Django

I’m not chasing specs here. The FX2 isn’t even a hype-driven release; in fact, it’s been met with a lot of skepticism online. What genuinely interests me is how it fits into the Sony pipeline I’m already working in. The tiltable EVF is actually what I’m most excited about, ergonomics and UI refinements make a big difference when you shoot solo. For me it’s less about spec sheets, more about practical workflow and how the camera feels in real-world use. In the end pricing and ecosystem is what’s going to guide you, and not every camera fits every workflow, and that’s okay.. but dismissing others’ needs as just gear-chasing isn’t very helpful.

I’m not chasing specs here. The FX2 isn’t even a hype-driven release; in fact, it’s been met with a lot of skepticism online. What genuinely interests me is how it fits into the Sony pipeline I’m already working in. The tiltable EVF is actually what I’m most excited about, ergonomics and UI refinements make a big difference when you shoot solo. For me it’s less about spec sheets, more about practical workflow and how the camera feels in real-world use. In the end pricing and ecosystem is what’s going to guide you, and not every camera fits every workflow, and that’s okay.. but dismissing others’ needs as just gear-chasing isn’t very helpful.

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.

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.

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.

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.

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!
 
 

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!
 
 

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!
 
 

What makes the Komodo special is the look of global shutter and 16bit raw, but more than this a terrific OLPF. I'm not in the market and agree it's not as convenient as mirrorless setups, so here's hoping that Nikon puts a strong and well engineered OLPF in their upcoming cameras focused on video. I owned both the Z8 and the Z6III, terrific cameras, usable in most situations but plagued by moiré.

So its not the X version and its not the new Z mount version but still its a lot for a lot less.
https://www.red.com/stories/komodo-price-drop

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.'"

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.'"

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.'"

Rules are meant to be broken and Von Trier & Vinterberg did so by the early 2000's. 
Their first films under Dogme95 were shot using MiniDV and they later quickly embraced RED/ARRI digital cinema.
Breaking the Waves was shot on 35mm but digitally scanned to process it in post and give it an aesthetic. Basically early modern color grading.
All movies shot on film today are scanned digitally and graded. 35mm usually scanned at 4K-6K and 65mm/75mm 8K and beyond. Projection is also digital. Its a fallacy to think film is super soft with lack of detail.
People romanticise old 35mm movies but they were usually scanned at 480p/720p for TV, VHS, DVD.
Most of the time from from second or even third gen prints not even original film negatives or masters.
Maybe you are into soft grainy contrasty Lo-fi analogue aesthetic and that's fine but you can emulate that look pretty well today in Davinci. Personally I embrace digital cinema and how its democratised filmmaking on a lower budget.
And while I do have a deep appreciation for analogue medium in general (especially as a musician, engineer) I recognise it is more about the tactile experience and workflow than sound/image quality which can be closely emulated today in digital. 

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.

Fuji says it was a compromise between size and price. They had a strict goal to keep the size and thickness around X100 series. In fact they are hoping to apply the X100 "sold out" viral success in an upscale segment. Price had to fit under the $5K mental barrier. So that explains it, wether they achieve commercial success is another story though.
I'm guessing the thinking for low light situations is to go with a flash, since the leaf shutter allows super high sync capabilities. I would have loved it if they had included a flash like on X100 series, but again size and price.
I can see this camera working great for certain applications. But I can also see it being frustrating at others and the overall IQ is just not what you'd expect from a camera at that price point imo (unless you really like slow wide lenses). If they unlock the aspect ratios and crop factors for video it may make it slightly more interesting as a fun cool hybrid but I still think there are better options in the compact fixed lens universe, including their own X100VI that has IBIS, NDs, flash, 6K, hybrid OVF/EVF, f2 lens.. at a third of the price.
The GFX100RF feels like more of a luxury statement camera with mid specs. Probably the most Leica product from Fuji. They could have called it the GFX100BF.

