Django

Yeah they cheaped out on the lcd a shame but for me the EVF with 3.6Mdot makes up for it. Guess it’s a make or break design choice. I also see the display info finally rotates in video when you shoot vertical. Small but crucial detail as clients ask for vertical more and more. Would have preferred open gate but hey with Sony you have to take what increment they give you. I’m locked into Sony for pro video work so within that ecosystem FX2 fits my needs, not so much the bill though. Tough deciding between it and FX3 since I do shoot low light and run & gun, but then again the 800-4000 double ISO range may be more flexible overall. I also see the rolling shutter drops to 12.8ms in 4k60p & S35 mode so I guess for quick pans and action shots you could use those modes with appropriate lenses for more usable shots. Assign a custom button to s35 crop and boom that nasty rolling shutter dissipates when needed. I’m all about practical workarounds so that could work!

How bad is it? I may be in a minority but I love the fact it has that oversized tilt able EVF, gives a third point of contact and I hate shooting stills with just an lcd. Also very practical in certain daylight scenarios. I can live with the rear LCD just displaying the big 6 data. I wonder how the lowlight is. Like how clean is the image above the 4000 second base ISO.

Well after watching a couple reviews my opinion has drastically changed I must admit. While the above issues remain, if you compare it further to the FX3/A7Siii this FX2 actually brings substantial improvements as a hybrid camera. The fact you get 33MP, tiltable EVF, video/stills switch, and mechanical shutter makes it a quite usable photo camera as well. And on the video side, the 7K downsampled image makes it sharper and allows S35 4K which you don't get on the FX3. Great for adapting S35 lenses. I also like the new S-Log3 stills mode, great for consistent shots while filming. The EU price and poor rolling shutter is still a problem but if/when price comes down, this could actually be a great hybrid within the Sony ecosystem and a very valid alternative to FX3. I could see myself picking one up at the USD price.

I got really excited for a second when I saw the EVF but that A7IV sensor is a buzzkill. For a video first camera I can't get around the 26ms rolling shutter. Unless you shoot static shots, this is just bad performance. I also find it insane Sony is still not offering resolution above 4K or internal RAW in 2025. For 3200€ I find that unforgiving considering you can get a used/grey FX3 for around that price. Not even going to mention the competition options. Don't get me wrong, this is still a very solid hybrid camera with some worthy improvements but I'd still pick FX3 over it unless you absolutely need an EVF and even then an A7S3 would probably still give you a better image, especially low-light. Sony is still doing one step forward, two steps back.

R5C got some solid updates including AF. I find it actually way superior to Nikon Z8/Z9. Smoother, more reliable tracking. Less pulsing/hunting. Nikon AF can sometimes trip or get confused but Z lenses do offer minimal breathing which is nice. The main catch with R5C is no IBIS and average battery life. If you can live with those two cons it's a better hybrid in my opinion. Grading N-log is also more time consuming than C-log.

Yikes, glad I'm in the EU for once. Looks like the tables have turned, soon Americans will be flying in to Europe to purchase cameras lol. For RED importing components with tariffs should only mean a very minor impact on total price versus cameras like BMD manufactured in Asia. RED/Nikon is in a much better position to control costs and avoid drastic price jumps, unless Nikon shifts production overseas which I'd assume is something they wouldn't consider under the current situation.

R series is stills oriented, V series video oriented. Meaning a FF V version could include the R8/R6ii/R5ii sensor inside a R50V type body with hopefully Clog2 / RAW etc. No EVF, mechanical shutter etc should mean more affordable pricing as well.

Is it me or is the GH7 a recent camera release no one speaks about? Every Panny user seems to have jumped over to the FF S line. Anyways surprised OP hasn't purchased the LogC3 license considering how many posts about ARRI color science etc! My pipeline usually involves CST to LogC just to benefit from the excellent ARRI look/LUT library. Would be cool to be able to skip this step in post and access it straight in cam a bit like Fuji film simulations. Definitely one of the highlights of GH7 for me personally.

Yeah my guess is Canon will can the R5C line and maybe shift focus to an R5V to compete with FX3ii and whatever video centric cameras Nikon & Panny have in store.

