mercer

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.

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.

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

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.

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.

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...

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

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.

Picked up a used GH6 and got the LogC firmware and I am loving it. I have a Lens Turbo in FD mount and the underrated 35-105mm Canon lens, but am looking to keep this set up as native as possible. I picked up a 7artisans 24mm 1.4 on the cheap and am pleasantly surprised by the lens, especially since every review I could find of it, trashes it. Since almost every review was with the lens on an aps-c camera, I assume some of the goop is cropped out with m4/3. Anyway, I'm looking for a cheap zoom, probably a Panasonic kit, that is better than it should be. I intend on making it my Spielberg f/5.6 lens, but then I got to wondering if any of the kit lenses are accidentally parfocal? I'd love for the little 14-42 PZ to be that lens, but for some reason I doubt it. I assume I'll eventually give in and get the 12-35mm for the added IBIS, but the point of the camera is to keep it on the cheap. Here are a few frames from the 7artisans in case anyone is interested. These were my first few shots with the lens and the LogC profile. Other than the Arri LUT and an s-curve, no construction equipment was harmed with this set up...

For the m4/3 shooters, Pan/Leica 15mm 1.7 or Sigma 16mm 1.4?

Think you mentioned the C500 II... on B&H Deal Zone today for $4999. https://www.bhphotovideo.com/c/product/1633519-REG/canon_3794c002_eos_c500_mark_ii.html

Exactly, the worst part of the P4K is the body, one of the best parts of the OG is the body. With a different comparison, I saw a video today of the BMMCC6K held up next to the Pyxis and I couldn't believe how big the FF 6K is... it looks bigger than a 1DX and other than form factor, not much smaller than the Pyxis. The Pyxis seems like the obvious choice between the two. I sure do, that's one thing I do know. Ha, I know that even more. I feel like there are so many good cameras out now that you almost can't go wrong, but like always, the best camera is right around the corner and we're just in a betweener stage. Maybe you just need the Z mount Komodo X... problem solved. Canon should just buy BM, and then I can hate them both together.

If cost isn't an issue and your intent is narrative filmmaking, then why not get an Alexa Classic?

It has the same sensor as the P4K, right? How do you like it compared to the original? Did you order a Komodo yet?