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.

Rules are meant to be broken and Von Trier & Vinterberg did so by the early 2000's. 
Their first films under Dogme95 were shot using MiniDV and they later quickly embraced RED/ARRI digital cinema.
Breaking the Waves was shot on 35mm but digitally scanned to process it in post and give it an aesthetic. Basically early modern color grading.
All movies shot on film today are scanned digitally and graded. 35mm usually scanned at 4K-6K and 65mm/75mm 8K and beyond. Projection is also digital. Its a fallacy to think film is super soft with lack of detail.
People romanticise old 35mm movies but they were usually scanned at 480p/720p for TV, VHS, DVD.
Most of the time from from second or even third gen prints not even original film negatives or masters.
Maybe you are into soft grainy contrasty Lo-fi analogue aesthetic and that's fine but you can emulate that look pretty well today in Davinci. Personally I embrace digital cinema and how its democratised filmmaking on a lower budget.
And while I do have a deep appreciation for analogue medium in general (especially as a musician, engineer) I recognise it is more about the tactile experience and workflow than sound/image quality which can be closely emulated today in digital. 

« Color Grading »

« Color Grading »

Sure but why limit yourself to the 8 or 9 film simulations only two of which are cinema film stock? The best for that approach would be LUT recording enabled cameras, assuming you have a favourite/custom LUT collection in your NLE. S9 has as far as I know best implementation with stackable LUTs, opacity etc and a phone app to edit/manage them. I think you can even add film grain to video. you can also use the LUTs on stills which is pretty cool as it even differentiates log from standard sources. 
 
I really hope more manufacturers use this approach. Never been a fan of stock picture profiles especially for video. 
 
 

I'm a long-time Canon shooter and my next camera will probably be an R5C or R5 mk2. 
That said my on-going workhorse camera is an FS7 because it gives me work. 
Logic would dictate I get an FX3/FX6 but I'm just not a fan of the camera specs / price ratio in 2025:
No 6K/8K, No open gate, No RAW, No EVF etc.. with a price tag here in Europe still at 4500€ for FX3.
Sony's dominance comes at a price, to me they are the overpriced and under spec'd cameras today.

I'm a long-time Canon shooter and my next camera will probably be an R5C or R5 mk2. 
That said my on-going workhorse camera is an FS7 because it gives me work. 
Logic would dictate I get an FX3/FX6 but I'm just not a fan of the camera specs / price ratio in 2025:
No 6K/8K, No open gate, No RAW, No EVF etc.. with a price tag here in Europe still at 4500€ for FX3.
Sony's dominance comes at a price, to me they are the overpriced and under spec'd cameras today.

Can't say I agree. As a Leica user, I absolutely care about manufacturing, build quality, country of origin etc. 
Call me a purist but that's what I pay for not the badge, in fact my Leica MP has no badge/red dot.
I'll go even further and say the only real Leica's to me are the M, Q & SL series. 
As for Panasonic, they have a strong and long legacy both in audiophile world via Technics (started in 1965) and broadcast/video/cinema with the various ENG/camcorders & Varicam products. Video cameras like the DVX100 were cult among indie docs, film and music videos and game changers as they introduced 24p alongside 3CCD sensors in affordable packages.
Sony also has heavy legacy in video/film with DVCAM in the 90s and CineAlta the first digital cinema cams used by Lucas in the Star Wars prequels.
So while both Panny & Sony don't have CaNikons & Fuji photography background, they actually precede them in the video/cinema world hence the head start they got on that side in mirrorless.
Nikon up until basically Z9 was seriously lagging in the mirrorless video market. There were even bad speculation about their financial health and future viability. They made a surprise U-turn with Z9/Z8/Z6iii and the shock acquisition of RED. Still very curious about what RED will mean. Nikon didn't have a cine line to protect, now they do so will RED tech trickle down to the Z line or will it be more of a Z-mount ecosystem?