Patrick B.

This looks magic... absolutely the look I wish I could get SOOC without shooting film 😅.  I will say Filmbox is very very nice though and really does add some great mojo.  Waiting for the day camera's incorporate plugins or built-in film emulation for video.

Looking forward to seeing some of your kewl stuff now in Kodak 250d glory. @BenEricson @QuickHitRecord Awesome!:) Just recently I browsed the webs for 16mm and S16mm film videos. Lovin it. Nothing more relaxing than watching some analogue film digitized for us to enjoy. Talking about grain. 🙂
 
 

The last 18 months have changed me completely as well.
No more traveling because the company “is remote first”, no more creative minded colleagues, it’s all about process and numbers. All Zoom meetings are to the point, no more laughing. Dealing with 9 hour time difference (USA HQ)
The 2 years before that was helping my wife with her rehabilitation after she suffered a stroke. Which was hard with a 1.5 year old and a 7 year old. We were back in the Netherlands coincidentally (we came back to NL for friends and family) when it happened, and so I decided to immigrate back not knowing whether she was going to recover and be able to speak and walk again. The immigration causes all kinds of financial challenges (taxes, insurance) which cost me close to $100K in the end.
 
These events - rehabilitation, lockdown and now isolation shook me to my core. It changed me. I feel completely burned out. Life has gotten more “bare” and I have to find myself again, find what I truly care about. Connect with people, build something new.
Add on the fact I’m 41 and probably having midlife crisis at the same time (proof: I drive a Tesla!), and the party is complete.
Sorry for the long story - what I’m trying to say is that your personal struggle resonates with me and I want you to know that many people around me including myself have severely struggled the last 2 years. Social media didn’t help either; it has created a fake lens of the world, especially the last few years. It’s like 99% of the people are acting or presenting a version of themselves, instead of being themselves. 

Things will get better, but as you said you may have to force change. Whatever you choose to do next, I wish you all the best. Never, ever give up the values you live by.
Take care.

Maybe one day Atomos will take the hint about doing a 4K Ninja Star.
Of course with the fp being able to record to an external SSD itself you would imagine it might be unecessary to use a full on external system anyway but I'm guessing this might be the only way to currently deal with RED's patent.

If the image quality DR and AF is good it seems like a cool camera for the price. Wish it had CFexpress  instead of CFast
 

RED is amazing with their marketing, they're getting folks to PAY to be beta testers!
 
 

Global shutter is pretty exciting, no?

I'm so stoked to see these hit the wild! I wanna get one asap! Gotta come up with $7k tho
 

Those were quite gorgeous 10 years..
 

Whoa that looks great

After firmware 2.0 I see less reasons to do so. Would love some more less cropped high frame rate options.
Overall 2.0 is quite impressive for V-Log.

Magenta tint seems gone
Orange/yellow lights won't burst into noise anymore
Sharpening seems to be turned off
Noise reduction -1 fixes the motion related issues, also much nicer grain pattern which matches the framerate (temporal NR seems to be gone entirely)
 
Here's a small test I did for an upcoming music video
https://drive.google.com/file/d/1pUW5itKQn2Jjz1pqkqh4sPxB-IgnOWgE/view?usp=sharing

The nice thing about redcode is all the different compression rates you can choose. That said I am sure Prores is easier on most CPUs. Plus shooting in HD or anything other than full res crops the sensor. 

Ah ok right.  I had heard Alexa’s was a log raw and also the Ursa.  So I guess it’s Pockets, Canons, lower end Sonys, and ProRes RAW that are 12-bit linear.  I was surprised to hear the FX9 will shoot 16-bit, but I guess you need that bulky add-on module?
But the Komodo won’t do internal ProRes will it?  So it’s raw or nothing I guess.  I kind of like how the Pockets will let you shoot ProRes and bake in a LUT if you want avoid grading.

The RED helium does seem to be on par with the Alexa from tests I've seen. Like it has been said more in the shadows less in the highlights. 
I've been unclear on this. The RED raw is 16 bit linear. While the Alexa is taking the 16 bit color information and mapping it into 12 bit 444 log or Arri Raw Log. When you open it up in resolve it maps it as 16 bit linear. From what I understand 12 bit log is equal to 16 bit linear. 

