maxmizer

It's Monza next so we may be hearing more swearing in a Northern accent. Northern Italian that is.

Some gorgeous shots by Note.
This camera is the most interesting of all the new releases imho, am bored of the overheating mess that is Canon, and the disappointingly video like images of the A7s3. 

Ultimately, the best thing to apply for this look would be one of these:

 

I've been doing various tests of image quality (Prores vs h264/h265) and also YouTube quality, and i'm thinking my next test will be if YT at 4K is good enough quality to tell the difference between a 4K acquisition / 4K upload and a 2K acquisition / 4K upscaled upload.
The reason I mention this is that you're wondering if 4K 420 8-bit would be "good enough" for YT, whereas I think there's a chance that even 2K 422 might be "better" than 4K YT.
My experience is that the difference between a great 4K master and a barely passable 4K master is basically invisible once YT compression has done its thing and brutally crunched the image.

You need to prioritize. You can't have everything. It seems like your understanding of cameras is not that great, and in that case I would put off investing too much in cameras until you understand what you actually need. If you really need to get close to a subject while it's pitch dark, you should get a lens with a shorter zoom range and larger aperture. Learning how to use noise reduction properly is also much more affordable than quadrupling your ISO performance.
An all-in-one 1" camera and putting the rest of your budget into sound equipment might be good. This is not at all what you asked for, but it might serve you well.

If you look back on the clips that were posted, such as the plane at the airport, you can see that while Komodo has trouble with noise and low light, the color fidelity is not sacrificed as it can be with a lot of cameras in the $6K range. When the lights go down, the bit depth does not suffer: it does not go "thin" or start looking like 8-bit footage when you withdraw light. I can't speak to the colors in the grading process as I haven't downloaded any of the R3D files, but you can probably get it to match any of the modern RED sensors close enough. This is, after all, intended as a gimbal camera and not as a main one. So it is somewhat taking the place of the very capable RED Raven 4.5K, albeit in a very different marketplace. Nowadays, for just two thousand more, you can get a Kinefinity MAVO LF ($8K brain), which is an incredible camera for the price and I think a much better option as a proper cinema cam:
 

So the red komodo for 1500 dollars more is going to have: 
1, True internal Redcode raw at 8:1 in mq mode and 4-3:1 at hq mode
2, Internal 4k and 2k prores recording
3, Global Shutter
3, Much better dynamic range
4, 6k
5, Red ipp2 colorscience
5, Better lowlight then the c200
 
However, the canon is going to have:
1, Internal nd filters
2, full sensor 4k 120 compared to cropped 4k60 on the komodo
3, canon c series reliability
4, Better DPAF
5, 1500 dollars cheaper
 
Personally I don't see the point of the canon, since the a7s3 will blow the canon's image quality and usuability out of the water, while being 1000 dllars less, in a much smlaller mirrorless form factor. At least the red has global shutter and internal raw and 6k. The canon just sound like another 1dc all over again.
 

Simply because of practical reason - it is very hard to buy RED in, say, Eastern Europe, price will be much higher, there's no supporting network in neighborhood, being till now pretty close system doesn't help also (Komodo is better in that regard). To cross boundaries become more and more hard task - say, I personally am not easy traveler (actually in this life phase I hate to travel without highly creative reason) and I have to relay on help and good will of friends or some sort of admirers in UK,  France, USA, China to get such components that look "exotic" from my side... which, as any favor, is not too pleasant experience... (Movie making is not at all my primary creative field, so I have no collegial sort of channels nor, even less, any serious income from that activity... I'm just motivated to start some new creative branch from the beginning and from ground up, simply greatly enjoying process as new-youth game🙂

Footage looks much better than the earlier stuff. 
I think this is where cameras are heading. Higher-end pro tools at higher end pro prices. The mirrorless cameras will be eaten alive by camera phones with 1” sensors and better software. It’s coming.
Definitely has me thinking to just skip this round of mirrorless cameras, because lets face it, they will never deliver on what we want, and just save for a higher end camera.
Komodo has AF so its at the top of the list for price versus features.
Would really like to see a C100 style camera from canon that can compete on image. Doesn’t even have to be RAW. Just a super rich 10-bit 4:2:2 image with the special sauce 1DC had.

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses. 

John Brawley has said they are still tweaking the IR filter and it will be a different one on the final camera release
From.dvxuser.com
IR filtering is still being tweaked. My comments wouldn’t mean much because I had a prototype camera that had a different IR filter than what will ship so that’s a bit difficult to draw conclusions from.

I used all internal ND’s on my shoot. There was also a calibration difference with my camera that wasn’t picked up till recently. Most of the RAW files are shot at the default WB of 5600K +10, which is the “standard” BMD daylight default.

