Davide DB

Where I can download S1II raw files to play with?

I don't think photographic RAW can be compared to video, or maybe I didn't understand your point. With a 4TB hard drive, you can store infinite RAW photographs. I dive almost every week and usually bring home about 10 minutes of good footage, which I'd ideally like to archive. For special projects, I might get up to 20 minutes. This means between 100 and 300 GB per session. That's not a small amount. Now, it's clear that shooting in RAW is not a medical prescription, but I was wondering if it's a practical solution for everyone, considering that's all anyone talks about now.

It's easy but archive storage it's not cheap. I mean, for my use case during the years I've building an underwater footage archive. nevertheless i understand that who works on events does not archives footage forever.

The simultaneous release of the Zr and C50, along with Resolve's ability to import ProRes RAW, was truly like throwing a stone into a pond. Now the shilltubers and others are going crazy over RAW. I wonder if this is just a moment or if it will last. I have played with the Zr RAW files you linked me to. Gorgeous. So far, there is no news of C50 files. If any of you have representative ProRes RAW files from the S1II, S1R, and GH7 to share, you would be doing me a big favor. What I wonder is, do we really need RAW? As far as I know, even in cinema it is used sparingly. Of course, knowing you can shoot in RAW if you need to is nice, but has the cost of storage dropped, or did I miss something? Where the hell do I save an archive of RAW files? I would prefer H.265 or similar files that are lightweight and pleasant to work with. I have seen files from the FX3/FX6 that were spectacular and graded like butter in the Color page.

Tanksssss

Actually from what I see Resolve 20.2 support prores raw already. I could find S1II files to download actually.

So, everyone is talking about quality and analysis on the videos shared on YouTube, but no one has had the chance to download a raw file? Did the shilltubers sign NDAs that don't allow them to share the original files? Will we have to wait for the camera to get into the hands of common users?

Do you know if anyone has posted raw files to download? I would like to get an idea between the C50 and the ZR.

Do you know if anyone has posted raw files to download? I would like to get an idea between the C50 and the ZR.

With this aggressive price, in the next few months we'll see if it's capable to shake a little the market. Next iteration of Z9 will probably incorporate some of these features.

Why are you guys in such a bad mood this morning? Is everyone a Roger Deakins now? I'm not a professional, and a camera for less than 3K would be great for me. I film underwater every week, and sometimes I do small jobs too. Nevertheless, knowing that every time I film I bring home half a terabyte of stuff scares me, because I would also like to have the option to make some compromises. Right now I film with a GH5MII, and I only use the ALL-I codec when I'm doing something special. Having a camera that only shoots RAW is too limiting for me. So yes I leave my garage sometimes but Nikon should address that. 😄

I'm not trying to defend GU, in fact. If you've seen the whole video, he says that the files produced by the camera in Nraw, H.264, and H.265 suck, especially compared to the same files produced by the Z-series cameras. And that the only usable codec is RedCode. Now, is that true? Who knows. Neither you nor I have the camera in our hands right now, and I don't think it's reliable to just average all the shilltubers out there. Personally, and I don't need GU to tell me this, I find that putting the word "Cinema" on it is just a marketing gimmick. But it's certainly not the tool that prevents you from making films. Great films have been made with crappy gear for a century. Films have been made with the GH2 and 5DII.

Hummm, IDK if this could be an everyday camera for all the v-loggers out there. IIUC according to Gerald, all of the codec implementations, with the exception of RedCode, are more than mediocre and are anyway worse than on other Nikon Z cameras. In practice, if you want to use it, you have to use RedCode, but at 6K@60p, it consumes 470MB per second, and a 320GB CF Express card is full in 28 minutes. Surely the FW is alpha or beta, and then with updates, things will change but ATM, we're shooting ants with a cannon.

I saw the loooong CVP review but if you want a review in a nutshell, this time GU is spot on:

This camera is using the same S1II sensor and Lumix was able to squeeze a lot from it. More than Nikon. So, what is Lumix missing to make a camera similar to the C50/Zr? Nothing.

That's exactly why they started with an "entry-level" camera. They are re-implementing their algorithms in Nikon's processors and hardware, which are cheaper and more efficient (it wasn't hard to figure that out, given the economies of scale). We should also expect big news regarding other Red features, such as the integration of a global shutter sensor. I imagine that the process will then be a two-way street. A future Red camera will have Nikon processors and technology.

For the aforementioned reasons I would call it a Frankenstein release. First try in the pure video centric camera market. Regardless of the marketing monstrous rigs showed, this camera is a pro v-logging tool and essentially a naked run&gun kit. Internal 32 bit audio and ibis are the key points and let's see if Nikon was able to solve its issue with that sensor as Lumix did.

I gave a quick look at the CVP review and it seems the S1 II has more exp latitude than the C50. Especially underexposed. Anyway I'm still skeptical about those raw codecs without a fan.

IMHO It seems a solid release.

If it has the RedCode, I don't see how it could not overheats without fan writing 1.4 Gb at MQ. Is Nikon blending the laws of physic?

So it was the camera in that German video but from that photos, it's not a cinema camera.

Occam Razor here. My 2c. That guy has an S1R and that video is about ND filters. he made a mess using different cameras and blurring by mistake his S1R too.

Looking at those 4 screws... Aren't the same on C70, for the Canon 0,71 speedbooster? (Hence super 35mm) Or a RF-PL Mount adapter? (FF)

You're right, 6K and open gate. But even without mentioning the crippled hammer, Canon has always been careful not to cannibalize its own products. Can a C50 be better than its sisters in the cinema line?

Still I don't see an edge on a 5 years old FX3. What I'm missing? Maybe RAW? FX3 files edit like butter