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independent

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  1. 100% agree, cameras do behave differently and people should know their cameras. I'm just addressing erroneous ideas about latitude. Based on cineD's test, Gunther could/should have exposed lower for a more balanced over/under to help avoid confusion; some people are interpreting that as the Komodo only having 1 stop overexposure latitude...period? No. He just used 60% EV as an arbitrary reference to show that the camera had 7 stops latitude. If he had exposed it as CVP (or anybody else) would, his results would "look" more balanced (+3/-3) to uninformed readers. Yeah, RED cameras including the Komodo are quite different in terms of Native ISOs and how data is allocated off the sensor. ISO 800 is not a native ISO, it's just a starting point for exposure strategy. ISO is more like a LUT to help the shooter expose properly. For example, shoot at lower ISOs in low light (to protect shadows) and higher ISOs in brighter scenes (to protect highlights) For example, if something is just under clipping at ISO 400, you can bump your ISO to 3200 and the image still won't clip. The image will LOOK brighter, but you can check your exposure using false color, goal posts and stop lights to see how data is being distributed and what's happening in the highlights and shadows. This is different from other cameras where you raise ISO to increase gain. All this can seem counterintuitive when comparing w/ other cameras, which I guess is why there's so much confusion.
  2. Perfect exposure is very different from overexposing or underexposing by two stops. If you just look at your monitor, viewfinder, or LCD, you wouldn't make such gross exposure errors. For example, if you were shooting your kid outdoors, two stops overexposed, the image would look obviously blown out. Anyways, CineD has made some mistakes with their tests, especially the Komodo and not understanding how the Komodo retains and recovers highlights. Also for their latitude test, they also chose to expose hot for the Komodo (a mistake), which led to those skewed results. CVP exposed more sensibly and got 3 stops over and 3 stops under, a more balanced result for latitude.
  3. “Super controlled environment?” If you have any monitoring tools or even any modern LCD screen, you can clearly see when you are over or underexposed. It would be painfully obvious. Have you recently shot two stops over or under and not realize it?
  4. Protecting the highlights is something you should do for every digital video camera. What kind of extreme situations or incompetent DP would make such gross exposure errors? Latitude matters much less than dynamic range and highlight roll-off, where the Komodo leads significantly.
  5. Oh man, the Red One. I learned to operate with it, and while it was sometimes quite a bitch to work with, no question how amazing it was for digital. Truly groundbreaking. Saved up to buy the Scarlet as a wet hire, switched to Blackmagic and Canon for more commercial work, and now I'm back on Red because they priced it right. If you're into the Red One, you already know the answer. Komodo. 6K 16-bit redcode raw and global shutter will give you the most detailed, color-rich, film-like moving image. While this forum is centered more around hybrid, consumer cameras, discussions lean almost 99% video. Probably because what people want are accessible cinema cameras. Well, we've never gotten a pro cinema camera within reach until the Komodo.
  6. Rumors are canon rumors is going to Spotify. (C1)
  7. Well you're committing several logical errors. You're implying that it's not important for the owner to have confidence in his own gear or gain the client's confidence. I'd say both assumptions are wrong. Second, a prosumer small camera may be fine for filming your cousin's fourth wedding during a pandemic. However, in any real paid gig, any pro would know the practical benefits of professional equipment. And there are practical reasons for Red or Arri's reputation. For the Komodo, Redcode Raw is accessible at a competitive price point, which distinguishes it from cameras that largely share the same feature set. But it's not a hybrid camera, which makes the R5/C or R3 compelling choices depending on the situation. But there's nothing wrong with using your GH3 to shoot your cousin's wedding. Hope she made you a plate.
  8. All these contemporary cameras are more similar than different. In nearly every case, practical concerns of the endeavor will, or should, determine your choice. At some point, we're all just arguing over how many angels are dancing on the head of a pin. The correct answer of course is just one fallen angel, the Komodo.
  9. Canon is making good enough cameras so far. It's a cutthroat business and making shitty cameras isn't going to help. We're not getting better cameras if say Sony was the only game in the town. Innovation is incentivized through competition, and the improvement in camera tech over the past 10 years has been nothing short of astounding. Lastly, not sure why so many are emotional. Pretense of certain obligations? Companies have to abide by consumer protection laws, but none are obligated to fulfill your personal idea of a perfect camera that violates all patents that's infinitely future proof with unlimited upgrades with a lifetime warranty. A company's aim is to sell you something. If you don't like it, don't buy.
  10. True, but there's something beyond jello...I hate to pop open a can of "motion cadence," but I've inadvertently noticed something smoother about the Komodo's image during camera movement than that of the R5 in even 8K raw (and others, but that's my other camera right now). It's almost that the pixels are somewhat dancing/moving/winking in the rolling shutter, whereas the Komodo's image seems more stable, even during handheld moving shots. All this contributes to less of a video look. But the R5 is outstanding in static shots or very slow controlled movement.
  11. IIRC the c300iii also measured 13 stops among online tests using the Xylophone charts, so maybe that's the top. But yeah with raw you can always fight for a fraction buried in the noise floor
  12. Still think Komodo has it. Global shutter and Recode Raw > Canon Raw. That patent, may it burn in hell, is still doing its job.
  13. C70 should have 13 stops of dynamic range, R5/R5c should have around 12 w/ log 2/3 (right?)
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