anonim

Simply because of practical reason - it is very hard to buy RED in, say, Eastern Europe, price will be much higher, there's no supporting network in neighborhood, being till now pretty close system doesn't help also (Komodo is better in that regard). To cross boundaries become more and more hard task - say, I personally am not easy traveler (actually in this life phase I hate to travel without highly creative reason) and I have to relay on help and good will of friends or some sort of admirers in UK, France, USA, China to get such components that look "exotic" from my side... which, as any favor, is not too pleasant experience... (Movie making is not at all my primary creative field, so I have no collegial sort of channels nor, even less, any serious income from that activity... I'm just motivated to start some new creative branch from the beginning and from ground up, simply greatly enjoying process as new-youth game🙂

I like Komodo approach very much. After following first very disappointing footage samples, that one last posted finally confirm great quality - and for 6000$ for black version it beats even lowest Dragon. But regarding actual world's circumstances and prospects, it is almost exclusively USA product. It will not help RED to get broader costumers and will still stay as niche product... in the movie art/industry that now is extremely democratized and descended down to masses all round the world. Knowing little bit of circumstances in China, I'd say that Chinese manufacturers now just desperately wait first decision of some sort of government support to start more seriously to conquer the market. At the moment, BM with extremely swift and clever approach rapidly takes more and more of the widest user base.

I Strangely, but I managed to deal with and checked both 🙂 Actually, I had UMP G1 and worked with C200. It seems that G2 finally has stable ISO3200 15 stops performance without fear of any FNP, whitch was main concern to worry with G1. Looking just to final Image and codec manipulation especially (including cost of media), UMP is far better than C200, at least for narrative movie project - but C200 has the most beautiful and cleverest compact form factor (although cheaper body) I had opportunity to work with... Several month ago I started first to prepare, and than first shooting days of one feature film - and because of working condition (moving quickly, travel abroad to and from Russia including its some wilder area), I decided to base everything on starter kit of 2 Pocket 4k (it was only cine-capable camera that, if something fail, could be buy and replaced quickly everywhere).

Apart of AF exactly UMP G2 if you're ok with form factor and S35. (Although I think price will even go down pretty soon with new offer with new BM sensor.)

Sadly, at the moment USA is another dimension of affordability comparing to EU. But yes - judging to this last posted footage, it seems certain that Komodo nailed remarkable image quality. Comparing with A7s III results it looks affordable, regarding it is another league (as also Z cam E2-F6 which is even much less $)

(BTW E2-F6 is announced to be properly used with iPhone and iPad as monitor)

If the image and color is at the and of a day someone's top priority - as for me - maybe is not too digression to remind that Z cam E2-F6 Full-Frame 6K is 4000$ https://www.bhphotovideo.com/c/product/1496581-REG/z_cam_e2_f6_professional_full_frame_6k.html

I'm not competent to comment join venture business, but I don't see any reason why would BM share their extremely secret sensor's know-how at the moment when they are probable only comparative company that makes progressive profit. They are where they dreamed to be. I think that It's obvious that their new sensor works in tightest conjunction with their own developed codec to achieve final IQ results that now are clearly next to ARRI's and even the best in software manipulation easiness. All of that with possibility to offer prices that are almost always near half of the price of other market competitors. Panasonic has to immediately learn from BM: to put all effort in their most profitable line and model, without crippling and sparing anything - there are thousands of m43 users that still can be catch to buy top notch camera for their big investments in m43 lenses.

I'm afraid that Panasonic's consumer image division situation is horrible. After GH5 all their decisions look to me as serious market failure, from one or another reason. And reason because I'm writing this is only to drop a drop more of begging to reconsider destiny of GH6 (which is extremely doubtful )... as only step that at the moment could help them to stay profitable alive.

I don't know... I'm really just about pure enjoy in image and look from any camera, but this one still not looks to me comparatively strong in that regard.

Quote about sensor from https://lumoid.com/reviews/cameras/sharp-8k-video-camera-preview

Of course, actually I'm just reading what it seems the latest info https://www.diyphotography.net/sharp-tries-to-steal-canons-thunder-adds-its-8k-camera-to-their-website/ something older https://www.premiumbeat.com/blog/nab-2019-sharp-8k-micro-four-thirds-camera/

I've just found this information: "The sensor itself is made by Taiwanese company Socle and is said to be a true 8K sensor, without the need to extrapolate up."

Please, I bet you are pretty well informed, so I'd like to take the opportunity to ask here instead searching elsewhere: what sensor is inside already firmly announced Sharp's m43 8k camera?

If it could be some sort of consolation, strangely legal grаy market in UK (I mean, there's no any prohibition or punish for openly advertising offers) always has even better prices than in USA (even with ok warranty - I checked). Actually, I enjoyed buying there - I'm for guerrilla side of the world and type of soul, so one way more to stay in condition 🙂

Zeiss Contax 100-300 + Contax Teleconverter 2x which is easy to find.. (As a second option maybe Tamron adaptal 200-500)

Sorry for my pure and probably wrong opinion in this very thread, but you provoke it with question - I fully agree, regarding just IQ, all off till now here and there provided footage of A7S III look comparatively very so-so, or not to the upper standard 😞 (Actually, somewhere up in thread posted review by that Chinese guy, footage - although mostly 120p - even look horible to me.) Phillip Bloom probably made it look the best between other reviewers, but IMO it is pretty (even incomparably) far away of FX9 or Venice regarding image fullness... Up to now footage mostly look to me tiny or, to say ultracontemporary - little bit overheated...