BUT

When you start to go into he RAW tab you’ll find it’s really about -500K to -1000K (Less warm) and -5 to -10 tint (less magenta)

I didn’t change these on my initial clips, but I have on these ones...

https://vimeo.com/440479199

Which also by the way show the 8K and 4K modes 🙂

CMOS is still crappy, what did you expect from cheapo grade?

PRICE
RED Helium Ranger + Monitor:
$31,400 
URSA Pro 12K + Accessories:
$11,500
The new URSA Pro is 37% of the price of RED's comparable offering. SPECS
RED Helium Ranger:
8K @ 60p (12:1 Compression)
4K @ 120p (Cropped Sensor)
URSA Pro 12K:
12K @ 60p (5:1 Compression)
8K @ 110p (No Crop)
 
ANALYSIS
The new sensor technology that allows you to shoot at lower resolutions for higher framerates is arguably the most important aspect of this camera. That and...price. There's really no reason to be in a RED at this point in time. I guess if you hated money you would stick with them? I'm scrambling to find one area that RED would beat BM in and I can't think of one. It was always codec but we might just be there with the release of this new version of Blackmagics Color. Add in the full ecosystem compatibility with Resolve and the fact that it's almost 3x the price. Seriously, if Blackmagic wanted to make a dent on the high end I think they just blew it up. RED is going to have to innovate AND lower their prices (drastically) just to be competitive again. You will have outliers and people that stay loyal to the brand for whatever reason...but if you're unbiased and just looking to make the right purchase, I don't see how RED makes any sense. As of today at least.
Seriously a crazy release and few days here. I don't know if I have ever pre-ordered>cancelled pre-order>pre-ordered new camera in a 48 hour window before. 

I think a lot of people have missed the point of this camera. It isn't just a 12K S35 camera, its also a 8K/6K/4K S35 and a 6K/4K s16 camera. It's been designed to shoot in all those formats without downsides. If you don't want 12K, don't shoot it, but it is there if you do want it. 

if it actually does what it promises at that price !!! ... Sony, Canon, Panasonic, Red, kinefinity should be afraid ...
maybe you save ZCam if you agree to Braw ...
everything else are still photography with possibility of the video

Wow.. with these numbers alone we are close to global shutter in 4K. 
These high MP cameras seem to serve a double purpose when you lower the resolution.
I mean this camera just may trump RED/ARRI ??

Im not sure this is representative of the facts. The crop is only for the very high frame rates. For normal shooting, there is no crop at any resolution... As far as I understood anyway.

I'm in my early 40's and started solo shooting 20 years ago. No IBIS, No AF......you don't need these features to be a solo shooter. You need to take the time to master the craft better. Please don't take that as me saying you are no good or I am better than anyone else, because I still have a lot to learn myself but not having AF and IBIS shouldn't stop you from shooting quality footage.
Plus, Solo shooters have sooooo many cameras to choose from these days if that's what you need.  BMD are not a compact camera maker like Sony, Panasonic, Fuji etc. They are more comparable to other professional arms like Sony Professional. BMD make much much more than cameras and the consumer market is not really their thing. 
 
I'll admit, 12K is lost on me although I have worked on my fair share of productions where we have been shooting 4K for 9:16 output and have needed to shoot with the camera on it's side.....major PITA!
With 12K at least, we won't need to do that.  
This camera is not for everyone, and that's ok. At $10,000 it's attainable to many freelance DP's and the same price as the FX9. Sure, the FX9 is full frame and that is super desirable right now, but currently, the FX9 can't do 4K50/60p in FF and that's a major drawback to many. 
If BMD are are showing off right now and that results in super speedy workflows, improved codecs, improved colour science trickling down for me using their cameras at 4K or 6K (advancements in BRAW will trickle down Grant said) then I'm OK with that.
 
 

So basically ZCam?

Blummin heck. So you can begin to see what roadblocks the manufacturers face when it comes to RAW codecs.
If BRAW is tied to Blackmagic FPGA that is a completely 360 degree turn away from ASIC and your power economy goes out the window.
If ProRes RAW encoding also needs FPGA hardware, the heat management and battery life problems again scupper that.
If RED's patent prevents decent compression, then we have a situation where costs increase or a licensing / patent transfer takes place. Canon RAW is compressed but file sizes still huge. And RF mount on Komodo suggests that compression wasn't free of charge. Sigma Fp uses uncompressed Cinema DNG, so again file sizes are an issue there too.
H.265 ALL-I 10bit is a good solution if you look at it that way.
And is good enough for 99% of cases. Maybe RAW is overrated when you actually compare the graded end results.

I think they did 360 and VR cameras first, although they did make the E1 a smaller M4/3 camera before their current E2 range.

I thought the comparing to Sony bodies was an exaggeration, but WOW does that look like something shot on a Sony A7III that wasn't graded.  

The end will be worse and will cost more than a kinefinity....

Looks like something on a construction site.