Leaderboard

Yeah those specs don't cover the high frame rate drop in resolution and crop factor Kye was talking about. You can do up to 6K40fps without a crop/res drop and that's actually pretty ok with me. The 2K120p has a 3x crop (on top of the Super35 crop) which seems barely useable. The C70 can do up to 4K120p no crop. The real tricky part is that any drop in resolution from 6K automatically means a crop. Meaning shooting 4K has a crop and I don't know about any downscaling either. Basically it's really a 6K40p camera. Not the most flexible but that's ok. Audio is also something I'm concerned with. It only has a 3.5mm input. So its mirrorless type audio unless you go external which in run & gun isn't so practical. I'm also eyeing the FX6. The fact that it is full-frame, has XLRs and the E-ND really appeals to me. Still something about the Komodo's 6K R3D Raw IQ I can't shake off, like I really really want that quality in my arsenal. The C70 screen is fine in itself, the hinge however is dodgy but Canon will replace and upgrade it if it does fail. So not really a big concern imo. C70/FX6 definitely have the upper hand when it comes to a pretty much rig free ready to shoot solution. I travel by train/plane for a good chunk of my shoots so yes I tear down the rig for transport which fortunately isn't very complex with the R6 or even the FS7. With the Komodo, I'd probably go with this quite affordable Tilta solution: I plan on using the top display and the remote iOS app for run & gun monitoring. I wanna avoid rigging an external monitor for weight and balance purposes on solo shoots. For bigger crew shoots SDI out and/or wireless.

Makes me wish I got the 13 pro over the 13!

Doesn't the HDMI clamp stop the HDMI port on your cam from bending? It's possible that the mini to full adapter cable could go bad eventually if it's moving around in your bag, but just pack a spare. The only thing I'd worry about is the HDMI out of the NINJA V that protrudes out the side. I personally use a Smallrig Hawk-Lock quick release on my Shinobi and leave the HDMI cable clamped into the camera, so I just click the monitor on and insert the cable when I take it out of my bag.

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post. The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list. The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!

https://takaratomymall.jp/shop/g/g4904810180906/ https://takaratomymall.jp/shop/g/g4904810187677/ Proof Canon listens to its customer, they've announced the R5 MK Transformer, rumored to have ZERO overheating issues!

I'm in love with my A7iv. It sorta of surprised me TBH. I've been making some major kit changes and decided to dip my toe into Sony with the A7iv just to see how I liked it. Within just a few days I was convinced that Sony was the right path forward for me and sold everything to rebuild my kit with the A7iv and A7s iii. No regrets whatsoever other than I wish I'd gone this route a little sooner. The two cameras pair really nicely together, both with some unique features that make it worth having one of each. With all factors added in, I do think the A7iv is the better all-around video camera for most people's needs.

I sold my A7S III and got the A7 IV instead. For me it has a bit more mojo. Colours, and the new sensor at 30mp. Can shoot S35 and S16mm crops without killing the image quality. 10bit, better codecs than A7R IV. Low light pretty alright, at the ISOs I need it, but not A7S III level. I am curious to compare it to my S1 next and see which wins the image quality battle in video mode. There are a LOT of variables though which makes these things a bit more tricky than in GH2 vs 5D Mark II days

https://lowepost.com/insider/videogear/build-the-perfect-red-komodo-camera-rig-r63/

Yes, I have always been an oddball 🤪

Seriously though, paired with the gyro stabilization it somewhat solves the two features the cameras have always lacked. Good autofocus and built in stabilization! If you don’t need great battery life then, it’s possible to have a pretty minimal or even bare-bones setup!

Like the R7 for 1000 less euros! The AF is insane in this little camera and I have 3 adapters already. Normal Canon EF to RF, vND Meike and Viltrox 0.71X. In a way, it offers more options than a full frame one. I haven't tested the Viltrox one yet though. The other 2 are working amazingly.

