IronFilm

It is clear why RED did it. RED wants to target a more "consumer" market with Komodo, which means choosing a mirrorless mount is sensible. I'd argue a MFT Mount would be best, but perhaps RED wants to avoid the marketing confusion of using a S35 sensor behind a MFT Mount (sadly far far far too many people don't understand that this is possible) and maybe also the Komodo sensor can't do this? (as Komodo has a somewhat larger than normal sensor for S35, maybe it is just ever so slightly too big now for MFT?) So what is next best? E / X / Z / L / RF mounts of course. Sony seems to clearly not want competitors using E Mount, seeing as how Kinefinity only offers a dumb E Mount. I guess (hope!) RED went to all of these others to see who else was open to collaborating (Fuji and Nikon are fools if they squashed down the proposal! And of course L should welcome anybody who wishes to join). Now what is in it for Canon? Well, Canon has had a bumpy road on the path to mirrorless domination, they're at risk they might not achieve this like they did with EF. Canon had a false start with the now soon to be dead end EF-M mount, this is going to come back to bite them. Sony E Mount has a massive head start over Canon. Fujifilm clearly is doing better in the APS-C world than Canon's APS-C. Nikon is part of the historical Duopoly, so of course is going to be a threat for Canon, and so far I'd argue Nikon has been doing a better job here in their roll out (certain when you look at sales of bodies only sorted by best sellers / most popular on B&H / Adorama then Nikon mirrorless is ranking strongly vs Canon. Of course with the Canon R5 /R6 pairing I bet Canon expects they'll race ahead of Nikon, but Nikon won't be standing still either. Am sure in late 2020 / early 2021 we'll see a gangbuster release from Nikon in response) Who is going to be #1 / #2 in the mirrorless world 10yrs from now is still very much up in the air! Could be anybody. Thus I find it very understandable that Canon could be considering wild card strategies to help RF Mount get a jump over the competition, and if Komodo is a massive success then that will go a long way to cementing RF Mount as a defacto standard in the videography/cinema world. And Canon in the video world isn't really a direct direct competitor for RED like some others. RED's direct competitors are more like ARRI (who RED are trying to attack from below) and Kinefinity (who is attacking RED themselves from below). While Canon's direct competitors are Sony (the classic F3/FS700 vs C300mk1, FS100 vs C100, then FS7 vs C300mk2, C200 vs FS5, etc) or Panasonic (C200/C300mk2 vs Varicam LT / EVA1). So pairing up with RED just for Komodo has relatively little downside, and a potentially significant upside. If I was running Canon, then RED using RF Mount for Komodo makes so much sense that RED doesn't even have to offer anything back in exchange. It is already legal to use 5:1 compression of raw, it is 6:1 compression and beyond which is covered by RED's Patent.

Z Cam E2 is small too. Only the GH5 and GH5S

Yes, Sigma's lenses are the bulk of what they bring to the table. But I reckon the niche cameras Sigma puts out (such as the Sigma fp) adds an extra "something" to the L Mount Alliance, an extra arrow to their quiver.

Who will be their Sigma?? Z Cam????? I dunno

But is "correct natural" color even "the best color science"? There are for instance Nikon fanboy photographers who'll argue Nikon provides SOOC more accurate colors, while there are Canon fanboy photographers who'll argue Canon gives SOOC more aesthetically pleasing colors ("better color science"). I'm not arguing that ARRI isn't "best" with their color science, as that is almost universally recognized (but even then, not quite fully 100%! Always will be some who disagree. So how would you prove it them?) But the key point is how to accurately measure color science, and attach a number to it? As it is easy enough to say ARRI, when doing say an Alexa vs a7S comparison. But what if you're doing a Panasonic Varicam S35 vs Canon C700?? Which has "the best color science"? Or a Blackmagic URSA Pro vs Canon C200?? Or a RED Epic MX vs Sony FS7?? How could you prove to someone which has the "best color science"? Or is it all just your subjective opinion vs someone else's subjective opinion?

Can you assign a number to this, where is this number for each of Arri/Sony/Panasonic/Canon/RED/Kinefinity/ZCam/BMD/etc cameras? Or this a subjective assessment?

I know you feel bad about it, but I think it makes sense in the current economic climate. No sense to hold onto two similar but different cameras, hold onto which ever one is getting you more work and sell the other Wrong, color can be subjective. Heck, the debate in the stills world of Nikon vs Canon colors has been going on far longer than the HDSLR colors debate has gone on for filmmakers! Yes, some color science / brands get a far great majority of people preferring it than others. Like ARRI for instance will get almost universal appreciation, but even ARRI can get a few crazy holdouts who will say they don't like it as much as something else! Plus what is "best" can be project dependent, the color science you might pick for a cheerful romantic comedy might not be the same as your preference for a dark horror.

My hot tip is: Soshine 9V rechargeable batteries Got a dozen plus of these for my work. The good thing is you can order them from China, so you don't have the difficulties in getting them to your home like you would if you live overseas and try to get say a commonly recommend battery shipped to you from the USA.

Only starting to scratch the surface here of better I/O with the C300mk2 with what you mentioned, some more major points: TC / genlock, rec trigger / LANC, SDI / full size HDMI , DC power My gut guess is that the C200 has replaced the "C100mk3" for now. Especially if the C200 gets another $1K price drop early in 2021 (the C200 is already, with its new price, now priced the same as the C100mk2 was at its launch) See, that's only $1K away from the current C200 price!

