Django

I dunno real winner for me and surely my next cam purchase is R6 mk3: 7k, RAW, OG, 4K120p no crop. 

Tried it out and couldn't find any flaws. 7K open gate C-Log2 looks excellent. Recording 7K OG 10-bit H.265 to a normal SD card is super efficient. The S&F mode is surprisingly practical. Being able to set odd frame rates like 46 over 25 directly in camera, in Log, makes it easy to get subtle slow-mo without post tricks. 

They finally nailed it, third lucks a charm. 

In comparison, this A7V feels crippled AF. At least they updated the sensor but why no 4K120p no crop, no OG or +4K? Also I'd be mega pissed if I bought an FX2. Sony's strategy is just plain weird, they lost the plot. The four year old A7SIII /FX3 is still leagues better than this for video. 

Let's not forget Nikon had no cine line, it was a clean buy with zero conflict of interest. Canon and Sony already have full cinema lines, so buying ARRI would create instant internal turf wars. Canon’s C-series and Sony’s VENICE would clash hard with the Alexa pipeline. 

At this point the wild card that makes the most sense is Apple. They could scoop ARRI up without blinking, keep it running as a prestige pro division, and then quietly bake LogC + ARRI color science straight into the iPhone Pro pipeline. Zero internal conflict, huge marketing flex, and a perfect fit with Apple’s long-term imaging strategy.

1 hour ago, kye said:

What lenses would you suggest?

The GH7 combo is equivalent to a 68mm F1.5 but I can't find anything with a shallower DOF without it being too long.  The fastest things I can find are 75mm F1.4 lenses that are a bit longer than I'd like, or 50mm F0.95 lenses but they're deeper DOF than this.

You'd think it's a no-brainer with FF but I couldn't find anything without also adding adapters.  I was hoping I'd missed something!

Generally speaking, FF is going to give you lot more options. TTartisans make a 75mm f1.25 M mount lens that should suit you fine without breaking bank:

 If you're looking for discrete compact street / travel cam plus shallower DOF, I'd stop faffing with focal reducers etc and take the loss and switch to FF with something like the ZR. It's ridiculously small yet has a huge display, has best lens adaptability and you get FF R3D Raw etc. Not to knock the otherwise great GH7 but it seems like the wrong tool for this particular user case.

1 hour ago, Jahleh said:

Editing R3D NE raw clips in Resolve works fine.

For example if you shoot H.265 you can use quicktime in MacOS to open and view your clips, trim unwanted parts out and save only the important to SSD. 
For NRaw that does not work. I have used Resolve to import the NRaw clips from CFExpress card into the timeline, trim (cut) the carbage out, and export (save) important parts as individual NRaw clips via Resolve’s Media Management

For R3D NE and also for NRaw to R3D hacked clips Resolve’s media management exports the whole clips, not only the trimmed parts, so there is no way to save only the parts of Raw footage you want to keep. Red Cine X pro just fails on the export.

After starting to shoot NRaw I took a habit to view, trim, edit and save my daily footage after each shooting day, so that my 2TB card would be empty for the next day. That way I would have only my important NRaw footage stored, and also a quick daily clip of those important parts edited, graded and exported as H.265 to view at the same night.

With R3D NE you either store everything you shoot as Raw, or edit something out of it and store it as H.265.

Ah gotcha, so to sum things up: exporting individual trimmed R3D NE clips fails, not rendering a full edit?

13 hours ago, Jahleh said:

The only big downside is that neither RED Cine X Pro nor Resolve cannot export the trimmed R3D NE clips from the timeline at the moment, probably due to a bug in Red SDK. Resolve just copies the whole clips.
Shooting longer periods from sticks is then a no go atm, unless you compress the raw to H.265 and save that, or edit your project straight from the CFExpress card. Copying whole 2TB to SSD is just stupid, if there is only 100-500GB of footage worth saving.

Hopefully there is an update to Red SDK and the ZR could need a FW update too for some minor bugs and for H.265, which did look softer than Z6iii H.265.

