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Nikon Z9 shoots 8K 60P video and 120FPS stills


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7 hours ago, Emanuel said:

WOW Estimated price?

8.6K 😉

Just kidding but it's going to be up there with R3 as its their flagship pro sports shooter.

Other interesting rumours about it are internal N-RAW and/or ProRes Raw. 

No mechanical shutter as I guess those readout times pretty much eliminate RS?

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Price according to rumors will be somewhere between 5000$ and 6000$.

Am not interested in Z9 but the camera Nikon will make after it.

If processor can do N-RAW/ProRes RAW it means all cameras using this processor can have the capability to record RAW video internally. It will be purely marketing decision from Nikon if Z6 Mark III will be able to write RAW video internally or not.

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52 minutes ago, stephen said:

Am not interested in Z9 but the camera Nikon will make after it.

Nikon has a good track record of making top notch cameras, but also with a buddy camera at a fraction of the price that still packs almost the same punch. 

For instance: D3/D300 (or the D3/D700 combo), D3S/D300S. D5/D500. 

Fingers crossed there is a "Z90" DX camera in the near future at GH5 pricing. 

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On 10/24/2021 at 4:44 PM, ntblowz said:

8k60p! They definitely going all out!

8K60p is nothing.

Now 120FPS stills - thats ridiculous. For both photographers and videographers.

You do know that you can throw 120FPS stills in video - it would be exactly like 120fps video without sound with the highest resolution. Nobody really needs that but nobody really needs a 12K camera either....

The only questions I have are whats the megapixel count, whats the buffer size.... at this point... 🤯....the specs are a bit out of this world....

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THE camera for spray and hope lunatics.

Specs are ridiculous. Just a way to grind another 6 grand out of people.

And here's me still waiting for a Digital Bolex relaunch and wondering what vintage lens to get next 🙂

It will be aimed at sports professionals, like D5...  but 8K/60p and 120fps photo sequences will be a massive amount of data to go through after for very little real world gain, and aren't these guys usually needing to turn in results very quickly?

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20 minutes ago, Andrew Reid said:

120fps photo sequences will be a massive amount of data to go through after for very little real world gain, and aren't these guys usually needing to turn in results very quickly?

Its the remote editors that are trying to deal with the live output of the cameras at events that I feel sorry for

At 120fps there'll be more shit coming down those pipes than the ones the UK water companies are currently putting into the sea.

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13 hours ago, mkabi said:

The only questions I have are whats the megapixel count, whats the buffer size.... at this point... 🤯....the specs are a bit out of this world....

But also, the question of, what's the price?? 

 

7 hours ago, Andrew Reid said:

THE camera for spray and hope lunatics.

Specs are ridiculous.

Am certain the pro sports photographers on the sideline at the next Winter Olympic Games won't be wastefully spitting out images at 120fps. Just because a camera can do it, doesn't mean you must.

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4 hours ago, IronFilm said:

Am certain the pro sports photographers on the sideline at the next Winter Olympic Games won't be wastefully spitting out images at 120fps. Just because a camera can do it, doesn't mean you must.

But you can blame Sony for this spec wars. Now everybody is trying to deliver just higher numbers.

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There's a sports guy on this forum (I forget who) that shoots 8K & 4K120fps on a Canon R5 for video AND stills. I thought that pretty clever.

Of course its debatable wether not we're really talking photography (as an art form) anymore but I always assumed that in pro sports shooting the ends justify the means no matter how ridiculous the camera specs or the lens..

a-photographer-with-a-large-lens-GDD96T.

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A lot of whether this 120fps functionality (which I'm guessing will be electronic shutter, jpeg only and limited burst) is a boon or a headache depends on the event and the delivery type.

If you are not shooting live editorial and you have time to ingest at your leisure then its likely only going to be a boon.

But for live editorial, its going to be largely dependent on the event.

For something like cricket or tennis where you have a very fast moving object but natural pauses within the game to review/ingest then it will be a boon as you'll have a much better chance at capturing the peak moment.

With football on the other hand where the game is continuous (with the expectation of your delivered output to be so too) and also doesn't fall into particularly predictable patterns of play to provide pauses then the ingest/review of multiples of the current maximum frame rates is going to be a headache.

Depending on the degree of anticipation and post action/safety tail of a given photographer, an incident such as an aerial challenge for the ball might cover say two seconds of burst spanning a total of 30 frames. If the peak point of the action is halfway through that burst then scrolling to it will be 15 clicks/rotations of the dial whereas at even 60 fps then you are looking at quadrupling the navigation time.

Having minute differences between frames will also add to that as you inevitably rock back and forth between a range of frames looking for the perfect one to ingest to your laptop or send to the remote editor.

So, in that respect it is one of those instances where perfect might well be the enemy of the good.

Hopefully it will be adjustable and assignable to a switch, because having the ability to switch in and out of something like 40 fps for a set piece situation such as a free kick or a penalty would be a boon.

Its a pity that circumstances have conspired to coincide the release of a camera that looks like it could be the last word for professional sports photographers with a period of time that looks increasingly likely to be the last days of the actual job itself.

 

 

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