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Decided to get a proper RAW cine camera. It was between RED and Blackmagic. The RED seems to have more mojo, especially the older EPIC and Scarlet. I am also trying a RAVEN out. The older REDs are not expensive now. Paid £1790 for an EPIC-X, with 5K 120fps RAW. But when building it out, that's when the costs start rising. But for under $3500 you can definitely get a good kit. It's about the dynamic range and RED raw for me. The colour science is also very nice.

That's the BIG news! Sony isn't going to cripple their non-a7S cameras? And give them the goodies too. However, take that with a grain of salt, as the link which Andrew tweeted out yesterday suggests it is not going to be all true: https://www.sonyalpharumors.com/these-a7riv-specs-are-likely-not-correct/

One is for fan boys, the other is for fan girls:

I think it's more about ergonomics than the image tbh.

If he's serious about making a film then it makes absolute sense. I love mirrorless for practical reasons but for that cinematic aesthetic nothing really beats ARRI, RED, VENICE & VARICAM paired with cine glass imo. There is a reason why they are standards in big productions and not an A7S3, R5C, GH5 etc. Hopefully he will share with us what pushed him in that direction!

I’d only had a couple of gins (honest) but I read that Andrew had bought a red kimono. It’s not the same thing is it? Looking forward to seeing where this Red path leads…

Wow - hugely impressive results (as usual). I must admit that the allure of a zoom lens has entered my thoughts of late, just through the sheer convenience of being able to see something and then capture it without delaying so much that the composition has evaporated. The FZ2000 really is something! Yeah, first time I've seen an anamorphic offering with enough squeeze and low-enough weight that I'd even contemplate it for guerrilla hand-held work. I was hoping that the cheap Chinese manufacturing would eventually make anamorphic glass affordable and then accessible and it looks like it's finally happening. Super interesting!

Edited shot from the Xperia Pro-1. I think it holds up pretty well for a phone. Sure it is not a Canon 1DC but it sure as hell weighs a lot less I can tell you that.

Well my opinion is that RED rushed their products to the Market. If you look at the image from an Alexa Classic, which came out around 2011 same time as the Scarlet, it's image aside from resolution is pretty much identical to the more recent Alexa LF. If you compare the RED Scarlet to the most recent RED you can't say the same thing. Red has continually put completely different sensors in next gen cameras since the start. The image pipeline from RED has also changed. The older RED cameras are known for being pretty dang accurate in Daylight but not so much tungsten. It improved with the 6K epic dragon sensor. I really think they have nailed it with the Komodo. I compared all three cameras Epic Dragon, Komodo and the Alexa Classic. The Komodo was pretty much identical, the Drgaon looked quite a bit different. I mean that was part of the appeal of REDRAW, you can get any look you want. It was meant to be something you had to fiddle with in post. The ARRI look has been known to be life like, what you see is what you get. Can't say the same for RED, at least in the past. Cameras in general are much more color accurate now though. I was really shocked how easily the Sigma FP matched to the Alexa. The gap is closing in on ARRI. That said older RED cameras definitely have an appeal. The name still stands high in film circles and there are a lot of advantages to a camera designed for cinema use. It pisses me off incredibly that RED has their RAW patent, but you can't get around that 16 bit REDraw is a joy to work with.

congrats, @Andrew Reid! could you all broadly expand on the progress in color science between these REDs? I haven't kept up...

That seems like a decent price, did you find it locally? I'm very curious about your thoughts on the Raven. From what I've watched online, the Scarlet and the Raven have a really interesting IQ. I'm looking forward to your tests!

4k at 60p would really be something.

I have owned the Scarlet, the dynamic range is ok, color science was ok. The Epic Dragon 6k sensor is better but the color science is still a bit off. The Komodo is right next to ARRI color science wise but dynamic range isn't there. Raptor has the color science spot on and the dynamic range is there too. It keeps the information in the shadows vs in the highlights like ARRI. I assume the Helium and Monstro image are pretty nice but I have never worked with them. The dynamic range on an A7S3 or S1H in RAW would be greater than a Scarlet, with way better light sensitivity. But you have to deal with a poor HDMI output(poor latency, less sturdy, not accurate rec709 image). Of course RED has a patent on the best codec available so that puts them up pretty high even on their 10 year old models.

Big productions don't use mirrorless hybrids for a multitude of reasons. Why would you if you have the budget to use any camera that you want? Keep us updated on your findings, thoughts, etc. I'd be interested in video comparisons, etc.!

