no problem with them the first time I owned one, I had a problem with the chroma noise that the DR Boost produced in the shadows. I bought it this time because it was so cheap and I wanted to be able use Arri LogC. It really is a phenomenal camera though. Now I just need to figure out my lens situation with it. I've been shooting full frame for so long, and I have a small(ish) collection of vintage lenses that the price of any good m4/3 lens annoys the hell out of me. I've been using a 7artisans 24mm that is pretty good for what I paid for it. But I need something else.

I love the colors on my cheap GH6... oh wait... I'm using the Arri LogC profile...

On 5/1/2025 at 8:33 AM, BTM_Pix said:

Well you can but I'd only spend it on cameras and lenses as well.

I've got all four of the MFT PZ lenses (2 Panasonic and 2 Olympus) and they are lurking somewhere around where I am at the moment.

If I can dig them out and get some time next week, I can put them on a P4K and do some quick shots for you if you are keen.

Won't be anything fancy, it will just be a couple of locked off shots of a Northern seaside town well past its mid-20th century pomp but it'll all be at f5.6 😉 

That would be amazing, thanks. And if anyone has seen any of my shots, they know I love a seaside town!

10 minutes ago, BTM_Pix said:

I did a post about it a while back on the OG Pocket where it’s kind of accidentally par focal at f5.6 but maybe on a native Panasonic body it might be properly corrected ?

I did a video of it on the P4K to illustrate the functionality of the BM controller app that I wrote and it was so so with that as you can see when it shows the servo zoom function .

If you’re looking for a cheap 12-32 then the Panasonic f3.5-5.6 kit lens one is limited functionality wise (no manual focus or aperture) but has OS and is absolutely tiny.

I did some stuff (again with the OG Pocket) here. And it also has a companion lens in the same vein in the 35-100mm f4-5.6 to make a tiny two lens kit with a great range.

 

Man, my 50 years are starting to show. I now remember all of this. At least I didn't technically quote you to you.

And I also remember how fantastic your focus module works. I need to stop buying cameras and lenses and send my money to you.