This filmmaker’s kit will include the Nikon Z6 II with the RAW video output function already enabled, an Atomos Ninja V, the Nikon FTZ Mount Adapter, a SmallRig quick-release camera cage, and key accessories such as batteries. With the addition of these video capabilities, Nikon is also going to release a new “Essential Movie Kit” for the Z6 II from the end of February. RAW video output in 4K at 60 frames per second is not supported by either camera. The Z6 II can record in either 4K UHD or full-HD RAW video in both FX- and DX-based crop factors. With the Z7 II, Full HD RAW video can be recorded using the full width of the sensor while 4K UHD RAW video can be recorded using the DX-based crop factor. One thing you can say about the Z9 is that they didn’t throw away anything from the DSLRs and early Z’s that is useful and expected, but simply added some new technology statements and abilities.Once serviced, the update will enable RAW video output by both cameras to Blackmagic Design external recorders and both Blackmagic RAW and ProRes RAW will be supported. Add in the best remaining DSLR bits, plus take the good parts of the transition models and refine those. ![]() Meanwhile, the Z9 was indeed a series of new statements on the part of Nikon. That the Z6/Z7 basically used the old Nikon 1 autofocus techniques as their starting point was another example of melding rather than pioneering. Obviously, for a new line you have to start somewhere, and the Z6/Z7 designs were mostly melding the full frame DSLR bits with what you could do with a new mount and no mirror. While at some level you find similarities (mount, sensor-VR, etc.), in retrospect the Z6/Z7 now seem to be more of a transition statement while the Z9 seems to be more of a “this is what Z is about” statement. The Z9 is an even more emphatic statement from Nikon in that respect than the original Z6 and Z7 were. Just in the Nikon DSLR to mirrorless transition, for instance, we moved to sensor-based VR, started to lose the mechanical shutter, and have a stronger emphasis on higher-end video capabilities. While some of that pixel pushing is still happening in the overall market, there seems to be a bit less urgency in the camera makers to just up the pixel count and more urgency to make cameras better in some different way. Those first three types of “sources” would all tend to mostly send me messages saying “the next version will be x-more pixels.” The top cameras moved first, the lower cameras moved second. For instance, image sensors over the entire lineup sort of went from 6mp to 10mp to 12mp to 16mp to 24mp, or some similar pattern. Even in #4.īack in the mid-DSLR days, for instance, email from #1, #2, and #3 sources didn’t tend to step far from what would be common expectations. ![]() One thing that is interesting in evaluating all those emails is that there seems to be more standard deviation (range) than I’m used to seeing. I get emails all the time about “future Nikon Z products.” Some are (1) clearly made up, some are (2) hopeful thinking, some are (3) educated guesses, and a few come from (4) informed sources that have been proven right in the past. ![]() ![]() That, of course, can produce a lot of false positives. While you sit waiting for any significant Nikon camera announcement-no, DX quadruplets wouldn’t count-you start looking at the noise and try to discern if there’s a signal there.
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