Kino

You basically get what you pay for here with these cameras. The special thing about the Komodo, however, is the ability to match the color of much more expensive RED cameras:
What ultimately segments Komodo from Dragon and Gemini is the lack of HFR, more REDCODE compression options, and a pro interface or connections. Otherwise, RED is delivering some serious image quality that threatens its own high-end cameras.

It's hard to believe, but Komodo looks better than Gemini in this ISO test:
 

Some of the best Komodo footage so far and a great review (aside from the misreading of the Xyla chart):
 

Some of the best Komodo footage so far and a great review (aside from the misreading of the Xyla chart):
 

I think the Mavo LF image quality also owes something to the robust ProRes 4444 XQ codec that is available internally. It is better than many of the proprietary RAW formats that are partially debayered (e.g., ZRAW, BRAW). The Mavo Edge 8K should be an excellent choice based on what we have seen with the Mavo LF 6K. However, it is about to get very competitive in that price range. Lower down, even ZCAM is doing some impressive things with color and internal ProRes:
 

I think the Mavo LF image quality also owes something to the robust ProRes 4444 XQ codec that is available internally. It is better than many of the proprietary RAW formats that are partially debayered (e.g., ZRAW, BRAW). The Mavo Edge 8K should be an excellent choice based on what we have seen with the Mavo LF 6K. However, it is about to get very competitive in that price range. Lower down, even ZCAM is doing some impressive things with color and internal ProRes:
 

Yea mavo lf certainly looks like it has a much better skintones and iq out of the box. More than all the reds... even the monstro.  I put in a preorder for the mavo edge, which seems to iron out some things in the mavo lf. Hopefully sensor is still good in low light and dynamic range is still good.
and yea thats funny about vincent laforet being treated so poorly. He really help put red on the map.
whats next? Is Shane Hurlbut even safe? 🤗
 

I'm not sure about the C500 II, but it sure would put a damper on these plans:
https://www.canonrumors.com/canon-to-introduce-two-8k-cinema-eos-cameras-in-2021-cr2/
One of these Cinema EOS cameras will no doubt be on the level of the C700, as they speculate, but the other one will likely be a cheaper and more compact variant that could be severely undermined by a fully-functioning 8K RAW camera for $4K.

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:
 

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:
 

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec:
In the hands of a capable shooter, the lack of internal RAW is no limitation at all.

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:
 

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR:
Then again, for $6K, you are getting a "discount Dragon," so no complaints!

I have no doubt this 8K sensor will find its way into Canon's cine lineup with proper heat management. But you will be paying a lot more cash for this privilege.
Like any Japanese conglomerate, Canon are masters of product differentiation. They will never give you everything in one product and they will never give you more for less.
Indeed, it turns out this camera has amazing RS performance, but it is otherwise hobbled vs. the 1DX III when it comes to usability for video. It also lacks the more creamy look of the 1DX III and has slightly less DR. You can see how it clips easier in this test:
:

slashcam has tested RS and 8k, 4kHQ is 16ms!!!...... boy they have created what would be the perfect hybrid but nobody can use for video because the recovery times are just insane.

Either is software crippled or it has a big HW flaw.... if the first let's hope they remove/fix if the second why they don't sell a version in a bigger body with a Fan?!? 

8k 30 RAW, 4k oversampled from 8k 10bit with 16ms RS and AF and nobody can take advantage..... what a waste.
Problem is that is a very good photo camera (best canon ever) so even if they do nothing they will sell a ton....

RS is highly visible throughout the train sequence:

Not for me. RS would not be an issue in most situations (static/tripod shots, sliders, and gimbals) and is greatly reduced in 60fps. You can even shoot 1.3 crop and 60fps to retain the DPAF. There is no other FF camera with internal 5.5K RAW and all these features for that price. On top of that, it can produce a very filmic image and will retain its value as an investment in case you need to sell it:

Canon Raw has the option to decode in Canon Raw Developer or Davinci Resolve Studio based on Clog 2 or 3 ... just need to expose with that in mind.

Moc Nguyen always seems to get the best out of the R5:
Is this getting closer to the 1DX III image quality? I think it is still a step below in terms of DR and creaminess.