TomTheDP

I appreciate that @kye In the images I attached in the post I used the colorspace transform tool to change the REDlog to Log C and then applied the ARRI Rec709 lut. The ARRI image was just as is, plus the REC709 lut. Both were shot at 5600k. I added in a +5 green tint to the RED in post as it seemed to lack some warmth. I was told now it looks too green so maybe the warmth coming from the Alexa is not just a tint difference.

Yeah I got mine for $750 and it wasn't mint condition from the AU

Thanks, if you check the comment section I pinned my own post where I show which camera is which. The give away is usually dynamic range, that or the Alexa is warmer looking. I unfortunately have never worked with the Varicam but I have definitely considered it.

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing. I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa. Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied. This is what I came up with in Resolve using the color space transform tool. ARRI on top.

In the few tests I have done the C70 matches pretty well to Alexa.

adequate There isn't much reason to comment on the Alexa 35, other than to ogle over the image. This is because almost no one here will really be using it. If you are getting a Blackmagic Pocket 6k you are grasping for whatever you can get ahold of to make your barely adequate shoots work. That is my take at least. I have heard complaints about the Alexa 35 but it's from people who will actually be using it and it doesn't have to do with autofocus or IBIS as that doesn't really exist in that space. A lot of people buying cheaper cameras have to choose between that or something else and they want it all in one as most can't afford multiple systems.

I think the benefit of 12bit raw these days is really when you need to correct for WB and skintones are in the shot. The 4k-6k coming out of most cameras is pretty stellar in terms of detail.

My view as an independent film DP and editor is that I choose the camera that is easiest to get a nice image with. I am not a colorist and whatever I am working on can rarely afford a colorist. The camera that I can simply do my best with on production and in post simply apply a lut with minimal corrections, is the one I go for. Right now that would be ARRI or RED. Blackmagic is also a viable solution as you can easily correct for WB, even though the image isn't as nice out of camera.

I was going to leave my thoughts under the video but decided not to. While Steve's approach makes sense on a big budget film with the best of the best cameras maybe when comparing 35mm film to an ARRI Alexa to a Sony Venice. But I do think the camera and the immediate image it captures is important for most people.

A good HD image makes this camera more tempting. Is HD 120p good as well I wonder.

This looks potentially amazing.

I think so. You can throw a battery and lens on and be ready to shoot. You have easy audio options too. Honestly the OG mini is not hard to solo operate but not having easy on board audio options sucks. The bad thing about the mini is it sucks for bigger productions as there is no side panel for the AC.

I have heard the R5C has good dynamic range with CLOG2

Yeah the C70 sensor is a tad overrated. I'd rather have the R5C, but than you lose ND's. The C70 is definitely a good all around camera.

The Raven is a good deal these days. Seeing kits with everything for under $4k. You still gotta stock up on redmags though, probably another $1k.

You can still crop in 4k and have a nice looking photo as long as you aren't printing huge stuff. 12MP is enough for most applications.

The FX3 does have full hdmi. The S1 has more dynamic range though overall when shooting in 24-30p.

You mean due to it being full frame? The S1 is full frame but has really good IBIS. Of course the body is bigger but the mount is just as shallow on the S1 or close to it.

Yeah because humans didn't innovate before patents......

I actually like Sony IBIS. It isn't rocky steady like the Panasonic but it looks natural. Makes the footage look like you are holding a heavier camera.

I don't know if that was shot in RAW or h264 but the colors looked amazing.

Bruh this looks pretty damn good. I get and agree with your point but that film probably would have looked a lot worse on a T3i.

A7S3 sells cheaper used and is the same thing, but with the EVF.

I have seen the tests on the xyla 21 which seem promising, but real world examples would definitely be nice. The 120fps is cropped but to me that is ok, you still get S35 up to 60p, which is full frame if you are willing to go the speedbooster route. The XH2S is way smaller than an F55 plus it doubles as a stills camera. I think I am going to stick to my sigma FP for now, it is also half the price.