Wait so Resolve can't export trimmed R3D NE clips?!! You have to transcode to h265 before editing?? If so that's a major issue. I don't understand the workaround of "edit your project straight from the CFExpress card"?

As for h265 I think it mainly has to do with the super low variable bitrate which is probably to keep thermals under control, however according to Bloom's review the ProRes HQ displays similar softness which indicates the built-in NR is set way too high. Nikon needs to give ZR some NR settings to get detail back in compressed codecs.

1 hour ago, zerocool22 said:

Not for weddings/event videos you think? Looking for a faster setup. 

 

Faster than what? Only downsides for longer shootings I can think of is the r3d code file sizes, h265 is sorta unusable..

Yeah good move approaching indie RED shooters rather than your usual hybrid / YT influencer.

Great review with strong footage. More I think of it, ZR is the perfect travel cam, street shooter. 

7 hours ago, Andrew Reid said:

Open gate on a Canon stills cam? Never thought I'd see the day.

A lot to like here.

But also a lot I don't need. I am still majorly put off by RF mount.

I can put a 5 dollar lens on my GFX 100 and it looks like a Noctilux.

I can put a 3000 dollar lens on the Canon R6 III and it'll look sterile and boring, it'll weigh 6 tons and not look better than the 5 dollar lens on the GFX 100 so call me penny pinching but I am not very hyped about switching.

The Canon RF lens line up is a dud and even if they do now have a $450 lens to counter all the cheap F1.2 stuff from China on Amazon, it ain't enough and for me $450 is still quite a lot of money for a cheaply built boring modern lens.

A nice body to pick up second hand in 6 months for $2k for manual focus Canon FD glass though.

I think Canon are quietly killing it right now with specs, finally feels mature and cripple free. But the build quality of the R line still feels very consumer grade:  lots of plastic, light mounts, and that “electronic toy” feel that’s hard to unsee once you’ve handled something like the Sigma BF with its heavy yet compact unibody and metal primes.

That said, this new RF 45 mm f1.2 feels like a sign of change. Still cheap construction but it’s the first affordable RF lens that borrows optical ideas from Canon’s EF L glass, chasing character over sterile sharpness. I'll give them props for that alone while the competition chases optical perfection & digital correction.

6 hours ago, zerocool22 said:

These look really good. Looking forward to the comparison video's of the nikon zr, canon r6iii, panadonic s1ii and I guess still the sony a7siii.

(Would get the s1ii for the ibis, nikon zr for the monitor and IQ(but fear the datarates), hope the r6iii has similar IQ as the zr and good ibis, and the a7siii/fx3 is still somewhat industry standard which has benefits like lots of good luts available). + I still own a bunch of EF glass which really works well on panasonic. (Adapting it to sony kinda sucked back in the day, nikon not sure, canon should be pretty flawless I guess)

There are already C50 vs ZR, FX3, S1ii videos out there and the R6iii uses the same sensor as C50 so that'll already tell you quite a bit. 

Z mount adaptability is definitely what's making me consider going Nikon. If I go with the ZR I would get the megadap for Sony & EF lenses. This short test seems very positive about EF glass on Z body:

On the other hand, if I go R6 mk3 I'd probably dump my 50mm f1.2 & 35mm f1.4 and go with the RF 45mm f1.2. Gaining open gate is huge and its a true hybrid with EVF and mech shutter so that's where I'm leaning atm.

9 hours ago, MrSMW said:

@Django the ‘crippling’ I was referring to (for want of a better term) was the lack of IBIS in the C50 killed it for my needs and the rear LCD on the R6iii. Not that the latter would have saved it for me but the C50 had HUGE appeal to me but IBIS is absolutely fundamental to me.

And the Sigma BF, yup, it’s a piece of jewellery. I really hoped they would have developed the FP and added a couple of features it was missing for me such as IBIS and a tilt screen.

Re. the ZR, I also think it’s a bit overhyped at the moment and has a few missing elements, but for price especially, has been the ‘best’ overall release of 2025. At least so far, - Sony are popping their next A7 out later this month if the smoke from the Dolomites is correct and they may pull a surprise?

