eatstoomuchjam

My turn to be nitpicky: Red cameras do offer true open gate. The sensor itself is 17:9. Open gate refers to using the entire sensor to record. Open gate on a Micro 4/3 camera or GFX would be 4:3 aspect ratio. On most mirrorless or DSLR's, it will be 3:2. Open gate and 3:2 get conflated a lot because that's the ratio for the sensors in the cameras that a majority of people have. Micro HDMI sucks really bad. One of the worst connectors I've ever seen. That said, there's also a very nice 4" screen built into the camera and I'd still say that the camera's strength is not in being built out for cinema, but in being small and relatively inexpensive. If you're rigging the camera with a cage, you could use a cable clamp to avoid the connector breaking as soon as somebody breathes near it. If I'm using the camera as a tiny handheld, I'm not connecting an external screen. But definitely, if your use case is to put an external monitor on the camera without a cage, this camera is a terrible choice and you definitely should not buy it. FWIW, the EOS R5 also has a micro HDMI port. I think that was improved in the II, but in a couple of years of owning and casually using the R5 as my small/handheld camera (similar to how I see thie ZR), I don't think it's ever bothered me because I've never connected an external display to it. Anyway, for me, if I were going to rig up a camera, I'd just use an OG Komodo (available used for not much more money than the ZR costs new). I have a pretty nice minimal Komodo rig for handheld and it's pretty light. Still a lot bigger than my R5 which is, in turn, bigger, I think, than the ZR.

Keep in mind that most, if not all of the actual Red cameras from Red don't support redundancy recording. I don't think I ever saw an older one with more than a single Red mag slot. Komodo has a single CFast card. Komodo-X has a single CF Express card. I'm not sure about V-Raptor. As far as open gate, yes, Reds do this, but their sensors are 17:9 so open gate matches that. If they support 3:2 recording, it's by cropping the left and right edges of the frame. I'm not sure if all of their sensors are 17:9, but again, every one that I've seen has been.

I think that's why I like it! I loved the fp because it was so small, but I ended up resenting it because using the best codecs involved adding an external SSD which would end up with a camera that was bigger and more awkward to use than my R5. Internal raw recording and a flippy screen makes this perfect for an everyday carry camera, especially combined with some of the smaller M mount glass (Collapsible 50/2, Elmar 35) and it also should be easier to mount on the inside of a windshield than the R5 since it looks a little less wide.

Thank you! From what I understand, this is how it works for both the types of raw where Resolve has the option. Maybe sometime, I'll play with those suggestions, but it'd still be more work than just clicking a box for supported footage. Though it's not a huge loss since the difference is fairly subtle anyway. Yeah - if the info is there, there's also the option of bringing down the ISO/exposure in the raw tab and then using curves or lift to bring up the exposure in the shadows.

$2,200 at B&H. The memory card placement is definitely funky, and the rumored micro sd second slot is real (why, Nikon, why?), but for me, I think this camera really nails the form factor and the price point. My question will be whether to trade for a new one in October when they ship or wait a bit for the first wave of returns/sales to hit. Even though it uses a lesser Redcode, the size of this camera is a perfect match for Leica M glass and full frame makes it a better match for that glass than my Komodo/Komodo-X. Just wish it had any sort of internal ND to make it easier to use some of my beloved Leica lenses that don't easily take filters (like the 35/3.5). Also, any of the pictures showing it in a full rig sort of boggle my mind. It kind of plays against the strengths of a super tiny raw-shooting video camera with a big, beautiful rotating internal screen.

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

Raw controls, at least for my Ronin 4D 8K are pretty basic compared with some other editors, but the most important stuff is there. I'd like to see black and white point adjustments in the raw tab, but there are other tools that can be used in a node to accomplish similar things. Highlight recovery would be nice too. Maybe more advanced controls will come in subsequent versions.

I'm so happy that I (hopefully) will never need to use Raw Converter again! (Not that it's a bad app, I just want my disk space back)

I don't know about electronically, but the new handle definitely wouldn't be physically compatible with the R5C, given that the top isn't flat and doesn't have 1/4x20 holes to screw it in.

Not really. Blackmagic does not seem to have any interest in supporting BM Raw outside of their own cameras and recorders. ProRes RAW, on the other hand, is now used at least in cameras from Panasonic and DJI, and apparently, their own camera app on iPhone. By that logic, they also shouldn't support Canon raw or Nikon raw since they are also ostensibly competitors. The historical reason was that they didn't support it because they hate Atomos, which I get, and the format was primarily recorded by Atomos recorders. Nowadays, that use case is fading as more vendors record it directly in camera without forcing users to deal with a shitty third party.

I didn't catch it while streaming the Apple keynote earlier, but apparently they mentioned that its ProRes RAW capture (I did hear that and I approve, but I just bought a 16 Pro last year so it'll be at least a couple more years before I get a newer iPhone) would also work in Blackmagic Camera. So at least on the capture side, it seems like their allergy to PRR is fading. IBC starts this week. Dare we hope for an announcement for new input codec support in Resolve? At this point, it seems silly that they would capture it and then refuse to edit it.