(Canon R5 Me Too signature edition...)

All of these reports more and more irresistibly sound to me as desperate monologues about modern women behavior.

https://variety.com/2019/film/reviews/lillian-review-1203227609/

Little bit of digression - just to remind when camera (here cheap Sony) is in service of talent/idea, not about going to specs war for 4500e Hybrid (Bullshit) Lords

Early stage of domination of profit lust (over really targeting-sensibility and vision) destroyed GH5s, more over when stayed marry with 2500e even year and half after born of Pocket4k for two times less. Next stage of profit lust obsession of retro-thinking-board is responsible for stopping or postponing serious developing of m43. Terminal will be when (if at all) GH6 will be announced for 3000e plus some sort of paying add, and GH6s for 3500e... at the moment when BM day after will announce say m43 camera with APS-C 6-8k sensor behind for 2000e. I'm longing for GH6 but Panasonic's market decisions and price estimation not at all look promising to me.

Fair and correct enough, but I'd say that "problem" arises because of nowaday existence of many more real world variables that have to be accounted. In today highly mobile market, someone who today is mostly say wedding shooter, tomorrow has to adapt and become stock footage shooter, vloger becomes more artistic music videographer or slower shooter of nature or narrative documentary, or even short film story teller... Besides, for examples Sony lenses were by far the most expensive (before new wave of Canon's and Nikon's), and as whole A7S III, complete with native lenses, indeed approach to price of, say, newest Red Komodo, not to say of C 200 II or C300 with great EF lenses... and "impression" to client is undoubtedly important factor for getting a job. Shortly, IMO it is quite common-sense-expecting that buyers will comparing, weighting and re-thinking different possibilities, specs and virtues when prices are becoming so close to each other and earning opportunities are starting to become more uncertain and changeable regarding main focus.

While negotiating for new sensor, Panasonic simply could combine Pocket 4k and Z cam M2 specs with the rest of Panasonic GH5 virtues and put it at any size and form body they like, being box, camcorder, dlsr-like or something modular innovative - but they don't want to do that. There's no enough easy money there for retro lust calculation of their anachronistic CEOs minds - which already made GH5s so huge serious income fall. Maybe it is common sign and common result of aging decision board - Panasonic success and breakthrough impact of GH2 once has been founded of philosophy of being comparatively bold and friendly-supportive close to mass of aspiring, mostly young content makers. After ten years such philosophy and sensibility changed almost 180 degrees - symbolically, paying effort to become Netflix approved status of B in middle or C in big budget production. Gifted students, lower Brandon Lee type travelers, rebellious and hippy style spirits of all sorts from all parts of the rapidly leveraging world will certainly not buy FF fetish kit dlsr body tool for 5-6000 euros. @kye Of course in theory your words about differences of GH5 body and Pocket 4k form has foundation. But in praxis IMO not to much, simply because of extremely similar profile of real world buyers... except pure tourists and happy rich wanderers couples (but as I see even they are not exception! ), every shooting seance in harsh environment anyway needs camera protection. Actually I think that bad estimation of properly targeted user base and its priorities has its part in losing so hard market battle. Once upon a time I knew many video making content houses that openly or secretly change their REDs for GH5+audio module there where clients were not fashionably sensitive about used brend for their needs. Instead of just proceed on the wave of such huge success, with finally adding advanced RAW codec, offering option for neutralization of NR distortion of image, even be first to make proper m43 cinema lens etc. - Panasonic's decision was to actually stop for a while or forever serious developing of m43 and chase for bigger profit per one camera sold. In a meanwhile P4k is still in a regular 'out of stocks' status after two years...

IMO you already wrote the most important and the most truly part: it might hurt S1H sales... So, in theory M43 and FF CAN coexist, but in today's market reality and Panasonic position in it - I'm afraid NOT to the level of full and equally fair developing potential of both. I think that Panasonic will not put enough effort to further developing m43 before they provide (by their estimation) same or very close specs to FF line. Which is, I think, suicidal decision - it is impossible (i. e. too late) for Panasonic to be widely recognized and accepted as important FF photo tool, and although S1H without doubt has beautiful IQ as such (so what?), even Panasonic admit that selling result is disaster... mostly simply because all concept of dlsr body camera for 4000+ euros and new line of lenses for the same sum is absurd.. or nonsense dreaming of their wealthy oldtimer's CEOs. M43 in start can't provide such profit margin for Panasonic anachronistic lust that belongs to rapidly dying past of stable capitalistic (or post-WWII colonial) world and belonging market. Or, as I'm reproaching them metaphorically - biggest Japanese companies live in 'autistic' miscalculation. More and more I see them too sluggish, to incapable to adapt, above all, their passée profit expectation. They all constructed and (at behind-the-scene agreement) strongly supported (with different level of promoters) FF mantra as easy-exit for shrinking profit - but to provide real-world top usability of FF dlsr-body cameras (of course in video field) they are simply not yet capable... and IMO that's all true about actual terrorizing hot news about too-extremely-hot kit-package-bodies for 5-6000e: will such Holly Grails (or Buy-immediately-three-trophies) shut down after 15 or 45 minutes, will they resurrect after 5 or 35min... "Meaning the GH5 successor, and that users should just be a little more patient." Sean Baker... or "Bake-me-true"...