My interest and commentary is more an impartial one. I’m 99% happy with the gear I have but at the same time if something else comes along that is quantifiably better (for my needs) and it’s financially doable, I am going to at least check it out.

Right now, I’d like the C50 body and spec but with the ZR screen, (the size & res of it anyway but would prefer a tilt or fully articulated) with with Z or E Mount and the IBIS and video tools of LUMIX.

Maybe one day someone will get it right for me and it all exists, just not in any single brand or camera!

The closest is probably Nikon…

Yeah I totally get you on the C50. Without IBIS it’s a tough sell for any hybrid or handheld doc setup. Such a shame because that form factor is so right otherwise.

I’m actually the opposite on shooting style these days. My eyesight’s slipping a bit, so I rely heavily on the EVF for framing and just use the rear screen for settings and quick checks. In that sense the FX2 body design is near perfect, that tilting EVF paired with the big6 menu on rear display is brilliant. But they completely wasted it by putting that old slow A7 IV sensor inside. The rolling shutter kills any handheld motion, which makes no sense for a cinema body.

That’s also why I have low hopes for the A7 V. Sony can’t risk undercutting the FX2 and FX3, so I doubt we’ll see internal RAW, open gate or even 6K/8K included. They’ll probably save that for an eventual FX3 Mark II. 

I’m still keeping an eye on the ZR though. Bloom just dropped a lengthy review yesterday and his conclusions matched what I felt in my short time with it: gorgeous display, excellent RAW image quality, but odd handling and UI, plus that horrible baked noise reduction that makes the compressed codecs look soft and full of artifacts. It’s a fascinating camera, but definitely one that still feels like a work in progress. 

Canon’s not perfect, hardware is dull but at least with the R6 III they’ve finally built something balanced and forward thinking at a realistic price. In many ways it totally outperforms the much more expensive R5 mk2 which is a complete change in strategy and a good one. 

The R6 Mark III has IBIS, so that point’s off. Canon’s lineup is just segmented now: the C50 is the pro cine body, while the R5 and R6 series are prosumer hybrids.

I’ve tried both the ZR and R6 (mk2) back to back. The ZR looks cooler and that big screen is gorgeous, but ergonomically it’s kinda average: very thin, shallow grip, no EVF, cheap buttons and a menu system in dire need of a revamp. Lack of DCI, open gate and meh exposure tools on the ZR is what bugs me most. Overall I still really like it for its streamlined compactness and big display but it's clearly a first gen product. The Canon feels faster, more natural, and better balanced once in hand for hybrid usage.

That said I admit the R series design language has zero mojo compared to the cine oriented C50, FX or ZR, but the R6 III is far from crippled. It’s balanced, feature complete, and a solid proposition in today’s mid tier hybrid market. The real genius move I think is launching it alongside that super affordable 45mm f1.2 where other brands keep pairing slow zooms as their kits.

Side note but speaking of sex appeal the camera that really had me drooling at the shop was the Sigma BF. Totally unpractical form over function design but that heavy solid unibody paired with minimal clever UI make it one of the most unique and oddly inspiring designs in recent times.

The ZR is still a beast. That big screen, 32 bit audio and R3D workflow are seriously impressive, but it’s video first and still has a few UI quirks. The Nikon/RED partnership still feels a bit first gen. The R6 Mark III just feels more balanced, yet flexible enough to deliver cinematic footage straight out of the body with many C50 features/sensor ported over.

A bit like the 5D mark3 with ML Raw, this feels like they struck the perfect balance. You can shoot open gate h265 for social or RAW for high-end delivery, switch to the mechanical shutter for flash stills, and color match Canon’s C line with zero hassle.

Paired with the new 45 mm f1.2 STM, it’s a setup that really nails what I want in a hybrid rig. As a shooter who still swears by my old EF 35 mm f1.4 and 50 mm f1.2, this combo really speaks to me. Could probably now trade those lenses in for this new setup. The fact that the whole kit comes in around 3000 euros is kind of wild for what it delivers.

For me it’s not about beating other systems, it’s just the first Canon in years that feels genuinely right for how I shoot.

