TomTheDP

FX3 in RAW is one of the best options right now IMO.

Very niche. A more practical example of usage is just to make the rigs smaller. But dealing with a smaller body without cables is just easier.

It's definitely a nice feature. However it becomes outdated as soon as the camera body gets small enough to not need it, which happened with the Alexa mini. I am honestly not quite sure why there isn't a smaller version of the Venice. The RED Monstro body, which does 8k RAW, is under 4 pounds. Less than half the weight of the Venice.

Maybe, they could also design a whole new sensor with the same tech. Seems like if they are creating an all new colorspace it wouldn't be for a single release.

ARRI is really coming for competition. I really think if they release a new full frame 6k camera with this sensor, the competition is really gonna struggle.

Hmmm I want this. First mirrorless that has interested me in a bit.

The new Alexa 35 really makes sense. The mini and mini lF suffered from no menu screen on the body. This new design also has a battery plate on the rear which means less rigging. 4.5k with less rolling shutter than the LF and a stop more highlight dynamic range than any Alexa to date. Very impressive image coming out of this. Looks very modern and sharp yet still looks really organic and raw.

that camera looks insane

It is an odd world we live in. Originally cameras were made a certain way to serve a purpose. It's definitely got to a point where you question the necessity of much of what you see in the video world today.

Prores RAW gets rid of the noise reduction though and you can use it up to 120fps like the internal recordings. But I agree the S1 series cameras are equally as nice aside from the lack of high speed recording. Yeah I have found always being ultra conservative in what you try to accomplish always pays off. Even if you make things as easy as possible for yourself you'll still likely run into problems. I am really tempted to go with the Sony system right now. I keep juggling different options and it seems like the best one for me.

Very odd.

I love the look of the Microprimes. Maybe my favorite budget set.

I am talking my specific market in Detroit, where RED seems to be universally hated unless you shoot hip hop videos. I do recall it being used on the Matrix 4. Probably due to the extremely small size of the komodo compared to anything else on the market and maybe the global shutter. Matrix 4 is one of the worst looking movies I have ever seen recently, though I wouldn't say its due to RED.

It does get used like I said. Though wasn't Squid Games purchased by Netflix after the fact. It was pretty low budget. Is Henry Graham a DOP? Some directors seem to like RED like Fincher or Zach Snyder. Stranger Things Season 4 was shot on the ARRI Alexa LF though. Around me Sony seems to be preferred over RED if ARRI is not in the budget. The Komodo is largely popular but all I hear from AC's is complaints and it certainly isn't being used as an A-cam outside of a few select movies. I do think the Komodo and Raptor are amazing bargains and would be the set I go with in the low budget indie space.

I don't mind external recording though I dislike the idea of a cable killing my shot, but I guess that is just overthinking. My main issue right now is BM recorders draw a ton of power and Atomos Prores RAW isn't compatible with Davinci or Premiere. Probably just going to buy a RED. 🥲

Have you tried correcting skintones specifically though. That is where I have heard 12 bit is most beneficial, due to skintones being one of the trickiest things to capture well.

Yeah in terms of cine cameras, bottom of the barrel. For cinema or high end commercial you pretty much have ARRI, Sony, and RED. Around here everyone like ARRI or Venice. Obviously RED gets used, Squid Games was shot on RED helium. Now the Panavision DXL2 is a different story, if you want to count that as a RED camera then yeah it gets a ton of high end usage. Off topic, I have been considering the Venice but I recently was looking at some high dynamic range shots with their REC709 lut and it just wasn't doing it for me. The Alexa would have looked better. Now I am sure with some work they'd look the same. But I'd just rather go with an OG alexa mini at that point. It is light and smaller. That said I'd probably get more work with the Venice due to its 6K full frame sensor.

You can shoot BRAW with the BM video assist.

Yeah this. RED is the most gimmicky camera company out there. Who would of thought with names like "Epic Dragon". They are good at marketing, which is why their stuff is so popular in the indie scene. In Detroit so many people know of RED and have never heard of ARRI. But talk to any high end DOP and they will tell you RED is bottom of the barrel for cine cameras. I don't think I have ever heard one positive thing about RED cameras from people who work in higher end productions. Of course that is just coming from being in the Detroit Michigan area. However I do really like the RED Komodo. They finally nailed the color science. The camera itself and the power draw is also ideal for indie run and gun productions. The RED Raven is also pretty compelling at 3k used right now. It's too bad mini mags are still so expensive. The RED Komodo and the Raptor are both really compelling. I wish they went for lower resolution sensors. I'd much prefer a 4k s35 camera and a 6k full frame camera. 20K for what you get on the Raptor is really awesome.

It's all about control I think. If you know what you are capturing it makes it easy to make decisions on set. If you are doing set design you don't want the camera making random decisions for you on what looks best. What I have found with Arri is they always look very true to life while still somehow being pleasing. I think it's just whatever magic ARRI does with skintones without effecting the rest of the image so much.

Because people 1:1 4.6k RAW is no problem for a big production I guess. I am sure ARRI would have a compressed RAW option if it wasn't for RED. RED is sometimes used on big production though like Guardians of the Galaxy 2.

Sony has compressed RAW too. The Venice can do 16 bit RAW at about 500mbps. Not sure why or how. Prores 444 is good for me, especially because you can downsample prores without losing too much detail. 2k or 3k Prores 444 off the Alexa is my preferred way to shoot. Just saw a mini in decent condition being sold for 26k, maybe I'll be able to get one soon. 🤣

The Z9 is doing RAW internal, not sure if it has fans or if it overheats though.

Yeah I appreciate the external RAW codecs but why not some internal H265 12 bit codec or something like that. I know people are obsessed with RAW but if you have the color information you can recover incorrect WB, may not be as easy but no one complains about shooting prores 444 on an Alexa. Seems like an easy way to get around RED's strangle hold on RAW.

Yeah RAW is getting too much hype. Just include a 12 bit codec instead, that is the real advantage of RAW to me, smoother color transitions and better skintones. Just give us 12 bit.