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Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing. I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa. Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied. This is what I came up with in Resolve using the color space transform tool. ARRI on top.

I nearly had a heart attack when I saw the box 😬 Ah, that's more like it! 😄

This is the colour difference between GH5 VLog and GH6 VLog: GH5 GH6 In general most of the colour palette is warmer and skintones, as everyone already knows, are no longer to magenta. Blues are also more accurate, being slightly darker and more purple than they are on the GH5. Greens are more yellow.

Size benefit of crop sensor cameras vs full frame has truly gone out the window lately hasn't it?

Thanks, if you check the comment section I pinned my own post where I show which camera is which. The give away is usually dynamic range, that or the Alexa is warmer looking. I unfortunately have never worked with the Varicam but I have definitely considered it.

Just about the worse fixed ND is better than the best VND. But naturally they are not as convenient, and good fixed NDs are big and expensive. But good VDF are not free either. The VND are not too bad at lower numbers. They have the small, fixed ND holders now that are pretty easy to use.

The JVC LS300 did it first and is/was one of my favorite things about it. You can put a prime lens on it and use the zoom rocker to turn it into a zoom lens.

The Sigma FP-L has a pinch to crop option I believe or some kind of button crop at various user chooser crops.

It's actually not that cumbersome at all once it's set up and if you either don't need the frame marker or are happy to leave that on all the time. Press Q, turn the wheel, set. So three clicks. It takes at least that many to switch GH5 in and out of 2x using a function button, and more if you have to cycle past 4x.

https://www.theverge.com/23160162/dji-mini-3-pro-drone-review-video

Unfortunately not! Panasonic please add it in 1080p for the practical and savvy HD shooters! The 1080 pixel-pixel mode is a 3x zoom and it's too unforgiving of the central portion of the lens and also soft and noisy because it's not downsampled. The best workaround I've found is the following: - Create a custom image quality list with HD and 4k. Now I can switch between them quickly from the Q menu. - Create a custom frame marker that is 50% of the image area and assign it to a function button to turn it on or off. So now you can get accurately framed 2x 1080.... but it's the center crop of a 4k file. Dropping the files on a 1080 timeline in Premier will automatically do the cropping for you. It's not ideal, of course, as now you have 4k files to deal with, but it will give the same results as a dedicated 2x mode. I had hoped to assign the 4k and frame markers to the custom mode dial but I can't see a way to do that without switching the current exposure settings, which is a nuisance. You can "load" a custom setting from deep in the menu and keep your current exposure but that takes too long for me in a run and gun scenario.

Saw the lens today at CineGear: Didn't ask if it's parfocal or completely focus-by-wire, but the rocker-controlled motorized zoom and focus is cool. On the other hand, It's doubtful that anyone will be hitting focus marks with the focus rocker switch.

I'm not a fan of digital sharpening. Makes the image look cheap video. If a lens/sensor is soft just let it be. All I'm saying is the slight oversample of the R6 just outputs that extra resolve detail from my L glass which is really nice. Its not like its a radically sharp 6K/8K image either. You can also counteract softness of the C70's 4K with indeed sharper lenses than the EF 24-105 which brings me to the next point.. Using the SB with EF glass is great, especially for that FF look and extra stop.. but the SB adds weight imbalance but also adds glass which softens the image and can result in ugly flares in direct or backlit scenarios. This is where an RF lens like the 35mm F1.8 comes clutch. Its super compact, has superior IS than EF as it uses extra gyro info so excellent for handheld, is optically superior to EF adding that missing sharpness & is pretty fast at F1.8 so good for lowlight. Also being a native lens, the AF is gonna be bit more responsive. Give it a try sometime. Again its super popular with C70 users for a reason.. oh and best part is its like under $500. ..that said it is not a mojo lens.. great for run & gun but for a more high-end commercial or cine look I'd probably go anamorphic with the new sirui RF lenses if/when I get a C70. or go vintage for straight up anamorphic dream mode..