Yeah its pretty exciting as a Canon shooter myself to see a new product line emerge, especially one dedicated to video. First flat top Canon design ever. I don't know about no overheating as this is an entry-level product aimed at social network content creators so usually very short form content but the video below states they worked hard to avoid it. In any case rest assured this is the first product of an entirely new V camera line dedicated to video so its pretty much a given pro FF version will come. Here is a rare glimpse into the R&D folks at Canon HQ talking about it: R50V also has filters, custom LUTs, false color, aspect markers & 2.35:1 cine mode. Pretty cool for a $695 camera!

Pretty cool design actually. Finally something new from Canon. Takes cues from the FX3 for sure. Vertical thread mount makes sense. Hopefully a more "pro" level FF version is in the making with IBIS, Clog2 etc to truly compete with FX3/FX30. R5V?

Like I said RS is the cherry on top. Real benefit is having that internal 16-bit R3D code. With the Fuji you have to add a Ninja V+ just to get ProRes RAW so tag that on to the cost plus annoyance of an external recorder. But yeah if/when Nikon cams get R3D code that'll be a different story. Still not convinced that will happen though as Nikon now have a cine line to protect! N-Raw might still be what you get on mirrorless. Wait & see! I could pull up some footage but that wouldn't help you much. I strongly advise downloading or shooting R3D code yourself and push it through Davinci cuz that's when the robustness of that RAW codec shows its superiority imo. I will link here some test footage of a film student who's about to release a Davinci power grade suite. He's actually a XH2S user who now also owns a Komodo and has this to say comparing the two: "I fall in love with the komodo more and more each time I use it. The image is just on another level. Enough to warrant the money over other cameras such as the fujifilm xh2s? Probably not, but the footage is definitely better and working with red raw is marvelous." Obviously the pricing comment was made before the current cost slash. Nothing crazy here but the DR, color science, highlight rolloff and detail is pretty great considering a speed booster and vintage lens is being paired on. Again though, nothing beats actually working with the footage to truly get the benefits of R3D RAW..

I'm not personally in the market for a cine cam but this is fantastic news for whoever is. Komodo was already fairly cheap by cine cam standards but this is a significant price cut. To have access to global shutter & R3D code in such a compact form factor at such a low price point is really something. RED has a well known compressed RAW patent that still gives it the edge vs other RAW codecs. R3D code allows 16-bit lossless with up to 8:1 compression. ProRes/BM Raw have other compromises such as partial debayering in-cam and maxing out at 12-bit. Same for N-Raw. This may be subjective but having worked on Komodo footage I found the "magic sauce" was indeed there. In short the IQ feels filmic/organic for lack of a better term versus mirrorless. How the footage handles grading in Davinci, LUT response, even the motion cadence. Probably thanks to the 16-bit true RAW. Think 5D3 14-bit ML RAW mojo but even better. Global shutter is the cherry on top.

Saw Soderbergh's Presence the other day. Immediately noticed it was shot on mirrorless with gimbal, and turns out its the A9iii with Sony FE 14mm F1.8 GM. Interesting choice for a full-feature, it makes sense since the POV is a floating ghost inside a house: "We shot this on the [Sony Alpha 9 III], which is, as you know, a digital [mirrorless] camera. Its primary mode is as a still camera, but it also shoots really good video. It’s small, and this new version has a sensor that was never used in [this kind of camera] before. I did experiments with all the digital cameras that I’d worked with before and ones I hadn’t. I stripped them down as much as I could, then put them on the smallest stabilization rig that would support them. What I discovered was that there was just a couple of pounds’ difference between the camera I could use and stabilize and be able to back into any space I wanted to, and the next step up made that impossible because of the weight. We did all these tests with the Sony and this one rig. And I’m like, 'This’ll work. It’s not heavy.'"

Fuji often come up with great concepts but miss on their first gen products.. X100, Xpro, XT, GFX etc. The Eterna cine also got lukewarm reception. I still think GFX100RF is a great concept, shrinking the GFX body and bringing the fixed lens X100 rangefinder design to medium format with some really cool ergonomic additions (the aspect ratio / crop front & back dials, the custom front lever). Only real bummer is the lens & IBIS. I could imagine a GFX50RF with a f2.8 lens & IBIS. 6K. Open-gate. Now that would be a smash. I can understand the price point objective of under $5K. Fuji wants to undercut Leica as they should.