independent

To be fair, I don’t think the main demographic of this camera would require DCI standards. Nobody aiming for cinema release would be using this camera. Much better options. This is for influencers.

Love this FX3/FX30 body. Best of any mirrorless. But the dynamic range and roller shutter will definitely cause some limitations. Also, the lack of EVF is reflected in the price. I'm not sure it's a great deal, but it makes sense if you're a Sony shooter and need a B cam... But...this really undercuts the FX3. Too much of a price difference. If you're really on a tight budget, you'd just pick up two FX30s. If you have a bit of a higher budget, a FX6 and a FX30 makes a lot more sense instead of two FX3s. If you're a hybrid shooter, the A7Siii is a no brainer over the FX3. Actually, all these mid-tier 4K "cinema" cameras all seem pretty overpriced now.

For run and gun, Komodo is best with an AC, since the autofocus is not as developed as Canon and Sony's. However, on the upside, you can use the link adapter to monitor w/ your phone with minimal lag, and your entire crew can monitor on their phones/iPads over wifi, within a reasonable distance. Definitely global shutter and patent on compressed raw 🖕help the image. You can strip down the camera with just a wingtip and a M-mount lens for very low key shooting, although you can rule out the slim BP915 batteries—you won't be able to turn the camera back on after 20 minutes.

If you're going to use the VND, how often do you really need to take it on and off? The kippertie is a no-brainer if using s35 lenses for Komodo. I found the Canon VND to be slightly more neutral than the breakthrough, which was disappointing. I sold mine. Some on the reduser FB group found similar results. Maybe there's some sample variation? Agreed on magnetic lenses...I've been waiting for Breakthrough to release their new magnetic lenses but it seems they're busy with the other releases. Nice to see them get involved with cinema solutions though. Anyways, matte boxes are becoming increasingly compact (bright tangerine, tilt, smallrig) - they're a pretty good interim solution if you're willing to spend on filters. But yeah, filters are pretty annoying. The next Canon cinema camera w/ full-frame, DGO, and internal ND should be compelling.

Who died? Isn’t RF still the most versatile mount, even with the recent rumors/reports? And I still see 3rd party lenses being released. We’ll see what exactly is going on soon enough. Maybe this financial armageddon destroys all legacy camera manufacturers anyways. Anyways, the ef 50 is tolerable if you don’t shoot wide open, don’t need to finish 4K+, and don’t need to match lenses. If you do need a set, keep it consistent; the older 24, 35, 50, and 85. If you need 6k/8k or even sharp 4K, the 35mm ii, 85mm 1.4ii and the recent zooms all can hang with the RF lenses. If you need a wide fast prime, the sigmas (20, 28) matched relatively well. The hole at 50mm? Well, we had few choices so we tried out RF and Otus. We went with the RF for our workflow—the image was nearly indistinguishable. At some point, the RF L line will be complete. It’ll be expensive, as will Sony’s, as these remaining camera businesses evolve towards Zeiss/Leica’s path in a diminishing market.

Tested on our R5 and RED Raptor, the RF 50mm 1.2 far out resolved the EF 50mm, which looked out of focus in comparison. Resolution isn't everything, but the EF also suffered from more chromatic aberration, fringing, and busier bokeh. I don't know. Great lenses are expensive—even EF lenses like the 35mm 1.4 ii or the most recent EF zooms. The RF are nearly the same price as those—and the Sony counterparts as well. If you're complaining about the RF, you might as well complain about everything else. About the RF exclusivity, we'll see how it plays out. Still see a ton of 3rd party RF lenses being released on B&H.

Companies will do what they think they need to do to stay in business. Doesn't bother me too much because the EF/RF adapters, especially the ones that include CDs and speed boosters, are quite functional, even essential. The moment Canon makes a full frame version of the C70 (internal NDs+Full frame), then yeah, you'll really feel the pressure to go RF. At this point, Canon's decision doesn't adversely affect innovation and buyers the way Red's patent does. Canon will continue to support EF lenses, which is still the most widely supported mount. The real immediate loss is the hope of Sigma RF lenses because they're both good and affordable. RF lenses are unquestionably expensive, but Canon will have to keep innovating to justify the price, which to their credit, they have--for the most part. The 50mm 1.2 RF version destroys the EF. It's like an Otus with autofocus. Also, the 24-70 zoom adds IS to the 2.8 - and is much quieter. Two significant improvements to the EF versions. There are real innovations being made, but like anything, vote with your wallet.

Sensor size will increase, but it will be subject to limiting factors. One, diminishing returns and less demand for what a larger sensor size can get you. Not everybody in the market will need or care. Second, AI will increasingly simulate what larger sensors offer. Doesn't mean Apple and Google will dominate the pro industry. The pros will remain; what won't be the large prosumer market that buys pro gear for no good reason. They won't be able to afford the pro gear nor will they need it.

red implemented this with their app for komodo. you get pro monitoring tools and even tap to focus. connects via wi-fi so it’s wirelessly accessible to all but with a catch. slight stutter/lag. improves with wired connection via adapter, which is good enough that I prefer it over my portkeys bm5 monitor when I op. i always prefer to shoot light and simple as possible. can’t see how it won’t get better in the future. other camera manufacturers need to get on board. canon’s is trash.

Don’t want kids?