I'll give it a few days to sink in, Nikon Z mount holds the advantage of being able to adapt my EF, Sony E & Leica M glass all with AF which is something big to consider but its hard for me to dismiss open gate value in 2025 moving forward.

Well yeah the lack of a fan isn't going to give you unlimited thermals in the most demanding recording options but I find it quite acceptable (above reviewer got almost 2 hours in 7K RAW Open Gate 30p) and unlike the ZR the h265 is actually very usable here with constant bitrate oversampled 4K. If you add open gate, 4K120 no crop, mech shutter and EVF, it seems to me like the better hybrid choice. ZR is still fantastic considering its compact size, R3D code, 32-bit float and 4" display. It's just nice to see Canon holding no punches in this mid-tier market!

I'm still undecided, I hope this pushes Nikon to add open gate and more RED tech like traffic light system to ZR via firmware. 

Just when I was about to pull trigger on a ZR, Canon drops this bombshell:

Canon EOS R6 III 

Key specifications

32.5MP full-frame CMOS sensor

Built-in image stabilization rated to 8.5EV

40fps burst rate w/ pre-capture

3.0", 1.62M dot fully-articulating screen

7K recording up to 60p (Canon Cinema Raw Lite)

Oversampled 4K <60p, 4K 120p with audio

Q&S mode dial

3:2 Open Gate recording up to 30p

$2799 / 2899 €

..and it doesn't stop there, Canon is also dropping a 45mm f1.2 STM lens.. for $470 / 445€ !

I initially dismissed the Nikon ZR. The compact body and odd I/O layout made it seem like a prosumer crossover rather than a serious tool. After spending real time shooting with it, that impression completely changed.

The huge integrated display transforms the experience. It feels intuitive, immersive, and for the first time a Nikon mirrorless seems built for video operators. Pair with a Leica M lens and it delivers this uncanny mix of smartphone agility and FF cinematic depth, a combo that feels surprisingly liberating (think sigma FP but with IBIS).

The body is metal and feels rock solid. The flip out screen isn’t ideal for low angle work, but that’s about the only ergonomic miss. The stills side remains capable and thoughtfully separated from the video mode.

The redesigned video interface finally feels modern, with waveform, quick exposure tools, and four customizable banks all within reach. The main system menu still feels like a maze, but the dedicated video page is a major step toward a proper cine oriented workflow. I just hope Nikon will pull more from the RED side (traffic lights, open gate, 17:9 etc) in a firmware update.

Despite its understated design, the ZR stands out as Nikon’s most forward-thinking hybrid yet. The 32-bit float audio, internal R3D recording, and that massive touch display all combine into a package that feels disruptive and modern at a mid-tier price point. Haven't been this tempted by a camera in a while.

Can't seem to be able to import ZR R3D files into Resolve17, do I need to upgrade? any workarounds?

Tried a quick 4K ProRes shot and its looking good, not seeing the mushiness of h265.. 🙂  

9 minutes ago, Ilkka Nissila said:

I've had good experiences with Prores 422 HQ on Z8, and am thinking the same, why don't tubers test and show the results in their comparisons? While the data rate is quite high (note that Nikon has stated they will add Prores 422 LT to the ZR in a FW update) it is a video file for which in-camera distortion and vignetting corrections available and there is some noise reduction in play as well. Cined has tested it it is included in the database and it seems from the numbers that the camera in Prores HQ mode applies less noise reduction to high ISO files than h.265. It seems like a good compromise and if the LT version comes soon it might turn minds. 

Cool, unfortunately could not test Prores other than on the camera due to no CFexpress but I may go back to the shop with my laptop to do further testing about this. Will report back.

Another quick set of question I can't find immediate answers: does the ZR allow FX to DX crop and digital zoom while recording like on the Z8/Z9? Not sure the 24MP allows this but I'd like to know. Also I'm unclear about LUT support, can it import .cube files? And if so can you bake it in cam? Finally is the 4K60p as good as on Z8/Z9?

Thanks in advance, I may pick the camera up today or tomorrow depending on these factors!

