Kino

I have my doubts as well. Then again, the ZR was such a rushed collaboration between Nikon and RED that you never know if the R3D NE implementation, or Resolve decoding, was modified or tweaked at the last minute for the production version. Whatever the case, you have to applaud Nikon for the ability to match the Komodo-X color and DR so closely in their own promotional videos.

This is a good result from the Korean test of the ZR, but note that it is on a 4K timeline (whereas, the one I posted above was for 6K R3D NE on a 6K timeline): 6K or 8K on a 4K timeline will always result in a better DR performance on Imatest. Paule's test of the ZR against the S1 II was also really informative, especially when it comes to the ZR's advantage for highlight roll-off. But it is difficult to compare between his test scenario and CineD's, which uses NR to determine underexposure stops. For example, CineD also rated the Canon R1 at 9 stops latitude and equal to the S1 II. However, I'm not sure most people will see the benefit of those claimed 9 stops as they involve heavy NR. I did see a very recent interview where the Nikon rep, Ricci Chera, showed a production version of the ZR and noted that all the testers were pre-production models. It is entirely possible that Nikon has tweaked the camera for better DR or other performance aspects and that these cameras are now making it into the hands of the consumers. Chera also implies at 10:00 that the "Z-cinema family" will fill out an entire range of cameras and lenses, which means that more Z-cinema branded products are coming to market.

Well, I was responding to all the comparisons with those more expensive cameras. This is your own statement: "Though I'd also guess that outside of that sort of over/under test, the ZR will have better apparent/usable dynamic range than the OG Komodo and maybe even vs the Komodo-X which is noticeably better than the OG." Also, for future reference, these are the current prices for the ZR and Pyxis 6K on B&H:

I like the colors and overall image of this camera, especially for the low price, but Nikon definitely sacrificed DR for a faster readout. This is from G. Undone's test: 10.9 usable stops in 6K R3D NE is not great for a modern cinema camera. NR will get you another stop, but it's not an ideal starting point. By comparison, the Komodo 6K scored 12.5 usable stops in 6K R3D and the Komodo-X was at 12.9 when tested by CineD. CVP's latitude test was also fairly extensive as it tested both native ISOs: The good news is that you don't lose much DR when switching into the higher base. The bad news is that, no matter which base you use, most of its competitors have an extra stop in the highlights: As for under exposure, it is usable to under 3, but no more. It is RAW after all, so this poor result is understandable when compared with the Sony cameras.

Agreed. However, as you have noted in your example, Sony's SLVS-EC interface is designed primarily for delivering high-resolution and high-framerate capture and not necessarily for increased bit depth: https://www.sony-semicon.com/en/technology/is/slvsec.html#:~:text=Select content-,Overview,more pixels and higher speed. https://www.automate.org/tech-papers/the-evolving-landscape-of-cmos-image-sensor-interfaces#:~:text=High-,SLVS-EC (Scalable Low-Voltage Signaling with Embedded Clock,and data transfer are critical.

The CVP test shows the C50 with a slight advantage over the R5C in the highlights (1/3-1/2 stop), but a disadvantage in the underexposure latitude, which is much noisier. On balance, this new 32mp sensor is basically equal to the R5C in the latitude test despite claims of "improved DR" at the end of the video, a claim that is never demonstrated as they don't use a Xyla chart. After all, they are retailers trying to sell you a new product! Now I'm sure someone will come along with Xyla charts and show that this camera has a DR advantage over the R5C and is closer to the R5 II. Clog-2 implementation would require that. In the meantime, I'm simply not that impressed with the C50 image or with any of the newer Canon "cinema cameras" for that matter. After the class-leading DGO sensor in the C70/C300 III, it seems that they are going backwards while the competition (e.g., Blackmagic, RED, Nikon, Fuji, Panasonic) is charging ahead . . .

I was simply agreeing with ND64's statement that the C50 most likely has 12-bit video readout in standard FF 16x9. There is a connection between electronic shutter limitations and video readout speed, although the S35 sensor crop can allow for higher bit depth or higher readout speeds. Moreover, cropping into S35 will not reduce noise. It will have the oppositive effect. The sensor is also not dual gain like the one in the Panasonic S1II and doesn't offer any of those features. The only way you are getting more DR out of a sensor crop is to switch to a higher bit depth (13 or 14 bit). If you compare the C50 with the R5C, which has 12-bit video readout, you see almost identical latitude (4 stops over and 3 stops under) as demonstrated in the CVP review: I will admit that the C50 has a beautifully sleek design, and may be worth picking up for the open-gate mode alone, but I don't see much in the way of image improvements over the R5C that I already own. I guess it is a camera made for those who don't have an R5C or those who may need another compact body. In that case, however, I would rather go with a camera that has IBIS, high ISO performance for low light, and greater DR in highlights and shadows. These are qualities I miss in the R5C and that have apparently not been addressed in the C50.

True in this case. But the S35 5K crop mode may offer 14-bit readout as it has higher DR (according to Canon): https://www.usa.canon.com/shop/p/eos-c50?srsltid=AfmBOopS72Y9u5DIhecahYb7DGeR8xunJqjUY9e2K9yJhO7Jj3sJKvw_

Your eyes do not deceive you. There are some very subtle differences in the skin tonalities, but the major difference between the two images I posted above is in the resolution: 6K vs. 8K. The Komodo 6K and Komodo X have also been tested against the ZR, but both those cameras suffer from IR pollution in the comparisons. In this regard, the Nikon has an advantage!

$2K vs. $15K Not 16 bit, but not bad! The only problem here is that R3D NE (12 bit) is likely destined for much greater things, like the 8K Z9 II with a new sensor and better DR. That camera should be arriving in early 2026.

Who needs embargoes? Preview in Italian (turn on English subtitles):

I agree and I don't think it is the heat from the ground. There are definitely a few out-of-focus moments in the cheetah chase. Perhaps it is operator error, wrong settings, or preproduction issues. I guess my point is that, especially when considering the autosport clip, the A1II's AF is much improved from the A1, where video AF was more limited in terms of AF types, performance, and subjects. For wildlife video, the R1 seems like the best AF in the business: Using a DNG converter, you could also use the R1's 14-bit RAW photo bursts as video clips, since the high-speed buffer is sustained for a good length of time (10-20 seconds).

The greatest thing about the A1II is that Sony didn't replace an amazing sensor for video with a higher megapixel sensor that would create rolling shutter problems and downgraded video specs. That was my biggest concern. You can also see the advantage of the A1II's new AF for wildlife, sports, and motorsport video:

Oh wait! I realized that the 8K internal / 4K HDMI setting can be recorded in true ProRes 422 10 bit, as it is bypassing the 8-bit limitation on the 8K HDMI output. So, it is truly a "hack."

Using the Gerald Undone "hack" (internal recording set to 8K, but HDMI output set to 4K), you can send out an oversampled 8K image to the Atomos and record it in 4K ProRes 422 10 bit. This bypasses noise reduction and LongGOP compression in the internal files, but I think this looks the worst in terms of color depth, as Sony lists 8K HDMI output as limited to 8-bit in the spec sheet: As for the ProRes RAW in the A1, it is hard to pick out which shots are internal and which are ProRes RAW in this video (she lists the RAW shots in one of her responses): I always look for Blue-channel clipping as a giveaway for ProRes RAW, but otherwise everything cuts together seamlessly. This suggests that the 12-bit 4.3K ProRes RAW upscales nicely to 8K and that the 8K's 10-bit internal is good enough to match with 12-bit color.