The sharpness bothered me at first, until I realized it only bothered me because YT reviewers were telling me I should be bothered. I typically shoot in the fashion industry and sharpness is not necessarily a good thing for fashion shoots and event type work; models and fashion designers don't really want you to see every detail which would include the blemishes. I did notice that in Davinci Resolve it only takes seconds to add sharpness, but I stopped doing that early on. Not to mention the Canon 24-105mm lens is far from being a sharp lens at any focal length. My 50mm and any prime for that matter is way sharper. If I shot something like product videos or macro type shoots then I would definitely use a sharper lens and probably add sharpening in post. But with the content I shoot, I really like the footage with its current level of sharpness. I do wonder if adding sharpness in post compared to shooting with a sharper image like the one that comes out of the R6 could look identical. So for me personally, the softness of the image out of the C70 is not a disappointment. The C70 just has its own "look" in my book and that's not necessarily a bad thing. My R5 arrived today and I did some quick tests with the video out of it. I actually like the C70's "look" better, the R5's video looked a little too clinical for me not to mention Davinci Resolve immediately locked up trying to play the footage and I had to create proxies......the R5 and R6 really need the XF-AVC codec. Fortunately I only got the R5 for photography; the R7 looks like it would be a much better b-cam for the type of work I do. The speedbooster is bolted to the C70 and hasn't come off since the day the C70 arrived. With my investment in EF lenses I don't plan on getting any RF lenses anytime soon if ever not to mention I really like my extra stop of light since the C70 does not have dual native ISO. My current lens lineup works pretty well for me, I just need to do more testing with the 50mm handheld to see how bad it is without lens IS. The 50mm is fantastic when I can mount the C70 to a tripod or for short handheld interviews where I have time to put it on. I would like to start using it more for handheld detail shots at events, if I am stable enough to do that then that would be perfect. I agree. For me, the ability to correct the WB just isn't worth the extra hassle of dealing with RAW. As far as skin tones go, with 10bit footage as long as the WB is correct and the lighting isn't too horribly mixed I think even that can be easily fixed in post. Maybe not to the Hollywood level, but good enough for my typical client. I shoot a lot of runway fashion shows where the lighting is absolutely terrible and I have always managed to get something useable without needing raw.

It's a Fly by wire lens isn't it? If so, then no matter if it's in AF or MF motors 'could' make the adjustment even if it's in MF. Either way, this looks like a great lens for video. Well done Fuji.

I would agree with that statement.

Aside from that, I would say that the GH5 2x mode in 1080p is more useful than the GH6 pixel-pixel because it is oversampled. And that the undersampled GH5 2x mode in 4k is less useful than the oversampled GH6 pixel-pixel.

One really annoying and wired thing is that if you switch from 59hz or 50hz to 24hz you need to format the card and if you go back to 50 or 59 you need to format again….. why? Also in 50hz you cannot playback 30p and 60 p videos and viceversa. R5 has none of these limitations

All shots are : VLog ISO 400 DR boost off daylight white balance Leica 12-60 at 60mm f8 10bit 422 Long GOP H264 except for the open gate which is 420 Long GOP H265 GH5 1080 GH6 1080 GH5 1080 2x GH6 1080 pixel-pixel GH5 4K GH6 4K GH5 4K 2x GH6 4K pixel-pixel GH5 open gate GH6 open gate

It's not fake. Nobody said it IS the sensor of X-H2S, which is based on that sensor but with Fujifilm's customisation.

You can say that again!! The best case scenario is: RED has infringed multiple important Nikon patents. Nikon gets compressed RAW in a settlement agreement. Worst case is: Nikon pulls the firmware update and cannot ship Z9 in future with the infringing feature. And I agree the patents system does prevent technological progress and is to the detriment of competition and consumers. But people on this thread seem to be blaming RED for this when it is actually a much more complicated issue akin to the upsides and downsides of stuff like copyright.

Companies can be clueless about these matters. And Nikon comes from a stills background. On the other hand, Nikon's patents portfolio includes tens of thousands of patents, including thousands in the US. They can probably dig into it for counter infringements, if they are forced to. I don't recall resolution specifics in the Sony case, but I wouldn't be surprised if Sony did exactly this to fend off Red.

Guys, the thread has derailed into a wall-to-wall nonsense. If I wanted to be polemic, I should advise, those who think the patent is meaningless, to offer themselves to Nikon as consultants in the ongoing legal battle 😇 Actually, if the patent has withstood for years several lawsuits filed (not by my mother) but by the likes of Apple & co., it means that it is evidently well written. Mind you, I am not agreeing with Red. This is a classic case where the current patent system demonstrates all its limitations and actually prevents technological progress to the detriment of users. At present, the only real question that makes sense to ask is: Is it possible that a company like Nikon went off the rails in this matter without taking into account the history of previous lawsuits (perhaps misguided? She tried?) or is Nikon in posses of information that we do not have?