I disagree. In between CS, DR, codecs and specific IQ related features there is a lot to gain by going with one of these top tier cine cams. I mean look at all the cool IQ features in the Dragon-X including various OLPFs and highlight roll off options:

Yeah the URSA 12k is not dual gain as far as I know. It has that unique full RGB sensor which may give it an edge in overall look. Kind of like CCD sensors I guess.

What resolutions were the non 8K R5C Raw images shot at and what's the zoom percentage? R5C 10-bit and Z9 can do 8K and GH6 6K yet they all look substantially lower resolution than the Canon 8K RAW. I ask cuz that plays hugely when comparing the fixed noise patterns etc.

That explain Leclerc's accident. "That guy is not using a full frame, really!!!???? ...oh shit" (bang) Interested in getting one of the FZ's as a concert camera (security in stadiums tend to hate cameras that changes lenses).

The answer, from looking at the manual, is no. There is an EX Tel Conv. mode but it doesn't work for video on the GH6. So there's no sweet 2x mode for HD shooters. It looks to me that the only thing that comes close for 1080p is to set a custom mode to shoot 4K pixel/pixel and then scale it 50% in post to give a clean 1.5x zoom on a HD timeline. Or you could scale it to 75% which should give you a clean 2x digital zoom. But of course, then you end up dealing with 4K files anyway which defeats the purpose of shooting HD. And also there's a bit of post work involved. And if you're aiming for the 2x then framing will be wider than what you want. The beauty of the GH5's 2x Digital Zoom for HD was you just pressed a function button and the reach of your lens doubled.

No, that's Dual Native ISO, not Dual Gain like the GH6 is. Dual Native ISO is when the camera has two native ISO values that it can choose from and picks the best one to use at any given time. Dual Gain (in the sense of the ALEV, Canon DGO, and GH6) is when the sensor has two outputs that each have a different gain and those two outputs are used simultaneously and combined with each other to create a higher DR image, in-camera, in realtime. This is the info from ARRI - https://www.arri.com/en/learn-help/technology/alev-sensors It's something people get confused between, because it's so rare and.... innovative.

Bit of background.... I've been doing stuff on and off for a while with the FZ2000 in pursuit of it being the modern equivalent of my Dad's old cine camera. Something to take on holiday as an integrated system without any other accessories. Also something that I could shoot in with a single profile and then create a single "development" step for it so it would be the equivalent of my Dad sending his exposed Kodachrome cartridge off and getting the finished product back from Kodak, with the goal of that single consistent look without noodling about in post. The FZ2000 has an awful lot going for in that respect as it has internal ND, decent codecs, v-Log and of course the stabilised 24-480mm lens, hence it being in here. Had an opportunity to give it a go in the tourist cine camera role this weekend at the F1 Classic Grand Prix in Monaco and here are some frame exports from the footage, shot in v-Log using the 200mbps all-i HD codec. These days, of course, I'm on the punter side of the fence rather than the press side of it so its a lot more restrictive in terms of shooting but that is where the massive range of the lens on the FZ2000 comes into play in enabling you to get a lot of shot sizes quickly and maximising the coverage you can get. When shooting in HD, the very clean digital zoom extension gets you out to around 1000mm equivalent and the image stabilisation makes hand holding at that range realistic. Shot in 180 degree shutter as its more about the event itself (and is purely for motion rather than for stills extraction) than the cars so the motion blur on the cars is not a defect 😉 The lens itself is very sharp so I've got a 1 strength Glimmerglass filter on it permanently to take some of the edge off.

Dear friends, So here is my recently aquired Canon Fd 35mm F2 in action, along with the 50 1.4 scc, and the Vivitar "Bokina" 90mm F2.5. Cameras rented Gh5 and my own S1. Gh5 on a Speedbooster was ACam, which is still a fantastic camera and has much better menues than the S1 btw. Anyway, the 35mm was in use on both cameras for the shots inside. Outside it was Gh5 with a rented Canon L 24-105 plus S1 with the Canon FD 35. It's always a pleasure to put ones own lenses into action for a shoot. I really like the 35 , the rendering and feels great in hand. The S1 and the 35 give a pretty looking outfit together. So here is the video, shot, directed and edit by me. Finushed just yesterday:

Just got a broken Nikon ED AF-S Nikkor 28-70mm f2.8 D for €99 (The Bourne Lens) that was easy repair 😎