Kino

Not bad but pretty hard to tell as not many shots with neutral lighting.
It is, however, an excellent video to play a game of "spot the shots they did noise reduction on".  YouTube LOVES footage without any noise, it has a party and you get fun things like this!

or this:

It makes sense that doing slow-motion in such an environment would give some noise, so no judgement there.  The secret is to do NR to all the shots in post, then apply some grain over the top so all the shots are even.  YT compression will clobber the texture of the grain, but it will prevent the banding.
It would be interesting to see some RAW vs compressed shots of skintones in a controlled environment with pristine CRI and exposures.

I think they have messed up the spec.... on canon official there is no open gate unfortunately: 
https://www.canon-europe.com/cameras/eos-r5c/specifications/
 

Correction: 16 bit is a number from CVP's claim on the C70's DGO. But I don't see how they came up with that number . . .
Technically: 2 x 14bit (16,384 gradients) = 15 bit or 32,768 gradients.
Still, it is much more than the 12 bit (4,096) in the R5's video mode.

Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card:
https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4
Cinema RAW light
The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production.
On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported.
 
* firmware available in March 2022

Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card:
https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4
Cinema RAW light
The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production.
On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported.
 
* firmware available in March 2022

Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card:
https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4
Cinema RAW light
The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production.
On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported.
 
* firmware available in March 2022

Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card:
https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4
Cinema RAW light
The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production.
On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported.
 
* firmware available in March 2022

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.