Django

Not many folks in the world can afford this, aside from A-list actor/directors like Ben Affleck in the photo above. But usually no one person buys a brand new ARRI. It's either studios, production companies or rental houses. Rest assured pretty safe to say nobody here is in the market so its mostly just an industry look at what's happening on the high-end. As to how it could trickle down, well Canon & Panasonic have both copied the Dual Gain output of the OG Alexa sensor in C300/C70/GH6. Took them 10 years though! Again, its interesting to see ARRI took form them the built-in ND's. surprised they didn't go Sony's Vari E-ND but maybe there is a patent on that one.

Ok video specs are still a little confusing but from what I understand: 4K60p (oversampled) = no crop line-skipped 4K60p (1:1) = 1.6x + 1.8x crop So both 4K60p modes suffer quality hit. 4KFine (30p) is where its at for HQ IQ. It's rated at 30mn overheat but Gordon Laing shows a test with over 2 hours without overheat as do other youtubers. If that's really the case then that is the mode where it's going to be at for video.

wow.. was not expecting that kind of form factor! built-in NDs also rather surprising.. I guess they're also aiming at docu & action shooters that want the most compact rig. just pop on a lens and shoot. very interesting. oh and that rumoured DR is crazy. yeah new Hollywood standard for sure!

well this came out of nowhere !? seems like you've got the usual Canon limitations when you check the fine print: The R7's cropped 4K/60 applies a 1.81x crop on top of the sensor's existing 1.6x crop, relative to full-frame. This will be useful for achieving a zoomed-in look but means you're using just 1/4 of the camera's sensor, so there'll be a significant noise cost in all but the best light. The oversampled 4K 'Fine' setting can record for approximately 30 minutes. There are no thermal limits listed for the sub-sampled or cropped modes. so it's not just a 1.8x crop its 1.8x on top of 1.6x 🙄 and the 7K oversampled 4K overheats under 30mn. so that leaves you with: line-skipped uncropped 4K. C70 has the best DR of any Canon cam thanks to the DGO sensor. Also has Clog2. 4K120p no crop. Canon RAW Light. Only thing R7 has over it is oversampled 4K but yeah it'll be interesting to compare. I'm curious if C70s speed booster will be compatible too.

Sorry I don't know any specific R6 blogs/videos. This forum is one of the best places though! Been shooting Canon professionally for years. The advice I just gave you is the best I can think of. Well one more important thing, try setting your AWB settings to "priority white". Because by default R6 goes to a (imo) unpleasing yellow cast in mixed lighting. I think R6 surpasses Fuji colours but that's purely subjective. Color science is a very personal thing. Fuji does have some of the best white balance and that can make a substantial difference in overall color science. So again check your AWB setting! What bothers you with R6 colours exactly, can you be more specific?

..you can find Alexa's for as cheap as $4K. obviously very used (+6000 hours) and the older models but there are deals out there. and with this new generation, hopefully means more lower priced Alexas to be found on second hand market for us common mortals that dream of owning one some day.

I have an R6 and I find it has some of the best SOOC color science out there. Canon is considered a leader in that domain but the competition has mostly caught up. That said, some people don't like Canon colors so maybe its just not for you. Make sure you check various picture profiles though as Standard may be a bit to vivid/contrasty. But of course for best results and a cinematic look you have to shoot Clog. Clog is very easy to shoot with the view assist on. Grading Clog is also very easy and if you're a starter/amateur just go with LUTs. Only thing is you'll need a very recent computer (M1 Mac) to edit the h265 footage. I had an XT2 by the way and it did have a nice look thanks to the film simulations which are probably the best picture profiles out there (especially Eterna on later models). @webrunner5 I don't understand, you bought a Sirui anamorphic lens.. for a Sony Xperia ? How is that even possible to interchange a lens on a smartphone?

I disagree. In between CS, DR, codecs and specific IQ related features there is a lot to gain by going with one of these top tier cine cams. I mean look at all the cool IQ features in the Dragon-X including various OLPFs and highlight roll off options:

What resolutions were the non 8K R5C Raw images shot at and what's the zoom percentage? R5C 10-bit and Z9 can do 8K and GH6 6K yet they all look substantially lower resolution than the Canon 8K RAW. I ask cuz that plays hugely when comparing the fixed noise patterns etc.

If he's serious about making a film then it makes absolute sense. I love mirrorless for practical reasons but for that cinematic aesthetic nothing really beats ARRI, RED, VENICE & VARICAM paired with cine glass imo. There is a reason why they are standards in big productions and not an A7S3, R5C, GH5 etc. Hopefully he will share with us what pushed him in that direction!

Don't forget they managed to get dual ISO performance on R5C vs R5. Surely that explains the increased DR. There are proven over/under tests out there (ProAV) showing it.

