independent

Red will likely remain as Nikon’s cinema line, just like Sony and Canon have theirs. But can’t imagine why they wouldn’t adopt red raw in their mirrorless cameras from this point forward. Also, I think it’s likely the Komodo and raptors are all end of line with the rf mount. I imagine new red cameras will be released with PL and Nikon mounts to integrate the hybrid/cine lines.

Shit. This is the one.

If I have to use them, I like the Schneiders.

Well, I think most cameras have internal processing for noise reduction, even "raw." The Arri Mini LF's dynamic range numbers in Arriraw and Prores were almost exactly the same across the board, which shows you how much NR is being applied in "raw." Regarding the c70, the Austrian reviewers measured 12.5 stops in canon raw, and it tops out at 12.8 in XF-AVC. You'd think it would have benefited more from the compressed codec. But the DGO likely already maxed out the DR, cleaning up the canon raw, which otherwise must be the noisiest (least cooked?) raw out there. Interestingly, the R5II's 13.6 stops were consistent in oversampled 4k, regular 4k, and even 4K120. Seems to lend credence to a real, meaningful improvement in DR, wherever it is in the pipeline. Also, the Canadian reviewer shared the R5 II's XYLA chart, which looks really clean for a Canon camera. Count the stops.

For better or worse, I think any standard of dynamic range in quantifiable terms has been established at SNR 2, granted by the only two reviewers who possess Xyla charts. Anyway, the recent review shows that the r5 ii in c-log 2 can deliver 13.6 stops at SNR 2, in camera, in 4k modes including 4k fine. There are very few full frame cameras, cine or not, that have hit that mark.

Canon c-series cameras all have clog 2 and none of them have over 13 stops in any codec, including the DGO c300iii/c70. Arri Alexa mini LF measured at 13.5 stops…

13.6 stops? What?

Just saw the CVP tests - the big surprise here is the unique triple base iso - really impressive feature in the under-exposure latitude tests. This might be the best low light camera available

Sigma FP is the successor in spirit to the Canon 5d III with ML. For one, the Cinema DNG files are unquestionably special; red raw is the only other codex that gives you such good color quality (subjectively, but I have worked with almost every camera in the past 15 years). But the 5d has some serious limitations, such as true full frame raw (despite the fact that I enjoy the bullshit pixel binned 5.7k anamorphic setting), and I had issues with sound recording last time I used it. There’s just some hardware limitations, period. Fun to tinker with of course, and if you’re carrying it anyway, why not use it? Because it’s now pretty heavy and also not low profile considering the options. Such as the Sigma FP, which fixes everything pretty much. Rock solid reliability, 4k cinema dng 12-bit raw, etc. That being said, the FP still can’t shoot internal 4k 12-bit raw, requires rigging, lens adapters, ton of media storage, has a completely shit screen, you need to buy an expensive EVF, and without AF and stabilization you have to find solutions for those. So at that point, why bother with the hassle? These are all just tools, and I’d say 5d iii and sigma FP would be suitable for art private projects or short films. I don’t think they’re even good for travel. IPhone 15 pro far more functional. It would have to be in very controlled situations, for any budget. But as the production gets bigger, the cost to rent or buy between these cameras and that for a more pro camera is really not that significant, which is why nobody uses them. Don’t waste your time and money, in other words. Buy the newest smartphones for private use. Rent the right cameras for work.

Canon R1

This is why the Canon R5c can test relative poorly in raw yet approach very close to 13 stops with some noise reduction applied (in camera) and downsampled from 8k, which Gerald showed this in his review. Of course, dynamic range isn’t the same as highlight roll off, in which the R5c is better than the FX3/A7s3 because it allocates more stops in the highlights. But it comes at a cost of a lack of latitude in the shadows, like the Panasonic s5iix. The sigma fp and red Komodo are the opposite, so you have to really protect the highlights. None of this really matters if you understand your camera and exposure strategy. The Sonys and Canon c70 are balanced in their latitude, which can be better for doc work and run & gun.

Wow. Industry disrupting actually. Nikon stole the competitive advantage of Red’s ridiculous patent. I’m wondering how fast they can implement this—how much time I have to liquidate my canon gear.

This needs to be 16mm

Rode is a prosumer company.

I get it. Never getting rid of my 5D iii

Ah the ol’ reach around from down under

They need to ditch this ridiculous "pocket" design. I hope they release an updated 4K version of the real pocket camera. Also, a Komodo-like, modular box design w/ built in NDs. 6-8K. I don't expect autofocus or any cutting edge technology, but they can make these relatively simple changes.

Would be interested in how the image stabilization is on non native lenses, i.e., EF lenses with and without optical stab.

Looks like DJI is releasing a RS3 Mini

What windmills are you aiming at? I just said some camera designs are butt ugly. It’s an opinion. Enjoy being a martyr about nothing. Nobody cares.

You know there’s a design team for these cameras? For your laptop? Nevermind, you probably have a Dell

Man, Panasonic and Sony cameras are just butt ugly (aside from FX-3)

Komodo

I like this. Apple might be completely offloading FCP resources to Blackmagic. Resolve is industry standard. Apple's path to continued growth is cloud and digital services, and I can see Resolve becoming a subscription service for pro users, packaged with cloud storage from Apple. They worked together before with the BM eGPU, and I think it's a sign that they have been working together behind the scenes. It makes sense for Apple and Blackmagic to collaborate on a large sensor camera with the most efficient workflow from acquisition to delivery, equipping the masses with professional tools for content creation. The studio film industry will justify itself with $100K Arris, but for everybody else? Somebody will come for Canon, Sony and even Red's lunch. Throughout the backdoor.

Let’s not get carried away, if production gets to that level, the fx3 will be used, not the fx30. It doesn’t matter what the marketing lit says, no real production would ever use the fx30 over the fx3 because the cost difference is nothing compared to the compromises. Sony is diluting their cinema line to sell more cameras to influencers and casuals. So what? Not sure what you’re getting worked up over. Canon has been doing the opposite for decades. Just get the camera that’s right for you.