EthanAlexander

I'm pretty sure everyone six years ago was wanting 10 bit codecs in every camera. But then this got hijacked by people demanding raw.

The thing about the comparison to stills photography you're making is that there was only ever jpeg and raw, so obviously raw was the way to go. But now there are high efficiency compressed stills formats that are changing things. Plus, storage costs are a huge factor in maintaining profitability. I for one love having robust 10 bit compressed codecs so I can maximize margin.

At least you can add an EVF with a 3rd party. Can't add 10 bit codecs on the C200, for instance.

We're talking two unreleased cameras, but the internal NDs, mini XLRs, higher framerate 4K, and superior autofocus would make the Canon a clear winner over the S5 for docs. Unless you literally have to have two cameras for $4000, in which case there's no point comparing them.

All I know is that after the Black Pro Mist had been hyped to the point of legendary (in my head, at least) I bought one and found the results quite unpleasing. I'd rather have a nice neutral, high resolution starting point (using a log curve and recording to a robust codec) and then add the character in post. I can't believe I'm saying that. Maybe with less strength it would have its use but it was only a 1/4.

This is turning into one of the most illuminating threads on this forum. Learning a lot.

I moved on from Canon a long time ago (team Sony and ZCam now) but this has me interested - The one thing that really keeps this from matching, for instance, the A7III isn't the camera specs but the lack of third party mirrorless lenses! The Tamron 2.8 zooms (and now Sigma's 24-70) are what really make the Sony's a great value and size/weight! Tamron is half of Canon's, both in price and weight.

What do you mean? ZCam prices are still well below any of the Kinefinity prices. MFT 4K - Kine: $3500 / ZCam: $2000 S35 6K - Kine: $5000 / ZCam: $3000 FF 6K - Kine $8000 / ZCam: $5000

8:1 compressed raw now thanks to firmware update! https://www.newsshooter.com/2020/01/23/z-cam-e2-firmware-0-94-released/

RED's reputation has been hurt recently, so it makes sense for them to try to grab lower end customers with a cheaper camera that uses non-proprietary accessories. People thinking "RED sucks it's so overpriced" will probably be ok with the Komodo since it's so much cheaper. People who own one will likely stick with RED and upgrade to something more expensive later. It's what Mercedes does with the CLA or A class, for example - They're grabbing younger people with less income and building brand loyalty for later in life when the same customers have better paying jobs. Arri's reputation has been, and probably always will be, that it's just the best option for most situations. Part of that prestige is that the price makes it inaccessible by all but the highest budget productions.

Thought I'd share some grabs from some 4K60 I did last year. These are graded WITH added film grain. It was too clean without it ? Don't mind the lack of sharpness - I was shooting wide open at T0.95 on an SLR magic

Same! @Andrew Reid Can you add Z Cam E2? And also add my vote for it, cause I already submitted my others... ?

Samsung T5s are known to have all kinds of problems with the ZCam. Seems the buffer is not big enough and the cable connections can be iffy. Z Cam themselves say to avoid it and get a Sandisk or Angelbird

I had similar thinking as I moved from Canon to Sony: with all the traveling I do, I started buying native E mount lenses (for their size and weight advantage) and sold about half my EF lenses... Well, I recently bought a Z Cam and first thing I did was start buying EF lenses again! I love native mirrorless lenses, but the adaptability of EF (or others like Nikon F) really make them desirable simply to keep from being locked into a system. Plus, no focus by wire! ...And don't forget speed boosting...

Sony car: super fast, super range, all the tech, only ugly paint color options. Nikon car: great tech, durable, promised features like "external batteries for extended range" never actually get released. Panasonic car: best suspension, most efficient, doesn't let you look through the windshield when using the accelerator. Canon car: super sexy, built like a tank, "dual focus" lane-keep assist, can't go faster than 10 mph. After firmware update it can go faster than 10mph but only if you never touch the steering wheel.

It's so-so optical quality but yes. If you're never planning to use auto lenses (viltrox compatibility is hit or miss) then this looks like a great option if you're not wanting to shell out for the metabones

Today I learned: Buying the "sharpest" lenses available according to, for instance, DXO Mark scores, doesn't necessarily mean I'll see any of that detail because there are different frequencies of sharpness. "All of the fields I’ve shown you have been at 30 lp/mm frequency, which is a good ‘overall’ picture. It’s important to remember, though, that depth of field, as well as sharpness, varies with frequency. (For those who aren’t up on this, lower frequency is more about larger objects and lower resolution sensors. Higher frequencies are about small detail and higher resolution sensors. If you want a contrasty object on a 24 megapixel sensor, 20 lp/mm is good. If you want to look at leaves or blades of grass on a 50 megapixel sensor, you probably are interested in 60 lp/mm.)" (From the same lens rental link @noone posted https://www.lensrentals.com/blog/2019/11/practical-use-of-field-curvature-graphs-the-50mm-primes/)

Netflix will buy anything if it's quality content - you don't have to use a camera on their list. That's only relevant to shows they produce, not to ones they distribute after the fact.

The Adidas are ok but these are the best by far of all the soles I've tried. Spent a week shooting in NY walking on all the concrete and had what I thought were comfy shoes but I was in pain within a day. Bought these and I'm never going back. I think they're multiple different styles with the same sole which is the "react" part you want.

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020. We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!? Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ? I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

@jpfilmz Thank you!! This is a quick attempt at laying an accurate 16x9 1.33x crop on top. It's gonna be cutting it close but I think it could work

You have literally no way of knowing this. RED has forced users to use over-priced accessories, they have a patent that stifles competition, and they're of questionable moral character, their marketing is mostly hype, but that doesn't mean that the cameras aren't capable of great imagery. Komodo directly addresses two of the biggest drawbacks - price and proprietary media, and they still hold the trump card of real compressed raw. Add on top of that PDAF and a mirrorless mount - there's no direct competition. Who are you to say that this won't grow their business?

I'm just trying to figure out how big the image circle is to see if it will work on the Komodo at 6K. I know it won't cover full frame. Are you able to test this?

@jpfilmz Thanks for sharing. Can you take FF stills with the speed booster on so we can see how big the image circle is? And have you been able to test DPAF performance?

I'm not asking what the crop factor of the Komodo is, I'm asking to test the speed booster to see if it will cover the entire sensor.