I had some overheating shut offs on my XT2 shooting just 8-bit 4K24p (arguably in very hot weather). AFAIK this issue got subsequently worst with 4K60p 10-bit, especially on XT4 because of IBIS and bigger/warmer batteries: https://youtu.be/bPG1yAJZq4U I can only imagine what 8K60p / 4K120p would result in with no active cooling.

Fujirumors claims no active cooling... alongside 8K that surely means overheating. As a pro, overheating is my #1 concern. With high-resolution & 10-bit manufacturers really need to factor in air cooling. All the features in the world doesn't mean a damn thing if your camera can't make it through the day without bricking.

..If you don't like noisy footage, 6K Pro will be a step backwards in that regard for anything above base iso. You'll not only be losing AF but also IBIS. Also keep in mind EF mount means very little lens adapting choice. Finally be prepared for massive file storage requirements. Now don't get me wrong I love BMD IQ and the 6K Pro is great value but switching to it from a hybrid mirrorless system is a much bigger transition than just losing AF imho.

$11K?! You talking Australian dollars? Z9 is $5,499 USD.

It's hard to find fault on any of these latest-gen cams when properly exposed in daylight conditions. Komodo keeps being the one that impresses me the most: thick, rich & detailed without looking overtly sharp/digital. I'm shooting with one soon, can't wait to check it out for myself.. .

actually @herein2020 is correct: a speed booster as its name indicates .. boosts the aperture speed. you gain a stop of light. but DoF remains the same. that's where sometimes the confusion comes in. it is until it hits the speed booster. a speed booster adds an extra glass element changing the optical design of the original lens. It demagnifies and hence concentrates light adding a stop when it hits the sensor. this article explains it better using the same 50mm example too: I've already explained above that the entrance pupil does not change. However, given that we've now reduced the focal length (from 50 to 35), the formula for calculating f-number has changed. The entrance pupil is still 25mm in diameter, so it now gives us 35/25=1.4. So a 50mm f/2 lens, speedboosted, becomes (not effectively, but actually) a 35mm f/1.4. That's how Speedboosters 'magically' create an extra stop of light. To clarify, our 35mm f/1.4 will give you an exposure one stop brighter than the original 50mm f/2, whether that 50mm is used on full frame or S35. https://www.alex-stone.com/2020/10/29/busting-speedbooster-myths/

woops was comparing to another chart they posted in the test. the jpg file name on the iso250 one still says 800 though.

@hyalinejim if you check the captions that ISO250 DR Boost Off chart is using ProRes, while the ISO2000 DR Boost On is using h265. and as they noted themselves: ProRes HQ preserves the “raw” sensor image in a better way leaving all options for postprocessing but is a tad noisier, whereas H265 is very efficient in storage space and gives good DR values out of the box without the need for much postprocessing. But looking at the noise floor in the waveform plot it seems that it also has a lot more noise processing going on internally which cannot be turned “OFF”. so the noise reduction you're seeing there has lot more to do with codec image processing not DGO DR boost. I saw another test that clearly corroborated that, can't remember where though.

They screwed-up their test with DR boost off set to ISO800 instead of 250 native value.

All DGO sensors don't work alike: from the test I've seen the DGO on GH6 increases the highlight range but doesn't do much to shadows. It's the opposite of the C70/C300III that emphasises clean shadows but doesn't really boost highlights.

Really? I aways thought GH series had that sharpened / NR look. BMD cams in contrast have very little image processing especially if you shoot RAW. As for GH6's "DGO" sensor, it does seem a little underwhelming when compared to the P4K. Also pretty annoying DR boost mode turns base ISO to 2000. I'd rather it be at a low value like 400. At 2000 you're going to need ND's or close the iris during daylight which is when you want that DR boost.. odd choice.

basically budget, workflow & shooting scenario but that's where the cameras and what they offer is important to look at. on Alexa's shooting RAW is 3 to 6 times the bitrate over Prores. That transforms into cost when you know how expensive the media is on Alexa's. But if you wanna shoot the highest res in open-gate mode then it's RAW only. RAW also requires additional steps in post and time = money. If you've got very fast turnover project you may simply not afford to go RAW. In some scenarios you may want to even bake-in a LUT. Prores makes sense for that. But on RED/BMD you may still wanna go RAW over ProRes because the RAW compression options are so good, ProRes doesn't go up to 4444 and media isn't proprietary. and even then when you've selected RAW, there are a bunch of compression ratio options you may select depending on requirements. for example RED gives out these suggestions: RED qualifies HQ for VFX work where you need extreme detail or when you need to pull stills from motion. Next is MQ — or medium quality. Non-VFX cinema and high-end TV productions typically use MQ. In MQ, a 512GB card can capture up to 48 minutes. Last up is LQ — or low quality. In LQ, it records 77 minutes on a 512GB card. RED says its intended use is for TV, online content, documentary, interviews, and long takes. In the end, I guess my point to you was that it depends on an ensemble of factors.

lol you were the one asking those questions