It's easy to clean that cable up with some clever cable management (unlike the photo). A good 1st AC will sort that out quick smart. Having a cable means it can be adjusted and placed anywhere on the camera quickly and easily. The current Alexa Mini is pretty easy to solo operate really. Such a great menu system and most of what you need is accesible by the buttons on the EVF/screen This may have been mentioned already but I genuinely am curious about the following..... Why isn't anyone here seriously complaining about the lack of IBIS, Auto focus or the fact that it isn't Full Frame? Is it because the camera is so far out of reach price wise that you just don't care? So, when other companies make cameras that are not too far away from this image wise such as Z-Cam, Blackmagic etc (I know the Alexa trumps them image wise, but I have used Pocket Cameras as B_Cams to Alexa Minis in the past without too much issue), do people complain that those camera don't have IBIS, AF and FF just because they are priced in reach of people who need those features without really realising who those cameras are aimed at? Is the Problem with other manufacturers the fact that they price their cameras too cheap? We seem willing to accept the lack of features in a $75,000 camera but when someone comes along and gives us 70% of that camera in a much cheaper package, we wine about it not having feature XY&Z. Not wanting to stir the pot, just genuinely interested as to how people think.

Let's shoot some quick a dirty dynamic range tests Here's mine, on the balcony First is Sigma Fp-L in 8bit Cinema DNG RAW Second is OM System OM-1 in 10bit LOG 4K: A clear win for the Sigma Fp-L You will need a bigger effort to get the best out of the OM-LOG The Fp-L RAW seems to have that creamy RED EPIC / ALEXA look to me straight out of the can And it doesn't sacrifice a boat load of colour to achieve such a wide DR. This was in full frame mode to SD card. I am sure the external 10bit and 12bit is even better in the highlights.

My view as an independent film DP and editor is that I choose the camera that is easiest to get a nice image with. I am not a colorist and whatever I am working on can rarely afford a colorist. The camera that I can simply do my best with on production and in post simply apply a lut with minimal corrections, is the one I go for. Right now that would be ARRI or RED. Blackmagic is also a viable solution as you can easily correct for WB, even though the image isn't as nice out of camera.

100% relevant, as it doesn't take a genius with a crystal ball to one day see that offboard recorders would get integrated into a camera body itself. That's not at all worthy of a patent. Exactly! 16fps (and later on, 18fps) was the standard fps for 8mm films. Again I'll say the difference the between 23fps and 24fps is pretty arbitrary, any significance you attach to the magical number "24" is sociological. 24 is not filled with special mystical properties that makes it inherently totally different to the number 23, or the number 25. What if some company had a patent for exactly the same but only 24fps and not anything higher? Could RED then have got a patent for "25fps and higher"??? Did RED says their patent only applies for clips of "2hrs length" (or longer), or some other arbitrary length or longer?

So? It isn't relevant to the patent though. You go off and argue with the judge about it if you like. "Objection!" "It is a relevant prior invention because.... It was mentioned on a forum in the same thread!" *Sigh* Have you even noticed that external recorders are allowed to do compressed RAW without violating the RED patent? The patent only covers internal compressed RAW recording where the hardware is all integrated in-camera. Having an off-board recorder makes the system outside the scope of the RED patent. We're not talking about 4K uncompressed externally recorded RAW. The RED patent is not about 4K uncompressed externally recorded RAW. Have you actually RED the RED patent? I suggest you give it a RED!

I went to a mini airshow F/A 18 and F5 and to a horse show jumping in these 3 days, something that I used a lot the R5 for and unfortunately even with the max speed setting the AF of the R5c is basically unusable for action, where the R5 would mostly keep the subject covered in the AF area in focus, the R5c would mostly stick to the BG 😞. I used the large area that is very similar to the square area of the R5 that I normally used but unfortunately is a no go. On the jet I had to switch to the whole area to get something if focus but with the horse show jumping you can't as it will focus on the obstacles and not the athlete. Not really sure what to try but I would say the AF of the R5c is not ready for action. I really want the R5 AF on the R5c or just enable the video in the photo mode!!!!!!!!!!! Also another annoying thing that when you turn off and back on the camera it put the AF square back to the center, not sure there is a setting for this but it should stay where I left it. On the playback page you cannot applying any lut and you cannot magnify so really hard to tell if it is in focus. Now I need to think if to buy one as B cam where the AF is not so key as I mostly prefocus and for long recording or just stick with 2 R5. Conclusion so far R5c is not a better R5 is a different R5 with some better and some worst part. A missed opportunity imo. The R5 would never do this to stay on the BG and I have done 50+ Show Jumping video with the R5 and the exact same lens.