I guess I'll be curious to compare it with the OG Komodo. Its dynamic range is really nothing to write home about. It's some of the best DR I've seen from a global sensor, and definitely better than the E2-S6G - but compared with other cameras that I have which do 12-bit raw like the Ronin 4D, it is definitely not better and grading doesn't seem that much smoother either. (Komodo-X is a lot better) Also, a noisy image in raw partly just tells me that the manufacturer isn't baking it in - and I'm pretty OK with that.

Looks like the video got pulled, but NikonRumors summarized some stuff: At $2,100, it's a much, much more interesting option than it was at $2,600.

BTW, @Andrew Reid - which Epic are you selling? There were several (Epic M-X 5K and Epic Dragon 6K in DSMC1 and Epic-W Gemini 5K and Epic Helium 8K in DSMC2 - with monochrome variants of all of the above). If it's a monochrome or maybe a Gemini, let's talk. 😃

Sort of a new Raptor. It's just a reduced/cheaper version of the existing V-Raptor. It's basically the same as Komodo vs Komodo-X. At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise. I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding. Why shouldn't they? They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows. This is where I am, but $2,600 isn't "cheap" for me. Sub-$2k, though, and I'm starting to pay attention. Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

So it would be a camera with the Z6 III sensor, but a smaller body that includes Redcode for... the same price as the Z6 III? Cool story, Nikon. Cool story. I'll be interested to see test results for it and would consider it once it's available used.

If somehow the "Red tech" is Redcode and the rumors are wrong and that it has a CF Express, this could be a big seller (and interesting to me). But yeah, those things look increasingly unlikely. Still, Nikon Raw to SD card could be compelling, depending on other features/specs/price. The big question, really, is how much Nikon want to preserve Red as a "premium" brand vs trying to make Nikon a name that people associate with cinema/video.

The official announcement happened. The most recent rumors seem to have been correct. It's probably not a camera for me, but it looks like a solid option for people who want a compact Canon which can do 3:2. Along with the announcement, there were firmware updates announced for C80, C70, R5C, and C400. They seem not very interesting in general, but the C400 will get open gate which will be nice for people who want that.

Other than "open gate" and "extra CF Express slot," that list sounds like a less good R5C. You can go spend $800 less (new) or more than $1,000 less (used) and get all the same, but with 8Kp60 raw video and 45 megapixel still images. Oh, and burst photo rate. R5C matches R5, IIRC, and maxes out at 20? Doubt that's a big selling point on a cinema line camera, though. (Broken record: But make that 7K DGO and...)

I'm definitely no electronic engineer, but the 10-15x estimate seems high to me. A sensor that is 2-4x the size and with 2x the photosites of the C70 would presumably cost more than the C70 sensor (oversized S35), but 15x seems awfully extreme. At its core, it's primarily just a second output channel from each photosite that gets amplified differently and then the two are merged with an extremely simple algorithm. The extra processing requirements for that are not all that high - and, again, a fairly small camera from 2020 was able to do it at 4K with no problem.

Indeed! If it isn't a DGO sensor, I'm not too certain that I have a reason to care about this camera much. It's not to say it'd be bad, just that it wouldn't do much that's better/different from cameras I already own - and 3:2 recording isn't a big selling point for me. I'm not sure that DGO needs that much more bandwidth, though. The C70 could do it from 4K all the way back in 2020. Surely, we've come far enough in 5 years that it could now be done on a smaller body with 3-4x the data rate! 😉 Anyway, I'm hopeful.

I'm on the other side - if they put a 6K DGO sensor in that body, it's almost definitely for me. I'd be so pumped to have DGO in such a small body - not to mention dedicated timecode so I don't kill my ears before I remember to mute the audio track that has the scratchy timecode sound. The biggest questions would be what existing gear I'd be selling in order to finance the purchase and whether I'd be waiting for used models to become available. 😅

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.

The only "Red tech" that anybody is likely to really care about is Redcode and/or the Red's sensors. If Nikon release some sort of entry-level camera where the only Red tech is a color profile to have SOOC colors look like Red's image, I hope their people doing the presentation are going to be wearing fireproof suits because they will get flamed.

Other than the sensors and Redcode, it's hard to think of what interesting tech there is to add. Redcode to SD card? 🤣 Maybe in MQ, LQ, and ELQ modes (in modern Red terminology) and maybe in LQ at 3:2. "HQ - High data rate - Up to ~ 280 MB/s (~30 minutes recording time)* MQ - Medium data rate (default) - ~175 MB/s (~48 minutes recording time)* LQ - Lowest data rate - ~110 MB/s (~1 hour and 17 minutes recording time)* * Data rate assumes camera settings at 6K 17:9, 23.98 FPS. Recording time assumes a 512 GB CFast card. Your actual data rate will depend on complexity of the shooting scene and capture settings. Data rates subject to change with future updates." (https://docs.red.com/955-0196_v1.6/Content/4_Menus/ProjSet/R3D_Quality.htm) SD card benchmarks: https://alikgriffin.com/ultimate-guide-memory-cards/ The very fastest one tested managed 268MB/s write speed and I'd be willing to bet that the person writing the article didn't write continuously for 10+ minutes. MicroSD, on the other hand, just seems insane. Proxies, maybe? But why? Who is asking for MicroSD in a full-sized camera? A second SD card which can plug directly into most laptops would make a lot more sense.