majoraxis

Yeah, I was thinking about this.  Part of me thinks that even if they internally recognize the opportunity of marketing this camera to a new segment of the market, they’d never pitch it as a more affordable, lower tier option because they don’t want to erode their high end brand image.  Marketing it solely as a crash-cam/drone camera for high end work makes sense in that way.  On the other hand they were also known as disruptors in the past so I could see where they could also market the camera as such.

Difficult not to agree although RED have consistently claimed that Komodo is primarily a niche camera to support other RED cameras (drone, crash, gimbal etc.) and is not intended as an A camera for those outside the Holy Circle. 
 

My start was with a hacked GH1.  The bummer was that the pictures it took looked like they came from  a movie camera, but when you recorded to 1080p it lost the high dynamic range look of the photos.
I’m glad the days of the Panasonic hacks and 8 bit recording are over.  Give me a GH5 in internal 10bit 4:2:2 and I can get a good image in a studio environment.
Give me a Pocket 6k with 12 bit BRAW and I can get a good image out doors in day light and night time in low light as well.
 All. hail Tester 13 and his GH1 hack... that was when we were living the Indy film making dream. Just add some Loma Anamorphic lenses to the GH1 and you get this:
 

My start was with a hacked GH1.  The bummer was that the pictures it took looked like they came from  a movie camera, but when you recorded to 1080p it lost the high dynamic range look of the photos.
I’m glad the days of the Panasonic hacks and 8 bit recording are over.  Give me a GH5 in internal 10bit 4:2:2 and I can get a good image in a studio environment.
Give me a Pocket 6k with 12 bit BRAW and I can get a good image out doors in day light and night time in low light as well.
 All. hail Tester 13 and his GH1 hack... that was when we were living the Indy film making dream. Just add some Loma Anamorphic lenses to the GH1 and you get this:
 

Also because the actual IQ difference between a RED and a P6k is almost none, aside from resolution on the 8k REDs

I do too...
I also remember how hard people were on the RED camera person.
Apparently, if you:
1. Know how to get the most out of your camera.
2. Are in a controlled studio environment so you can compensate for weaknesses in your camera’s dynamic range with lighting.
3.  Have color grading skills so you can further compensate for weakness in your camera’s dynamic range with power windows.
There is the distinct possibility that you can evoke an emotional response out of your audience that competes with the response to cameras that cost 10 times as much or more.
I think this is equally true today if some were skilled with a pocket 6k or GH5, lighting and color grading vs someone less skilled with a RED.
 
 
 
 

I do too...
I also remember how hard people were on the RED camera person.
Apparently, if you:
1. Know how to get the most out of your camera.
2. Are in a controlled studio environment so you can compensate for weaknesses in your camera’s dynamic range with lighting.
3.  Have color grading skills so you can further compensate for weakness in your camera’s dynamic range with power windows.
There is the distinct possibility that you can evoke an emotional response out of your audience that competes with the response to cameras that cost 10 times as much or more.
I think this is equally true today if some were skilled with a pocket 6k or GH5, lighting and color grading vs someone less skilled with a RED.
 
 
 
 

Well its a nice day here so I've set myself up on the balcony to do this al fresco and have gathered together the components that I need for my particular style of product development.

My point was that I doubt the Digital Bolex D16 would have seen even half of its (limited) success if it had been a 1/2.3" sensor instead of a Super 16mm sized sensor. 

This is truly going to be a revolutionary product for the low budget world if it lives up to expectations.
This packs so much into just one product (timecode! recorder! camera hop! IFB! etc), and all at a very very low price and small form factor. I can see a lot of people buying a couple of these to keep as spares in their sound kit to solve whatever random problem might pop up on sets unexpectedly. 

The biggest negative is that you can't pair a transmitter with more than four receivers, if you're like me a sound mixer then this low number can quickly become a problem. (although it would be good enough for "most" of the productions I work on, I'm not yet at the level when I'll regularly need dozens of comteks available to hand out on a regular basis!)

@Blackmagic - thanks for the $500 price reduction on the 6k!
Please also release a micro 4/3's version of the 6k with same attractive lower price...
 

Looking forward to seeing if BLackmagic will use either of the new Sony sensors.  Seems to me that 8k maybe a great resolution for BRAW to record in, to deliver full 4K resolution after all of the file size reduction used to compress the images for BRAW storage and allow people to stabilize, reframe and zoom in post and then still deliver 4K. That said, I am fine with watching 1080pm video so delivering 1080p from 8k BRAW could be a great creative workflow as well, if it does not crush your computer in the editing process.  I’m not so much worried about storage size with BRAW, so give us the 8k cameras and we’ll figure out how to use it or not.

DaVinci Resolve is superb, there's nothing I miss from Premiere.
It's stable, power-efficient and ticks all the boxes - you can do everything in it, including editing, color grading, sound designing and VFX.