I think the one bummer with the A7 IV is the rolling shutter of 27ms when shooting in full frame mode (according to Slashcam's measurement). I really can't buy another camera with such bad rolling shutter performance due to mainly shooting handheld, it's a headache. Obviously it's good in APS-C mode but who buys a 2750€ camera to then crop in on the sensor all the time, might as well directly buy a good APS-C camera with other advantages.

Yes, seen the rumors on that and something is supposed to be announced very shortly; either an 8 or a 6/7iii. I think an 8 is most likely. The rumor-mill seems to think other than the lack of a built in grip, it will skip a few other details including the 8k 60p raw internal and limit it to 30p. That would be the dealbreaker for me right there as the (limited use) 8k 60p is one of the key factors for me. The other being that 35-150. 24-70 = too short outdoor 70-200 = too long indoor, not wide enough outdoor 24-105 = a bit short outdoor, ceremony and speeches at weddings especially and a bit slow for my tastes, especially indoors. 24-70 + 70-200 = 2 bodies + 1 tripod or lens swapping, but still not having the right focal lengths all the time. Some would argue that 35 is too wide and 150 not long enough. Not for me. I rarely shoot wider than 28/35 and have no need for anything over 150, stills or video. Quite happy to swap for a wide zoom for those rare times I do need something wider as those times are only ever at the start and the end of a job with about 9+ hours in between. Of course the only real test for anything is actually using any bit of kit on an actual real job, but having had 20+ years practice in photo & video and 10+ in hybrid, I know my needs. I have added my name to a Z9 waiting list but that’s as far as I can take it for now, so we’ll see…

Nah, I don’t think that is correct. You have: IBIS which stabilises all lenses Lens stabilisation Certain combinations that work together and almost always native, this latter option usually offering +1 stop of stabilisation over just IBIS. Some cameras offer the option to tweak the IBIS to match the lens/focal length. But otherwise, nah, any lens, even a cine will be stabilised on a camera with IBIS and it does not have to be native. Yup, it’s e:shutter only and initially I had reservations about that having used all my recent cameras in that mode at times with mixed results and tried another e: only camera, the Sigma FP/L last year. Based on my results/testing, I had to say no to the Sigma, but unless folks are lying and faking the results from the Z9, it’s in another league/highly useable except in certain extreme circumstances and certain strobe use.

Yeah seems to pretty much do everything you want, minus internal ND, internal RAW video, and full-frame 4k60. Also to be honest I’m not a fan of the 20,000 pinned posts. You have to either hunt through these or scroll down a lot to see who has most recently posted.

Yeah, in the OG BMPCC groups I'm in, a common issue is the HDMI port failing. It seems to be one of the major issues that people ask about - the other is broken screens.

Panasonic makes my favorite cameras, by FAR. And they have my favorite IQ under $10k (except maaaybe the C70). And the best IBIS. I also love their f1.8 prime set. That's fantastic. But they do need to get something out this year (September/October) before I go all-in on buying a set of lenses. I had the S1H and loved it - still do. If they could give me an S1H II with some nice upgrades (mini XLR port to go with a 3.5mm jack, internal NDs, ProRes recording, a 12-bit HD/4k profile perhaps?), I'm all in for the next 3-4 years.

Yes, looks like the way things are going, somewhat sadly, but that is the way of the world. If folks just are not buying compacts these days due to phones, then why make the things? There has to be a market. The smaller the sensor, the bigger the hit. The photography/camera market is still huge filled with both enthusiasts and pros and they/we will always need gear whether for fun or to earn a living. Last chance saloon for L Mount with me now. I love the gear and the results, but I know I am having to work harder in areas where I shouldn’t have to and making compromises I don’t want to make. I’m not writing them off just yet and hope over the next 6 months, they will drop something I can work with or I’ll be biting that proverbial bullet.

