TomTheDP

I have heard the R5C has good dynamic range with CLOG2

Yeah the C70 sensor is a tad overrated. I'd rather have the R5C, but than you lose ND's. The C70 is definitely a good all around camera.

The Raven is a good deal these days. Seeing kits with everything for under $4k. You still gotta stock up on redmags though, probably another $1k.

You can still crop in 4k and have a nice looking photo as long as you aren't printing huge stuff. 12MP is enough for most applications.

The FX3 does have full hdmi. The S1 has more dynamic range though overall when shooting in 24-30p.

You mean due to it being full frame? The S1 is full frame but has really good IBIS. Of course the body is bigger but the mount is just as shallow on the S1 or close to it.

Yeah because humans didn't innovate before patents......

I actually like Sony IBIS. It isn't rocky steady like the Panasonic but it looks natural. Makes the footage look like you are holding a heavier camera.

I don't know if that was shot in RAW or h264 but the colors looked amazing.

Bruh this looks pretty damn good. I get and agree with your point but that film probably would have looked a lot worse on a T3i.

A7S3 sells cheaper used and is the same thing, but with the EVF.

I have seen the tests on the xyla 21 which seem promising, but real world examples would definitely be nice. The 120fps is cropped but to me that is ok, you still get S35 up to 60p, which is full frame if you are willing to go the speedbooster route. The XH2S is way smaller than an F55 plus it doubles as a stills camera. I think I am going to stick to my sigma FP for now, it is also half the price.

To me what sticks out so far is the dynamic range looks to be as good if not a bit better than the Panasonic S1, which is the leading hybrid in that regard IMO. It betters the S1 as it has 4k 10bit 422 120p. It also has twice as fast rolling shutter. I also love Fuji color especially for stills. It is also cheaper than the C70 or FX3 which offer similar features. But I agree that all these camera offerings are starting to blend together. The fuji is just good enough to peak my interest while just underwhelming enough to make me want to pass.

I mean the video with the LED's shows that it handles bright colored lights pretty well. The night shots with the fire looked nice too. Maybe that was the most impressive scene. Nothing is comparing to all that new footage coming out of the Alexa 35 but I guess that is not fair at all. I liked some of the stuff in Matti Haapoja's review though the review itself is super generic. I need to see some footage that is confirmed Prores 422 HQ in different environments and lighting.

I haven't been impressed with anything so far. Hard to know what settings people are using though and all that. I want to see 12 bit RAW out of it. Let's see some short films.

GH2 he prolly means

It's cool but I am not big on variable ND's. Too much effect on skintones.

Fuji needs to hire whoever did the Alexa 35 films to shoot something for them lol.

He did say their new camera control phone app will work on the AMIRA, Mini, LF, and 35 I feel the Amira still has a place while to me the mini not so much.

That is for marketing IMO, I don't even think they have the same people working on it. What does it output 16bit RAW to? The Venice has its own compressed RAW. The FX6 only does Prores RAW to my knowledge. I don't know if I draw the line there but it seems like Sony intentionally limited the FX6 to separate it from the Venice. The Venice shoots its own form of compressed RAW. You can only do Prores RAW on the FX6.

For sure but I really don't think the FX3/FX6 fit in their cine line. It's a clear separation without any of the RAW recording options you get in the Venice. I just feel the Venice could be smaller, but maybe not. I wasn't comparing the mini to the Venice with the removable sensor, I was comparing it to the Alexa M, which is basically obsolete now. IMO Arri has a chance to completely take over the Market by making a 6k full frame camera, and something lighter and smaller than the Alexa 35. But they are happy with the current line up and the Alexa 35. The Venice definitely has a place in Cinema.

As long as there is some mode that can be used as a tripod replacement, for short periods of course, then I am good with it. My main disappointment which will keep me from buying it is in 4k 60p it goes down to 12 bit readout vs 14 in 24-30p.

In the Keynote presentation Stephan Schenk says that the Alexa 35, LF, and 65 will be their line up going forward. He said they will continue producing the LF for the next 2-3 years at least. He didn't include the original mini in that though. Hopefully that means it'll be discontinued and the price will tank lol. This is interesting as the new Alexa 35 body seems very much superior to the LF. A higher resolution full frame camera with the LF body seems like it would be a hit. But I appreciate ARRI sticking to their products. The new colorspace that sits slightly above REC2020 is interesting. It kind of turns me off that they strongly advise against manual grading. One of the lovely things about the original Arri Log C is that it's so easy to manually grade. But I understand why. The fact that you won't have to deal with out of gamut clipping, especially in the blue channel, is amazing. The higher sensitivity mode is a bit off putting. ARRI mentioned there is a certain amount of ghosting with their in camera noise reduction. Though knowing ARRI it is probably very minimal and probably totally suitable for any project.

They could try to cater more to the BM type market though there IBIS has huge appeal with vloggers.