The Blackmagic URSA or actually all of the BM cameras with a Fairchild sensor do the same thing(other than the Pocket 4k/6k which have a sony sensor). 

One user tested via the same method that Cinema5D does, and gave the Monstro a score of 13.4. Interestingly enough the Alexa got a similar result, but as we all know its the quality of the pixels that matter. Anyway, Monstro at 13.4...Komodo at what...13?  S1H has a result of 12.7 so this will be interesting. I am assure red will be able to squeeze out more due to Redcode and their patents.

This dynamic range chart seems curious.
Usually the industry standard Xyla charts are available in 15, 21 and 26 steps. But this one seems to be somewhere in between 15 and 21 steps. Maybe RED invented their own chart? 

Interesting... I noticed if you search for Red DR tests similar looking images come back on Google for all their cameras.  So you might be right that they’re using their own chart.

DR looks very impressive next to Helium
https://www.facebook.com/625665414/posts/10157378019065415/?d=n&substory_index=0

Yeah, I was thinking about this.  Part of me thinks that even if they internally recognize the opportunity of marketing this camera to a new segment of the market, they’d never pitch it as a more affordable, lower tier option because they don’t want to erode their high end brand image.  Marketing it solely as a crash-cam/drone camera for high end work makes sense in that way.  On the other hand they were also known as disruptors in the past so I could see where they could also market the camera as such.

Yeah, I was thinking about this.  Part of me thinks that even if they internally recognize the opportunity of marketing this camera to a new segment of the market, they’d never pitch it as a more affordable, lower tier option because they don’t want to erode their high end brand image.  Marketing it solely as a crash-cam/drone camera for high end work makes sense in that way.  On the other hand they were also known as disruptors in the past so I could see where they could also market the camera as such.

Yeah, I’ve been wondering about this partnership as well.  My first guess was Canon wanted to have compressed raw, but then again if that’s true they aren’t implementing a very high compression ratio that would make sense in a prosumer camera.
As far as competition on the camera body front goes, I had heard once that companies made most of their money on their lenses and wondered if that’s what they are most interested in selling.  Any truth to that?  Maybe they see the Komodo as a way to sell more RF lenses and better establish it.

I think there are a few caveats with this test.
First, it's using a pre-production camera.
Second, it's using XF-AVC. The author argues that with a log curve like CLog2, there won't be any difference between that and raw. Personally, I suspect it's a bit more complicated than that, and depends significantly on the implementation. I've heard for example that the Alexa ekes out a tiny bit more DR with arriraw than with Prores. 
Third, and related to the first and second point, Clog2 is only rated for 15-stops DR. Whilst under the above measurement the C300 Mk III only has 12.8 stops, it technically is rated by Canon at 16-stops. This matters because presumably some work has to happen on Canon's side to figure out how to distribute its DR within the Clog2 gamma. 
In the comments, the author writes the following: 
Given that it's a pre-production camera, there could well be some tweaking that needs to be done on this front.
Fourth, it says nothing of the actual roll-off. This is ultimately the crucial question. Canon said that the DGO would allow for higher saturation in highlights, which is crucial to that smooth roll-off; what happens at present is that different colour channels clip at different rates and thus you end up with colour posterisation in the highlights. Roll-off always looks so much better in black-and-white for this reason.
This test might prove to be accurate with the production model, but I think we should treat it with caution.

And Canon battery usage as well.
I notice that Canon released C300 III with an EF mount not a RF .
They would obviously see the Komodo's chance in market before they abandon the popular EF mount.

yeah I also read or heard somewhere that even though you don’t get a raw panel in FCPX any adjustments are still happening in linear space prior to debayer. 

2012 Canon - "here, have this soft 1080p"
2013 Canon - "here, have even worse soft 1080p"
2014 Canon - "here, have some moire"
2015 Canon - "here, we've got some 1080p"
2016 Canon - "the 1080p is now more expensive"
2017 Canon - "4K has arrived. It is MJPEG with a huge crop"
2018 Canon - "the 4K still has a huge crop"
2019 Canon - "I don't think we will ever give you proper 4K"
2020 Canon - "Here, have this 8K full frame RAW and 4K 120fps 10bit H.265"