Nikon Z9 update to get Internal 12 bit N-Raw, 8.3K 60 FPS

And Red's responding with a $40,000 8K s35 Raptor (the name competition with Ford and Lockheed Martin must be lawsuit free).
 
DLD said:

The narrative makes no sense but most of the frames look pretty nice (though I could do without eight zillion anamorphic flares but, hey, that's me).

Venice II is obviously a legitimate high end contender. I wonder if Sony is more competitive in Asia and Australia vs. ARRI than in Hollywood. Its ~$60,000 price tag seems to take it above the owner/op market and, with neither Sony nor Canon having anything in that $25,000-$35,000 range, Red can battle on. But probably not for long..
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DLD, is that shot on the Venice 2? Context, brother

Also, I'm not sure that it's always that useful to look at finished products to evaluate a camera. Unless you know how the imagery was lit and handled in post
 
DLD's just a weatherman...hasn't picked up a camera in 30 years. Since Circuit City. lol
 
NorBro said:
DLD's just a weatherman...hasn't picked up a camera in 30 years. Since Circuit City. lol
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I never worked at CC.

Though I do have a funny story to tell about my interview there. Or, to be, more accurate, a post-interview medical.

And, yes, that was Venice II. And it's irrelevant how it was handled in post.
 
DLD said:

The narrative makes no sense but most of the frames look pretty nice (though I could do without eight zillion anamorphic flares but, hey, that's me).

Venice II is obviously a legitimate high end contender. I wonder if Sony is more competitive in Asia and Australia vs. ARRI than in Hollywood. Its ~$60,000 price tag seems to take it above the owner/op market and, with neither Sony nor Canon having anything in that $25,000-$35,000 range, Red can battle on. But probably not for long..
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Both the Venice and the Arri Mini LF are $100,000 cameras here (in AUD). So mostly rental houses (with a few owner-ops here and there).

Here in Aus, the market has become quite segmented. Venice has been seriously dominating long-form series here, but Alexa still rules the roost for commercials and feature films. I think speed (and the dual-base ISO) is a big thing. We have somewhat tighter schedules here for long-form drama (compared to the US) so being able to set NDs faster and use less light for big night exteriors, is a pretty big deal - and venice has won lots of fans on that front.
 
Unrelated to the current discussion, but can the Z9 do variable frame rate? I'd love e1-60 as an option in RAW but cant find the documentation online.
 
Quested said:
Unrelated to the current discussion, but can the Z9 do variable frame rate? I'd love e1-60 as an option in RAW but cant find the documentation online.
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I think that would be a first for a mirrorless camera? Which would be welcome
 
A few have presets that get you pretty close by jumping around, but I don't know if any has a true specific dial-in option (or at least internally and not externally, if that's even possible).
 
I'm sure it's possible. I would assume that a camera that can do 120 fps could also do anything slower than that. I don't know how tricky the engineering is

What are the cameras that get you close with presets? I just see cameras that do 24/30/60/120

At a bare minimum, I'd love to have 48/72/96 available
 
I don't know what specifically the GH6 can do - but, yeah, I was thinking of the Panasonics...the GH5/S can do like 2-12-20-26-36-48, etc. etc. Those aren't the exact order of numbers but somewhere around there.

The ARRIs, REDs and Blackmagics are of course known for having anything you'd like between the entire offering.

As far as the possibility, I meant externally, like if it would even transfer over to the Atomos. Like it's possible as we've seen, but not every camera is going to do it.
 
Weren't they regular 24p files? (Just wondering.)

That's what normally is done...you overcrank 48/60/120 over 24p. So it's slow-motion in a regular 24p file (or 23.98p).

You can do this with 30p and 60p as well (higher framerates for 60p), but it's less common.
 
Slashcam was very impressed with just how small Nikon’s RAW files are and how smoothly they edit with Apple’s new Silicon; however, they remark that NRAW is one of the most demanding RAW formats they’ve encountered when it comes to color grading, bemoaning the fact that there is only one official LUT, for rec.709 (if I’m understanding correctly) and that it’s too contrasty and skin tones aren’t pleasing. If I had to choose, I’d take a RAW format for which there are dozens of excellent LUTs created by the manufacturer to choose from, both HDR and SDR, and which provide an excellent starting point for grading - even if it’s a little more taxing on the system - over one that requires more time fussing around in post.
 
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I randomly clicked in the middle and I saw that Graeme holds the rights to it with Jannard. I somehow never knew that or ever saw that anywhere on REDuser. I knew he was a huge part of that pipeline over there but I didn't know he was actually listed as an inventor.

I bookmarked it, & will watch the rest later to see what else I can learn.
 
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