There are countless ways to solve this problem. The cables just need strain relief to the cage and the connectors need to be protected from flexing. I have done this before on a caged OG BMPCC simply with two, long, stainless steel, 1/4"-20 bolts and cable ties. nothing would happen if you pulled on the cables. We were able to keep the camera rigged in a bag with a monitor, external battery and lens attached. @BTM_Pix has made an excellent suggestion. I can also envision a solution using the aforementioned 1/4"-20 bolts plus a couple of washers and a small dollup of PC-7 epoxy (or plumbers epoxy -- but you have to work fast!).

I think what you are looking for just doesn't exist. You have to either look like a production studio with a Cine camera and rig from hell or buy an Osmo Pocket II and Velcro it to your chest. I don't think there really is a middle ground. Even the GH5 is a pretty weak camera compared to a Red Komodo. The old, "go big or stay home" saying sort of applies I am afraid.

I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates. All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps. iPhone 13 Pro’s ProRes variants: ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m ProRes LT: 360Mbps = 45MB/s = 2.7GB/m ProRes 422: 540Mbps = 67.5MB/s = 4GB/m ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m

I'm not being deliberately problematic, just stating why the answers provided don't really suit me and how I shoot. That's fine - not all solutions have answers (if they do then I want the 100g Alexa Pocket for $100!), but you don't find out unless you ask - sometimes you ask the question and someone comes up with an answer you hadn't thought of or didn't know about, so it's worth a bit of a discussion. I'm perhaps putting more emphasis on this than what people might think is reasonable, but it's actually the tip of a large question for me. Currently I shoot with IBIS cameras (GH5, GX85) in auto-modes but am actively considering moving to a more cinema-camera style of shooting without IBIS or auto-modes when it's time for my next upgrade as that can get me a bump in image quality, so there's many thousands of dollars in camera bodies / lenses / accessory purchases that depend on things like me being able to get acceptably stable shots in windy situations. In this sense my problem isn't "how do I get good stabilisation with an OIS only lens", it's really "does OIS give me stable enough shots, in the situations I encounter, with how I shoot". Not so useful in conditions so windy I can't hold the camera steady with both hands! 🙂 🙂 I think you nailed it by talking about being self-conscious, which definitely applies to me. If I could change how I feel then I would do it immediately, but that's not how it works! Getting older is gradually making me give less shits, but I'm not there enough yet 🙂 In terms of running into Karen's, I've found they're everywhere in terms of giving you dirty looks and giving you the non-verbal equivalent of the viral videos you see, which just makes it not worth it for me. That's why I like to do what I can to fly under the radar and not trigger it to begin with. I also shoot a lot in places you're not allowed to be pro in, like museums and galleries and all the other types of private spaces that hold all the interesting things. You never know when you're going to run into a power-hungry security guard who is going to teach you a lesson - unfortunately this seems to be the majority of security guards (although it probably isn't the case it certainly seems like it).

Agreed. I was skeptical of the Komodo until I used it. I really love the footage that camera produces. I also love the noise and the motion. The look with the Vazens is really nice. I also own the C70. I use it for a lot of corporate jobs. The face tracking, NDs, built in audio, 4K 120 are all really nice. I've used the RAW a little and it still is not close to the Komodo in terms of color depth and overall IQ. The motion is really bad. To be honest, I use it more, it makes a lot of money, but not really a fun camera. Means to an end.

I think we are a million miles from the pro market using a phone as their pro tool. If ever. Just because it can do some things, seemingly on a similar level, these things do not. And whilst camera development may be slowing (is it?), it's still going to be ahead of phones. Phones are gaining more camera tech than cameras are gaining phone tech but I don't see a point where they become one and the same thing. Sometimes, you just need a specific tool to do a job.

https://www.cined.com/nikon-z-9-firmware-v2-10-released-n-raw-is-here-to-stay/

pixel 4xl is not dropping frames and looks much better than stock h265 as expected (look at color differences on the objects on the center right)