TomTheDP

I personally think Patents do more harm than good. Plus it's not like RED only goes after big corporations.

The OG mini and Amira both do Cfast. But yeah the LF you are right.

I don't see the Mini price falling that much. They are going for 30-35k used while this bad boy is gonna be 70k. The OG Alexa mini is the smallest ARRI camera and that makes it still desirable. Just my opinion, though I'd be overjoyed if it dropped to 15k'ish LOL

I've seen them on ebay frequently for 4k but that is just the body with nothing else, no evf, no top handle. I am not sure how it will effect old ARRI prices. It will defiantly effect the mini I would think as it basically makes it outdated. I feel the Amira still has a solid place in the line up. The Classic not so much but people buying used classics are not the same people buying an Alexa mini. Maybe it'll drive down the prices of used XT's. It'll be interesting to see where this places in the entire lineup as it could potentially out perform LF. Which is kind of why I think they are going to be developing an entire new line of cameras. I agree on full frame vs crop, though after using an Alexa its easy to embrace S35 again. There is really no better shooting experience IMO. I really love my classic but I will probably part ways and get a Komodo. Even an Alexa mini is heavy and power hungry compared to a Komodo.

This one will capture higher color depth and more dynamic range according to ARRI. That has always been consistently the same on any given ARRI camera until now.

There is a lot of cheap fast glass for x mount cameras. Canon R6 is more pricey being full frame but you probably don't need anything as fast seeing that it's full frame. You should share some pics at night with your smartphone. I am occasionally impressed with smartphone photos in good light but aside from that it gets dicey.

Should mean better low light performance. ARRI in my opinion has never been super clean in the shadows, maybe that will change with this one. But yeah the LF is beautiful hard to argue against it lol. Lots of people like the Venice for it's 2500 dual native ISO.

if he is not happy with his Fuji in low light that smart phone isn't going to cut it. I like the colors in Canon LOG2 after just throwing a lut on. Of course you gotta get the WB right. Fuji Autofocus has improved since the XT2 and the 10 bit H265 looks better in low light than the 8 bit coming out of the XT2, similar amounts of noise though.

I don't think that is likely to happen. I think this new S35 camera is the first in an entirely new line up. I think we will see a higher resolution full frame camera to replace the LF. ARRI is still leading in Dynamic range 10 years after their first camera was released(2011 approx). It sounds like this camera will have higher color depth and dynamic range. Maybe this will be a 14 or 16 bit log image, which would make sense if the camera boasts 16 stops of dynamic range.

If you like Fuji just go with that. You'll never really be able to get Canon to look like Fuji. I personally love the Canon look and the R6 is a great choice overall. Two cameras for family stuff seems annoying. I think Fuji is very usable up to 3200 iso which is enough for most things. Get some fast lenses.

Yes it does.

48 would be good enough for me. Also on another note I just bought this. Hoping it will completely eliminate breakage on the micro hdmi.

I heard it has the same poor latency. Don't ask me how with SDI. Yeah I mean all I really need is full HDMI, you can rig the rest out, may not be the best rig but it so small it makes up for it kind of. Not really for high end sets at the end of the day. But hey if the micro HDMI breaks I suppose you can just have another another cam on standby at the price point they go for. It is annoying though.

Well my opinion is that RED rushed their products to the Market. If you look at the image from an Alexa Classic, which came out around 2011 same time as the Scarlet, it's image aside from resolution is pretty much identical to the more recent Alexa LF. If you compare the RED Scarlet to the most recent RED you can't say the same thing. Red has continually put completely different sensors in next gen cameras since the start. The image pipeline from RED has also changed. The older RED cameras are known for being pretty dang accurate in Daylight but not so much tungsten. It improved with the 6K epic dragon sensor. I really think they have nailed it with the Komodo. I compared all three cameras Epic Dragon, Komodo and the Alexa Classic. The Komodo was pretty much identical, the Drgaon looked quite a bit different. I mean that was part of the appeal of REDRAW, you can get any look you want. It was meant to be something you had to fiddle with in post. The ARRI look has been known to be life like, what you see is what you get. Can't say the same for RED, at least in the past. Cameras in general are much more color accurate now though. I was really shocked how easily the Sigma FP matched to the Alexa. The gap is closing in on ARRI. That said older RED cameras definitely have an appeal. The name still stands high in film circles and there are a lot of advantages to a camera designed for cinema use. It pisses me off incredibly that RED has their RAW patent, but you can't get around that 16 bit REDraw is a joy to work with.

4k at 60p would really be something.

I have owned the Scarlet, the dynamic range is ok, color science was ok. The Epic Dragon 6k sensor is better but the color science is still a bit off. The Komodo is right next to ARRI color science wise but dynamic range isn't there. Raptor has the color science spot on and the dynamic range is there too. It keeps the information in the shadows vs in the highlights like ARRI. I assume the Helium and Monstro image are pretty nice but I have never worked with them. The dynamic range on an A7S3 or S1H in RAW would be greater than a Scarlet, with way better light sensitivity. But you have to deal with a poor HDMI output(poor latency, less sturdy, not accurate rec709 image). Of course RED has a patent on the best codec available so that puts them up pretty high even on their 10 year old models.

I think it's more about ergonomics than the image tbh.

Yeah the URSA 12k is not dual gain as far as I know. It has that unique full RGB sensor which may give it an edge in overall look. Kind of like CCD sensors I guess.

Yeah the Ursa takes two 11bit signals while ALEV is taking two 14 bit signals. The URSA doesn't have the highlight retention of an Alexa and the shadows suffer from fixed noise pattern (noticeable when shooting 1600 in dim conditions). This was apparently less of a problem on the G2 though. Still pretty respectable dynamic range.

All RED cameras have a kind of different look IMO. The Scarlet Dragon is nice though not really accurate especially under tungsten. It's a nice look though and redraw is super easy to work with.

Yeah the Pocket 6k and 4k are dual iso. The old pocket and the Ursa 4.6k models are dual gain cameras though.

I'm pretty sure all the older BM cameras including the Ursa have a dual gain sensor.

The GH6 really does seem to handle shadows well, the color holds up.

Just to clarify I have said the GH6 is probably the ultimate run and gun camera. Panasonic always packs in a ton of features at an at least decent price point.

I am not trying to shut down M43. I do think Panasonic should implement internal RAW though. Why not have DNG as an option? They should develop their own raw like Nikon imo. I am sure that is coming. The GH7 or maybe MK2 might be something I would buy. I have complaints about every camera on the market right now, if I didn't I wouldn't have sold my Panasonic S1. The sigma FP definitely has a laundry list of things wrong with it. Maybe I am just whining over nothing but a major downside of the Pocket is the lack of mobility. The GH6 solves this completely as their cameras always have, but if you like RAW adding in an external recorder and batteries adds a lot of bulk. Internal RAW would really put the GH6 in a nice spot. I guess it may be something they can add via firmware. I do love prores. As to prores vs H265/H264 I really do think how its processed is more important than anything but I usually trust prores more. For me the biggest advantage is it runs soooo much better when editing. Even on the M1 chip H265 and 10 bit H264 is a pain. M43 DOF can be really nice no doubt. I do love my ALEXA and for my own personal work it would be my go to camera along with an F35(Honestly I think I like the F35 image more). However when working on indie movies which is huge in Detroit right now, something smaller is easier. The way I shoot the Classic works great, but most directors just want everything and the moon with it. I am very tempted to get a Komodo at this point as it sits between being workable in low budget indie as well as higher end productions.