100% agree, cameras do behave differently and people should know their cameras. I'm just addressing erroneous ideas about latitude. Based on cineD's test, Gunther could/should have exposed lower for a more balanced over/under to help avoid confusion; some people are interpreting that as the Komodo only having 1 stop overexposure latitude...period? No. He just used 60% EV as an arbitrary reference to show that the camera had 7 stops latitude. If he had exposed it as CVP (or anybody else) would, his results would "look" more balanced (+3/-3) to uninformed readers. Yeah, RED cameras including the Komodo are quite different in terms of Native ISOs and how data is allocated off the sensor. ISO 800 is not a native ISO, it's just a starting point for exposure strategy. ISO is more like a LUT to help the shooter expose properly. For example, shoot at lower ISOs in low light (to protect shadows) and higher ISOs in brighter scenes (to protect highlights) For example, if something is just under clipping at ISO 400, you can bump your ISO to 3200 and the image still won't clip. The image will LOOK brighter, but you can check your exposure using false color, goal posts and stop lights to see how data is being distributed and what's happening in the highlights and shadows. This is different from other cameras where you raise ISO to increase gain. All this can seem counterintuitive when comparing w/ other cameras, which I guess is why there's so much confusion.

Perfect exposure is very different from overexposing or underexposing by two stops. If you just look at your monitor, viewfinder, or LCD, you wouldn't make such gross exposure errors. For example, if you were shooting your kid outdoors, two stops overexposed, the image would look obviously blown out. Anyways, CineD has made some mistakes with their tests, especially the Komodo and not understanding how the Komodo retains and recovers highlights. Also for their latitude test, they also chose to expose hot for the Komodo (a mistake), which led to those skewed results. CVP exposed more sensibly and got 3 stops over and 3 stops under, a more balanced result for latitude.

“Super controlled environment?” If you have any monitoring tools or even any modern LCD screen, you can clearly see when you are over or underexposed. It would be painfully obvious. Have you recently shot two stops over or under and not realize it?

Protecting the highlights is something you should do for every digital video camera. What kind of extreme situations or incompetent DP would make such gross exposure errors? Latitude matters much less than dynamic range and highlight roll-off, where the Komodo leads significantly.

Oh man, the Red One. I learned to operate with it, and while it was sometimes quite a bitch to work with, no question how amazing it was for digital. Truly groundbreaking. Saved up to buy the Scarlet as a wet hire, switched to Blackmagic and Canon for more commercial work, and now I'm back on Red because they priced it right. If you're into the Red One, you already know the answer. Komodo. 6K 16-bit redcode raw and global shutter will give you the most detailed, color-rich, film-like moving image. While this forum is centered more around hybrid, consumer cameras, discussions lean almost 99% video. Probably because what people want are accessible cinema cameras. Well, we've never gotten a pro cinema camera within reach until the Komodo.

Rumors are canon rumors is going to Spotify. (C1)

Well you're committing several logical errors. You're implying that it's not important for the owner to have confidence in his own gear or gain the client's confidence. I'd say both assumptions are wrong. Second, a prosumer small camera may be fine for filming your cousin's fourth wedding during a pandemic. However, in any real paid gig, any pro would know the practical benefits of professional equipment. And there are practical reasons for Red or Arri's reputation. For the Komodo, Redcode Raw is accessible at a competitive price point, which distinguishes it from cameras that largely share the same feature set. But it's not a hybrid camera, which makes the R5/C or R3 compelling choices depending on the situation. But there's nothing wrong with using your GH3 to shoot your cousin's wedding. Hope she made you a plate.

All these contemporary cameras are more similar than different. In nearly every case, practical concerns of the endeavor will, or should, determine your choice. At some point, we're all just arguing over how many angels are dancing on the head of a pin. The correct answer of course is just one fallen angel, the Komodo.

Canon is making good enough cameras so far. It's a cutthroat business and making shitty cameras isn't going to help. We're not getting better cameras if say Sony was the only game in the town. Innovation is incentivized through competition, and the improvement in camera tech over the past 10 years has been nothing short of astounding. Lastly, not sure why so many are emotional. Pretense of certain obligations? Companies have to abide by consumer protection laws, but none are obligated to fulfill your personal idea of a perfect camera that violates all patents that's infinitely future proof with unlimited upgrades with a lifetime warranty. A company's aim is to sell you something. If you don't like it, don't buy.

True, but there's something beyond jello...I hate to pop open a can of "motion cadence," but I've inadvertently noticed something smoother about the Komodo's image during camera movement than that of the R5 in even 8K raw (and others, but that's my other camera right now). It's almost that the pixels are somewhat dancing/moving/winking in the rolling shutter, whereas the Komodo's image seems more stable, even during handheld moving shots. All this contributes to less of a video look. But the R5 is outstanding in static shots or very slow controlled movement.

IIRC the c300iii also measured 13 stops among online tests using the Xylophone charts, so maybe that's the top. But yeah with raw you can always fight for a fraction buried in the noise floor

Why compare clog 2 with clog?

Still think Komodo has it. Global shutter and Recode Raw > Canon Raw. That patent, may it burn in hell, is still doing its job.

C70 should have 13 stops of dynamic range, R5/R5c should have around 12 w/ log 2/3 (right?)

Raw is a great addition to the C70, but man, poor C300iii owners. Canon is reshuffling the deck, squeezing some more juice out of lower-end models that sell rather than protecting their pro cinema lines. But I guess C300iv RF, 6K S35? Gotta leave a little room for the C500iii RF 8K DGO.