Alt Shoo

They addressed the issue with the lower DR and global shutter.

Komodo Specs 6K Super 35 27.03 x 14.25mm (6144 x 3240) Global Shutter Full-sensor up to 6K 40 fps 6K WS at 50 fps 4K at 60 fps 120 fps at 2K 12G-SDI output with 2160p at 60 fps R3D files (REDCODE RAW) 3.5mm microphone/headphone No XLR CFast cards, not dual Wireless video module Touchscreen Display Phase Detection Autofocus Canon RF mount Size: 4″ x 4″ (10.16 cm x 10.16 cm) Weight: 2lbs (900g) approx. It’s been pretty transparent honestly.

I’m actually on the email list for the Komodo and should have another correspondence from Jarred next week for the Yellow Komodos. I’m not really excited about it anymore. I’m still very interested in the GFX100 and would rather get that. Still I’m holding off because I think Fuji will release a more “cinema cam” version of the GFX100.

You’re stupid and are racist. Andrew you can ban me

Here are a couple of grabs from me in the house. The grab in the dark is from a scene out of the documentary Marcy Made, which is on Vimeo On Demand. I used a JVC GYLS300 and the Sirui 50mm.

Now a more capable Shinobi for $499! With an addition like this it’s difficult for me to upgrade my cameras. I am still interested with the GFX 100 and would love to see a more cinema style camera with that sensor size. And by the way the film I shot with the JVC GYLS300 is finally published! https://www.Vimeo.com/ondemand/marcymade

Probably 8k for black, with a paid upgrade to get white.

You are beating me to the punch with this, but I’m grateful for this information. I’ll be getting this camera with a few lenses and accessories for it in the next coming weeks. This will be my last camera purchase, specifically for cinema, for a while. Thanks again for this write up and glorious images!

Thank you @Andrew Reid for that explanation. I’m curious how much more a camera like a GFX 100 would cost if they had a processor that could handle that type of conversion. Also I found this GFX100 footage.

You know I never worried about “line skipping” or “pixel binning” because I am not a technical person and I don’t pretend to be. I know some basics, but when it comes to those mentioned subjects, what are the benefits or lack of? I’m hearing moire and aliasing, which aren’t desirable, but what does that mean in regards to the sensors in an Alexa or a RED? Do these top tier cameras have these shortcomings?

I’m thinking there are racists here.

Was just scouring the web and came across this. To me this image looks very theatrical.

On another note, I thought Fuji designed the sensor and Sony only manufactured it. I didn’t know Sony designed and manufactured the sensors for Fuji.

I was wondering if Fuji would take the opportunity to leap frog over the FF video segment with a more video centric Medium Format camera and then @Andrew Reid reminded me of his post from last year. Thanks for the reminder! I remember reading that post thinking it would be a great time for Fuji to step their feet into the cinema camera realm. They have a great handle on color science and to my eyes are comparable to Canon’s “legendary” color science. The pluses for this theoretical cinema camera from Fuji are the huge sensor, 1.7x bigger than full frame, which will produce a shallower depth of field, enhanced tonal gradient in 10-bit output (hopefully RAW), and greater ISO sensitivity. The large format size will produce video footage with more detailed textures while reproducing three dimensional definition.....It would make sense.

@DaveAltizer cool suggestion, but as much as I can appreciate RED’s workflow and IQ, I can’t support a company with questionable business strategies.

@currensheldon after reviewing the Canon’s specs again, I won’t consider it. My thinking is that since I won’t be able to get an Alexa LF anytime soon, I will “hack” into that look by using the GFX 100 for its gorgeous large format look.

So I’m really close to making my purchase. However I’m always the person that buys the product and then in the next month or so, a new or updated version is announced. That’s the only thing keeping me from hitting the buy now button. I think I’m going to hold off a bit longer just to make sure no surprises are going to occur.....don’t know how long though.

The GH5 isn’t a Cinema Camera, yet it is very capable of creating cinematic and engaging content.

It’s not a cinema camera in the traditional sense, but it can definitely be used for cinema productions, especially large format.

The way this gentleman rigged the gfx100 is truly remarkable.

I agree with the cinema camera option in this price range and I’m a little hesitant, but I am leaning towards purchasing the GFX 100. I can wait a bit longer with hopes Fuji would surprise the industry and release an extremely video centric version of this camera. But more than likely I will end up with this camera. I never been attracted to full frame because I feel you can mimic it with wider lenses for the relative shot, sorta, but this is actually the first time I’ve seen the difference between sensors and its size.

I own a Eva1! I’m really looking for that full frame aesthetic. @BTM_Pix yes I’ve seen that video! It’s really informative. Thank you for sharing so others can be aware of its capabilities.

I was looking for a way to edit my comment and not post again, but it seems I have to post again. Anyways I forgot to mention a reason why I wouldn’t choose the fx9 and that is because the highest resolution is UHD. I prefer DCI 4K.

Very good read and truly insightful! Thank you for the share!

On another note, Fuji released another lens for the GFX system!