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I don't know about electronically, but the new handle definitely wouldn't be physically compatible with the R5C, given that the top isn't flat and doesn't have 1/4x20 holes to screw it in.

Apparently CVP confirms in their review video that the handle is NOT compatible with the R5C - which begs the question: what is the point of the multi-function shoe mount if something like this new multi-function top handle isn't compatible, but the Tascam one is? 🤷🏾‍♂️

Not really. Blackmagic does not seem to have any interest in supporting BM Raw outside of their own cameras and recorders. ProRes RAW, on the other hand, is now used at least in cameras from Panasonic and DJI, and apparently, their own camera app on iPhone. By that logic, they also shouldn't support Canon raw or Nikon raw since they are also ostensibly competitors. The historical reason was that they didn't support it because they hate Atomos, which I get, and the format was primarily recorded by Atomos recorders. Nowadays, that use case is fading as more vendors record it directly in camera without forcing users to deal with a shitty third party.

Na never, they are format standard competitors

I didn't catch it while streaming the Apple keynote earlier, but apparently they mentioned that its ProRes RAW capture (I did hear that and I approve, but I just bought a 16 Pro last year so it'll be at least a couple more years before I get a newer iPhone) would also work in Blackmagic Camera. So at least on the capture side, it seems like their allergy to PRR is fading. IBC starts this week. Dare we hope for an announcement for new input codec support in Resolve? At this point, it seems silly that they would capture it and then refuse to edit it.

An important question for me is whether the C50 top handle/audio mixer is compatible with the R5C? Looks like it's secured with two screws on either side - but maybe Smallrig or Tilta can make a modified cage that allows the top handle to be bolted down that way? 🤷🏾‍♂️ If it is compatible I wouldn't need to be pinning for that Tascam Fr-AV2 anymore. But if it isn't it would be another head scratcher bcuz between the C400's detachable monitor and now this top handle/audio mixer, I feel like Canon is missing these really big opportunities to open the door for Canon made essential accessories that are compatible across/within their cam/cinema lines which would further strengthsn their ecosystem. Either way, seems like a great piece of kit!

Man, his review was a bit of a preview with very little detail. No hating because he had very little time, but comparing images in full sunny day and cloudy day is not very conclusive. For example, we know that they have a new hotshoe that seems to have an audio link.

I guess I'll be curious to compare it with the OG Komodo. Its dynamic range is really nothing to write home about. It's some of the best DR I've seen from a global sensor, and definitely better than the E2-S6G - but compared with other cameras that I have which do 12-bit raw like the Ronin 4D, it is definitely not better and grading doesn't seem that much smoother either. (Komodo-X is a lot better) Also, a noisy image in raw partly just tells me that the manufacturer isn't baking it in - and I'm pretty OK with that.

CVP guys are excited too

I managed to see the whole video. He was saying colors looks like RED colors, but R3D fidelity is not there. Of course because its 12bit and not 16bit. Also the image is as noisy as Z6iii. He loves the large screen tho.

Looks like the video got pulled, but NikonRumors summarized some stuff: At $2,100, it's a much, much more interesting option than it was at $2,600.

BTW, @Andrew Reid - which Epic are you selling? There were several (Epic M-X 5K and Epic Dragon 6K in DSMC1 and Epic-W Gemini 5K and Epic Helium 8K in DSMC2 - with monochrome variants of all of the above). If it's a monochrome or maybe a Gemini, let's talk. 😃

So according to the youube review: no full size HDMI. No DR boost like S1ii, and the R3D codec is 12bit, not supported by Davinci yet.

Sort of a new Raptor. It's just a reduced/cheaper version of the existing V-Raptor. It's basically the same as Komodo vs Komodo-X. At $15,000, it's still awfully expensive, but at least it helps them stay competitive with the UC 12K pricing-wise. I suspect that with some of the other recent releases, the number of people willing to go spend $30k on a V-Raptor X isn't huge, a very small number of Hollywood productions notwithstanding. Why shouldn't they? They own both codecs and now they can tell people that it's a camera you can use as a B camera to your Z9 or it's a camera that you can use as a B Cam to your Komodo-X or V-Raptor (or crash cam) and have it fit neatly into both workflows. This is where I am, but $2,600 isn't "cheap" for me. Sub-$2k, though, and I'm starting to pay attention. Since that won't happen, I'm probably in the "wait 6 months and pick it up used" camp.

More or less, that's it. Perhaps also, to be able to shoot Open Gate.

They just don't want to alienate their customers. The people or rental companies that bought 30 000 to 40 000 USD camera and system, will be pissed if their investment is gone in days. They are already offering Canon to Nikon Z mount swapping, and my guess it will take at least 5 years or a total change.

I gave a quick look at the CVP review and it seems the S1 II has more exp latitude than the C50. Especially underexposed. Anyway I'm still skeptical about those raw codecs without a fan.

I think with the CFexpress card and many raw format in including it seems REdcode, it is no more a youtube camera, which I also thought before with the SD/MicroSd card rumor's. If they do what Panasonic did with the same sensor as the S1ii, we could get a very good camera. I sincerely hope did the later, as it would 1 to 1.5 stop of exposure latitude than for example the Canon C50.

I wonder what was the purpose behind developing this new sensor. Its not exceptionally fast, doesn't have new DR tech. Just to increase a bit of resolution and keep the 40fps burst of R6ii to put in R6iii?

I think the 2600 is the body only price. Because he says "keep in mind that this range also includes some lens kit options".

Weirdly, Red announced a new Raptor where you can choose between RF or ZF mounts...

I'm still skeptical about this one. Both RED recording and NRAW mentioned in the new rumor. Why should they give both internally? Maybe something lost in translation again.

Btw I think it's a strange first Nikon RED launch product. They don't seem to understand marketing. The first camera with RED tech should be higher-end than this, a statement. Instead they've gone and done a YouTube camera. It'll be interesting to see whether the volume of sales to content cretins makes up for the devaluation of RED's brand. It's not really a cinema camera... maybe it's 2025's answer to the Blackmagic Pocket OG?

This is always one if not the best camera review. The camera itself looks a very very good product except for the Stabilization. Another thing is the latitude test, which is for me the true to life DR test. And it is definitely not a DGO sensor and Canon is lying again about the 15 stops of DR(Not same test values). In the latitude test it scores about 7.5 to 8 stops of exposure latitude. Which is ok to good. For example the Panasonic S1ii in normal mode, does about 9 stops and the Arri Alexa LF 10 stops of exposure latitude.

WOW they finally did it... A world beyond the 3.5" LCD exists!!! If it is cheap and does REDCODE 6K to CFexpress then it's game on.