It doesn't! So disappointed there wasn't a Panasonic EVA1 MFT, or even before that a Panasonic DVX200 with a MFT mount. Hope not! But then again I can totally see them trying to get that "first with 8K" title. (just like they did with 4K) Perhaps they'll do the whole GH5 vs GH5S thing. Perhaps the GH6S will recycle the GH5S sensor, but will figure out both IBIS and 4K 120fps 10bit. That would be quite revolutionary for Panasonic.

Yes, in some ways the 1DX mark 3 does. But in terms of I/O? The 1DX mark 3 doesn't come even vaguely close a C300mk2 That's a classic example of how they'd cripple their lower end cameras! (heck, even the C300mk2 had similar issues too) Perhaps all these events are connected? What better time to release UFO footage than during the COVID-19 pandemic.

He compares Alexa vs iPhone, I thought it was easy to spot the difference! Also he talks a lot about using the "old Alexa" on the cheap.

Yet more Chinese 8K cameras: Seems the Skyworth 8K is a rip off (but badly implemented) from the Z Cam E2-F8 that they borrowed from Z Cam under false pretenses, but using the Sharp 8K MFT sensor (however stupidly using an EF Mount instead!!!).

Not mention the JVC LS300 and Panasonic AF100 with their MFT Mount and NDs. Plus the Sony F3/F55/F5 with their FZ Mount and NDs.

Yet the Panasonic S1H DOES have a timecode input!

Apple just licenses out the codec. Which is quite different to the RED patents, which block people from doing internal compressed raw. Oh hang on, the MAVO Edge doesn't do great compression than 5:1 ProResRAW? Is that still light enough compression that it isn't covered by RED's patents? https://techthelead.com/straight-outta-silicon-valley-apple-loses-video-patent-lawsuit-to-red/ So that is why Kinefinity has 5:1 ProResRAW? And not 8:1 https://patents.google.com/patent/US8872933B2/en BINGO!

Yeah Kinefinity had an adapter accessory as well which has an e-ND But this might be the first non-Sony with it built in Or maybe they just don't care because they're in China?

I just realized something else genius about their design: You can slide in 2x NP-F550 batteries underneath the camera (integrated in with the rails!), which means you can easily hot swap V-Lock batteries without needing to wait around for reboots! Killing wasted downtime.

The MAVO Edge is a whole new body (in spite of keeping the "MAVO" name, indicating you'd think it shares a body with the existing MAVO/TERRA line up). Hopefully they bring this new body design to a cheaper S35 or 4/3" version.

I'm pretty sure the paid RGB upgrade allows you the usage of 3G-SDI output

This is very cool! First time I've ever seen this design. You've got fully integrated BOTH BP-U Batteries and V-Lock Batteries! V-Locks for your usual shooting, with the option to super slim down your setup to use a BP-U30 for the likes of gimbal shots. All in all this is a very attractive looking camera, you've got that nice big integrated display for camera controls (although, on the operator side! Not the AC's side), and just in general more integrated into this body than before (no need for the KineBack-W now!). This is also the first Kinefinity camera to do ProResRAW

https://ymcinema.com/2020/04/27/kinefinity-mavo-edge-8k-cinema-camera-announced-large-format-and-prores-raw-inside-a-carbon-fiber-body/ Niiiiice, is this the first cinema camera outside Sony with an e-ND?

I think you don't get 1080 60fps output without the RGB upgrade? (which the one we're discussing doesn't have)

$750 for an F3 isn't an exceptional price for an F3 in 2020, but then again you'd struggle to find one substantially cheaper either without a lot of patience / hunting. And the inclusion of the viewfinder, charger/battery, & Nikon-FZ mount adapter are nice bonuses which makes this overall package lean into "a good deal" territory. As for the lack of the RGB upgrade, you've still got 10bit 422 and I don't think 422 vs 444 has to be a deal breaker. Perhaps the biggest negative for you might be not having 1080 60fps output, which needs the RGB upgrade. (you also can't use LUTs for on-set video monitoring without that paid upgrade as another one of the small differences) The number of hours on a digital camera these days is fairly meaningless, other than being perhaps maaaybe a hint at how much usage the camera has got. (but I'd rather take a camera which has seen 5yrs of usage in a photo studio, never going outside, vs 5 harsh months documenting the Syrian Civil War!) None of this has yet answered the question "should you get this F3?" Because only you can answer that. Does 4K matter to you? Do you care about how big and bulky a camera is? etc etc etc etc, countless questions like this which don't really have a "right" or "wrong" answer so much as they're subjective personal preference questions. However, I feel that for most people an alternative camera choice like a Panasonic G9/GH5, Fujifilm X-T3/X-T4, Nikon Z6, BMPCC4K (as any of these could be a similar ish price as a F3 / recorder setup will be in total) will instead be better buy for them unless they really really want a Sony PMW-F3 and are committed to it.

ah ha, cheers for clarifying that! Seems FF 90fps is the highest VENICE can do with v5 now: https://***URL not allowed***/sony-venice-firmware-v50-hfr-modes/