Tried out the ZR today, quite impressed with the hardware. It's been said a lot but the screen size is shockingly impressive. I tried it with some Sony glass via the megadap adapter and AF tracking was smooth as butter. From what I could tell ProRes codec seemed quite good, why is there no footage comparing it to raw & h265? It seems like the right middle ground. I'm seriously considering picking it up. Any final thoughts before I pull trigger?

13 hours ago, Danyyyel said:

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.

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.

11 hours ago, MurtlandPhoto said:

The phone arrived today as expected and I've had a few minutes to play around with the camera. I shot a short test scene using ProRes RAW and ProRes 422 in the Blackmagic app. Here's a quick look at the footage with just Resolve's Apple Log 2 CST applied. Very first observations:
 

• Open gate is only available in RAW or RAW HQ
• RAW can only recorded to an external drive. I have a great Magsafe SSD that I use for this.
• Sensor stabilization is not available in either raw mode
• Resolve is super sluggish with the raw files unlike ProRes RAW or BRAW files from my S1ii. I hope this gets optimized
• The normal raw controls are there and the footage is very flexible as you'd expect
• I used Resolve's built in Apple Log 2 CST for the test

https://www.youtube.com/watch?v=97PPh276M4o

Sounds good! Would love to see some more tests with maybe more telephoto focal lengths to see how the bokeh looks and humans for skin tones and detail without Apples usual computational behavior. 
 

Would love to try this out myself at an Apple store but you obviously can’t plug-in an SSD to their tethered display units. I think you can do ProRes in log and then airdrop footage though so I might go check it today.

Particularly interested in what log2 brings vs their previous log. I assume better highlight retention, increased DR etc.
 

3 hours ago, kye said:

Interesting and thanks for sharing.  I hadn't heard the RAW was external only, I guess every new camera has its 'gotchas' in terms of combinations of features that do/don't work together.  

Mine arrived yesterday (Friday), which was a nice surprise as when I preordered it they predicted it wouldn't be delivered until Monday.  I got all the notifications etc, so it didn't just rock up with no warning though 🙂 

Odd that the sensor stabilisation isn't supported in RAW.  Is it IBIS or is it EIS?  If it's IBIS then I have no idea why it wouldn't be supported?

iPhones don’t have IBIS, no phone does AFAIK. What it uses is Apple’s sensor shift OIS which means the lens or sensor module physically moves, plus EIS which is electronic crop and warp. In normal video both work together.

When you switch to RAW or open gate, EIS is disabled because you are recording the entire sensor with no crop margin for digital stabilization. OIS still works but the footage looks a lot shakier since you are used to EIS doing most of the work.

This is pretty standard behavior across cameras that offer RAW or open gate.

As for no internal RAW recording, I don’t see it as a major inconvenience considering how quickly you’d fill up your storage (especially if you got the base models). Going SSD is definitely the right move.

43 minutes ago, Ilkka Nissila said:

Are you sure this is safe for this camera? While it may be that just pulling the card out while the camera is on in most cases causes no harm the manufacturers do typically warn that the camera should be turned off before removing or attaching the card or there could be data corruption. 

It’s not as risky as it sounds. You’re never pulling the active recording card, only the idle one. The camera is writing to one slot while the second slot is completely free, so you can safely swap it for a fresh card without interrupting the recording. That’s how Canon implements “relay recording” to allow essentially unlimited record times.

Of course if you pulled the card that’s actively being written to, you’d corrupt the file, but the workflow is designed to prevent that. It’s not really a new trick on the C50, it’s fairly standard in Canon’s cine line and a reason people trust them on long form shoots. Most hybrids including Canon R line doesn't allow this as they're photo centric and that could cause issues, I'm not even sure this works when in the photo mode of C50.. another benefit of having dual OS systems.

On a side note, I hope Nikon includes more RED OS features like traffic light system etc.

Sadly the mini was a flop, it didn’t sell well. People want big phones apparently which I find annoying as one hand gesture operation is impossible, not to mention pocket ability and discretion while shooting. Those are the reasons why I still use my 13 mini as my daily driver despite having a « better » regular size iPhone.