zerocool22

No surprises here, but here are the results. 1. Arri Alexa Mini LF 2. Canon Eos C500mII 3. Red Monstro 4. Sigma FP 5. Sony FX9 (S-Cinetone) 6. Sony FX9 (S-Log3) 7. Sony Venice 8. Red Gemini 9. Red Helium

Hello, Came across this video, found it very interesting. Looks like alexa lf and sigma fp are still worlds apart. (alexa lf vs any of these really)

Yeah the Mavo LF did look really amazing though.

Yeah im guessing 2020 is going to be quite great for camera's. Hopefully also a cheap high speed camera will hit the market, as I would love to shoot 1000fps for table top productions without needing to hire a phantom flex (which is only possible for really big projects, big for me that is).

Hopefully a lot of DR, and a better codec. Now prores, braw and other great codecs have become quite common nobody wants to shoot h264 or h265 as it sucks for editing. I own quite some camera's and get asked to shoot prores a lot (and because I can deliver prores to production companies, they also hire me instead somebody with a A7 iii or GH5 or the likes of that).

Yeah would love some low light footage with a person in it. All these natural daylight shots are quite useless for me.

Dang I seem to have missed the boat, only played at a festival here in Belgium. Cinema/DVD's/netflix not signs of it (yet).

Thanks, long day's yourney into night looks amazing gonna check that one out. Parasite was great as well.

This looked quite good on paper, but liked the look out of the 120D much better, not sure it is only a whitebalance thing. As even corrected I prefer the 120d, so could be CRI related as well. But the off temperature colors are quite shitty to work with though if you are mixing them up with other lights.

physics prolly. I am not a huge fan of the lens though.

In the first video CAM A and B look different for sure. + RAW gives you whitebalance control and more exposure control. So def not the same at all.

Yes I have the same feeling at times, especially when I am reading mags like american cinematographer, and read that a certain shot is shot at F5.6 (spherical) and actually watching the shot in the movie, I am sometimes amazed how good it looks. (Allthough I often blame it on the beautifull rendering of the Alexa as well though and access to amazing locations/set design)

Are there any better mirrorless camera's out there atm?

While the F6 is similar in price, you still get a excellent stills camera with the canon 1dx III. So either the F6 should drop in price, or a lot of folk will jump on the 1D III I think, atleast I would. Now RED is up with their komodo, which we could turn also in a almost ff camera witht the rf speedbooster.

Hope tihs trickles down to the 5D V in april.

Maybe payed software upgrade is possible? The Mark III’s overall design has added significant extensions to its video recording capabilities. Recognizing that contemporary professional DSLR cameras have both 4K and HD video imaging that are invaluable as supporting B and C cameras on major movie and television productions, the EOS-1D X Mark III has the option of either the movie-centric 4K DCI production format or the television/web-centric 4K UHD production format, as well as the Full HD format. When used with a full-frame lens, the EOS-1D X Mark III has a menu selection that switches Image Sensor Readout modes between the following five motion imaging formats: - 5.5K RAW Video with a 17.9 aspect ratio — at frame rates of 59.94 / 50 / 29.97 / 25 / 24 / 23.98 fps 2. - 4K DCI (4096 x 2160) with 17:9 aspect ratio — with no cropping — at frame rates of 59.94 / 50 / 29.97 / 25 / 24 / 23.98 fps 3. 4K - UHD (3840 x 2160) with 16:9 aspect ratio — with no cropping — at frame rates of 59.94 / 50 / 29.97 / 25 fps 4 4. 4K DCI (4096 x 2160) with 17:9 aspect ratio — having a 1.3x crop — at frame rates of 59.94 / 50 / 29.97 / 25 / 24 / 23.98 fps 5. - Full HD (1920 x 1080) — with no cropping — at frame rates of 119.9 / 100 / 59.94 / 50 /29.97/ 25.0 fps

I want, however cant justify this pricetag though. If around 3K-4K I would jump on it. No compressed raw sucks though, I guess "the software that compresses RAW, forgot the name, will pay itself back in a jiffy"

ah dang, was hoping on a RAW tot Cfast recording module These kind of sizes for raw recorders would make a lot more sense for me, then carrying around a external monitor/recorder.

- Colour science (allthough we need to wait for demo footage) - Stills: If I compare still quality between canon, sony or panasonic. Canon easily wins (maybe also personal preference). - RAW: internal RAW. not external prores raw which is not supported in Resolve. Allthough the 1DX is really big for a dslr type camera. But it could easily replace 2 or 3 camera's in my bag.

Yeah wondering the same thing, but the 1DX II was not that bad either was around the same as the A7S II I think. So couldnt be any worse. And the DR of the A7S II is pretty great. Hopefully they will hire a decent DP to film a commercial/shortfilm like the original C300 video.

Too bad they left Forza out of the comparison, which looks like aputure closest competitor. They even got a 500W LED out already at 2K. So hopefully aputure will respond with a price below 1,5K.

I even had this problem with multiple metabones adapters.

Yeah exactly, 2020 is going to be my rental year. On cooler projects, Im gonna skip my fee and just rent nicer lenses. Which is going to be better for my portfolio anyhow.

Watchout with the color differences though I have used pixapro's along aputure 300D's and LS1S and the color of the pixapro is a lot more blue.

ordered