8K 150fps down to 2K 600fps on... new RED V-RAPTOR

[kye]

20 hours ago, mercer said:

Also look at that Suicide Squad/Red BTS video. It seems that productions are looking for smaller cameras that they can do more with much easily.

All the talk about the Alexa Mini LF that I saw they realised that the image from the mini was good enough to use for the whole film and so just used the same camera throughout instead of using the mini for drone/mounted shots and the larger bodies for the normal stuff.  

I think that even ARRI might have underestimated how much camera size matters, even on larger productions.

9 hours ago, TomTheDP said:

It is a locking mount which is cool. Though most people I know in the uber professional relm dislike using adapters.

That's true, although we are beginning to get into a grey area when comparing a changeable mount from an adapter if the adapter can be securely mounted to the camera and start to have the same kind of weight capacities etc.

I'm not an expert, and maybe an interchangeable mount is still very strong compared to a locking adapter, but a locking adapter has got to be a completely different proposition than a non-locking one.

If it was me using the camera for my own personal work, a locking adapter would be enough for me to just mount it to the camera and just keep it there permanently, but each to their own of course.

7 hours ago, mercer said:

I agree, it's a different direction for a changing industry. I would assume the majority of Red owner/operators only get a portion of their income from narratives and more than likely it's small scale projects. An RF mount is much more appealing to those shooters than PL mount. Just look at the used market, most low to mid level cinema cameras with PL mounts sell cheaper than their EF counterparts.

I've read most of the "<<XYZ>> Lens Survival Guide" threads on reduser and my impression was that a lot of people were building a set of primes that they could convert to EF, could rent out (and pay for themselves), and they could use on their own long-term projects like documentaries (where it would be impractical to rent lenses every time they got a phone call and had to jump in the car and go).

These people talked about the second set, normally USSR / FD / Minolta / Pentax / Nikon primes, as more vintage, and that they'd rent CP2's or whatever for projects that needed a "modern" or "high-end" look, and use their own set when a more organic or vintage look was more desirable.  

In a sense, the RF mount is offering a third option.  We know RF can convert to EF, and thus support all the vintage primes that people are typically converting to EF, but it would also support the new RF primes that Canon are making for their 8K stills cameras like the R5, which might be a modern look to rival (or surpass) the resolution of a CP3 (for example).  In a way this would be a modern high-end look for less money than hiring / buying PL glass.

[TomTheDP]

20 hours ago, mercer said:

Let's be honest here... 8K 120p footage isn't designed for handheld, single operator dramas. These cameras are made for VFX and action films.

They will be flying and circling sound stages wrapped in green screen. 

That is true. I still am not sure why they wouldn't make an interchangeable mount like the old RED cameras. 

@kye
I think it comes down to most people will choose 5 pounds over 10 or 15 if you can get the same function. I have heard AC's complain about the Komodo being very impractical for traditional use and really being made for solo operation with the touch screen being placed where it is. The Mini with the EVF/LCD is a better solution. But thats why they are the top brand I suppose.