Davide DB

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.
 

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.

I like this camera.
The problem is I like about twelve other ones as well.
The indecision is saving me a fortune.
 

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.

Nikon cornered themselves with nomenclatures in this one.

They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle.

This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake.

If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year.

I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed.

Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting.

And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

They mention it at 1:06:21 - below is linked to timestamp:
I must admit that if BM camera supports it then it's a step towards it being supported in Resolve.  It's not currently listed on the BM website, but that makes sense as (IIRC) no iPhone can record it yet:

I'll be ordering a new phone and my GH7 already records Prores RAW internally, so I'll be in a strange place where both my main cameras support internal Prores RAW but my NLE doesn't!
😆 😆 😆

I think this is a really compelling camera, especially for the price, BUT the card slot on the bottom, lack of active cooling, and no back up recording is really disappointing. 
The screen is very cool, though. I really hope more cameras come with larger, brighter screens like this. 
If I was choosing between the C50 and the ZR I think I'd go with the ZR on price alone, but also because of IBIS.
Overall though, I'm pretty content with my Lumix S5IIX and two S5s set up. None of these releases have made me feel like I'm missing out. 

Official announcement: https://www.nikon.com/company/news/2025/0910_imaging_01.html
Redcode NE?

Cripple hammer may have to retire.

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. 

FYI, CVP discusses batt life in their review. Seems like it might actually be less time than the R5C tho 😳. This link goes straight to that section of the review:
 

I don't know, but REDcode uses RED processors, I remember the guy from RED saying how the Nikon one, that is the Xpeed, was super efficient. 

OK, the new Canon looks good, despite the spec not yet fully known and I suspect the Nikon ZR will also be competitive so Lumix, over to you, - how is that S1H coming along because the time to pop it out would be immediately after the other kids do otherwise you risk all the newly found brand hoppers, hopping in their direction?

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. 

As I commented above, that is the RF cinema line mount system. Its on C70/C80/C400 so not at all a Super35 exclusive.
It's there to reinforce the mount for heavy cine glass weight and modularity/repair. 
What it does indicate to me is that IBIS is highly unlikely. That type of screw down rigidity doesn't have floating sensors in mind. Could be wrong but that's my feeling.

Ergonomics look good.  CF Express is nice and a welcome surprise, given that the rumors are for 6K resolution and the C80 which is also 6K only has dual SD card slots.
That was my first thought, but the C80 also has them so there must be more Canon adapters that can be screwed in?  Or maybe this one is high-end APS-C?  I'd be very OK with that.

PhotoRumors says its a new Lumix. And he's right. They guy was intentionally not good at blurring photos. So it wasn't ZR.
S7 with S1ii sensor maybe? Ironically SD/microSD configuration makes more sense for this camera.

The C80 has internal ND and there's almost no way this one does, based on the size.  C80 also has XLR, SDI, and about a bazillion buttons that this one doesn't.
On paper, the R5C had a number of advantages over the C70, including better AF and 8K shooting.  But it also lacked internal ND, XLR, etc.
If I were Canon, I'd honestly be a lot more concerned about sales of the R5 II than the C80/C400 if this camera has most of the rumored specs.  Especially if it has a DGO sensor, I'd gladly take that over 8K recording and 10-15 more megapixels for still photos.

Multi aspect ratio delivery is increasingly common so open gate would be a god send not to mention it opens up anamorphic for higher end cine duties.
Of course its detachable..

The rumor that was highlighted said it was "optional" which would absolutely imply detachable.
6K vs 4K, internal raw, and rumored DGO sensor would all be better on a spec sheet.
But it's also true that we're in a time of decreasing returns.  The FX3 is a great camera.  It makes a good image, can work with very little light, has fantastic autofocus, and it's small/portable.  Everything about it is absolutely enough for the vast majority of current productions.  You could just as easily respond that you don't care about 6K, raw, or an extra stop or two of dynamic range and you'd be absolutely correct.
On the other hand, Canon has lost a lot of their video production market share and they need something that they can point to when current users say they want something like an FX3, and ideally a little better than the FX3 so that their users still feel good buying Canon stuff.

So now we know there aren't XLR on the body itself, but we also know that Canon are releasing a first-party XLR hotshoe adapter (maybe it'll be backward-compatible with R5C/R5 II, etc).

Wonderfully shameless rip off of the FX3. Now let's just hope that the C50 is better than the upcoming FX3ii.
 
https://www.youtube.com/shorts/780PWiZDFo8

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves?  And E mount coming third-party rebranded by DJI?  And EF and PL mount from third parties?  If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount.
I think you're just flat-out wrong on this, sorry.  DJi have a total of 6 lenses for DL mount, IIRC.  16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ.  These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens.  The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car.  I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP.
There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses.    This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration.
So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera.  That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

OMG! What you just reminded me of!