The V4 email should be out to everyone; if you haven't received it please let me know. A month ago, my father was diagnosed with advanced colon cancer at the same time that the virus situation was taking off, and life was thrown into disarray. March is colon cancer awareness month, and we are aware now (get screened every 10 years, starting at 50)
The GH5S is, at last, supported. V4:
 
Emotive Color Component ('EC709')
- Remade in 'HDR', preserving intense values (exceeding 0.0-1.0), that are incorporated into final Rec709 envelope
- Using the new engine, Arri Rec709 primaries are recreated at lower saturation, while 'projecting' this primary behavior to HDR gamut extents (beyond Arri Rec709 gamut clipping)
- Raised highlight ceiling for Main (average between Soft and Linear)
- Significantly refined saturation envelope for Main and Linear (& Soft, to a lesser extent)
 
Core LogC
- Remade with new engine (Incorporates initial baseline HSL conform)
- Fixed chart scan error that added 1/18th incorrect neighboring sample value to each sample average (hidden mistake in my very earliest code)
   (Corrects for persistent slight inaccuracies despite multipass, such as magenta bias of shadow skin tone in Tungsten)
- Fully linearized highlight rolloff (true to LogC) with maximal detail retention (effective highlight DR increase)
- New smoothing algorithm (incorporated into engine) - 12 passes, combining two hue-aware algorithms for new smoothness standard while preserving hue lines
- Most extreme gamut is now directly measured and preserved (i.e. colored Leds in night environments)
 
Misc.
- Added Exposure Compensation [PRE]s - actual exposure color conversions for use ahead of the conversion (interpolated from sample data, incorporating rolloff)
- Added Auto Black Level POSTs - for use following the conversion; quickly conform black level in any NLE 
   (No accompanying relative hue/saturation distortion whatsoever, unlike standard luma tools)
- Remade all PREs with new engine, taking new NLE measurements to accommodate NLE profile rendition shifts since original release
- Direct monitoring variations included for HLG and Cine-D, and VLog external monitoring variation (includes levels fix)
- Rewrite of Pdf (for Gen.4)
- Direct FCPX support added (with distinct PREs and Pdf)
- Significantly more efficient file sizes
- 16 bit Gradient Chart included to test smoothness of theoretical & far gamut, and reveal pipeline banding issues
- Each file is now unique to its owner at coordinate level

 

Hello (and sorry for my english). I am waiting to see some examples of the new GH5s version of the Ghalex lut, but in the meantime I tried to use the official Arri Log to Rec709 Lut included in Davinci and I have found that it works really good as a starting point. I haven´t done any color space conversion, just applied the lut, and I like the colors much more than with the Vlog to rec709 from Panasonic (that I think Panasonic should  have developed specifically for each camera model colour science). Then a few tweaks in exposure, wb and contrast, and finally another lut (a 709 Kodak Vision from Impulz) and grain to get this result with direct sunlight mostly, the worst situation for the gh5s highlights rollof capabilities. I´m very happy with this first test.
 

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well.  Here's examples of the mono version.  I imagine this is what 16mm film would look like if it was low noise without film grain.  I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!
 

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well.  Here's examples of the mono version.  I imagine this is what 16mm film would look like if it was low noise without film grain.  I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!
 

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well.  Here's examples of the mono version.  I imagine this is what 16mm film would look like if it was low noise without film grain.  I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!
 

Hello,
Not sure you guys saw the stabilization on the FX9. But looks pretty great to me. Apparantly it saves gyro information in camera and the catalyst software uses it to stabilize it in post. (so kinda like the steadyxp, hopefully Blackmagic will implement this in their  next batch of camera's)
 

Evidently, the Octopus prototype with the Ximea m4/3 module has been up and running for awhile:
Hopefully, the Octopus folks can get this camera into production.

When it comes to them I've had better luck with their other equipment than I have with the cameras I've used / owned. It's why I have been hesitant to buy another camera since having issues with multiple OG Pockets. I've had two people I know of that had their HDMI ports die on the Pocket 4K and saw a YouTuber just recently post a rig build who mentioned their HDMI port also died. 
I'm still unable to get the latest version of Resolve to run as well as the last version, particularly in multicam. I went from being able to do multicam cuts with 4K footage to not being able to do it with even 1080p footage without massive amounts of dropped frames. 
I'm glad they exist because they're pushing the industry forward, and when things work right they are lovely, but yeah, there are considerable issues. 

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it,  just experience.  I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows...
 
At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat.  For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition.  They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison,  but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less.  This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO.   It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end.  There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities.
So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon.  The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera.
 
I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open,  as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me.  So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it,  just experience.  I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows...
 
At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat.  For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition.  They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison,  but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less.  This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO.   It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end.  There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities.
So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon.  The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera.
 
I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open,  as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me.  So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

The replay is here for anyone who missed it.
I've cued it to the start point.