TomTheDP

To me what sticks out so far is the dynamic range looks to be as good if not a bit better than the Panasonic S1, which is the leading hybrid in that regard IMO. It betters the S1 as it has 4k 10bit 422 120p. It also has twice as fast rolling shutter. I also love Fuji color especially for stills. It is also cheaper than the C70 or FX3 which offer similar features. But I agree that all these camera offerings are starting to blend together. The fuji is just good enough to peak my interest while just underwhelming enough to make me want to pass.

I mean the video with the LED's shows that it handles bright colored lights pretty well. The night shots with the fire looked nice too. Maybe that was the most impressive scene. Nothing is comparing to all that new footage coming out of the Alexa 35 but I guess that is not fair at all. I liked some of the stuff in Matti Haapoja's review though the review itself is super generic. I need to see some footage that is confirmed Prores 422 HQ in different environments and lighting.

I haven't been impressed with anything so far. Hard to know what settings people are using though and all that. I want to see 12 bit RAW out of it. Let's see some short films.

GH2 he prolly means

It's cool but I am not big on variable ND's. Too much effect on skintones.

Fuji needs to hire whoever did the Alexa 35 films to shoot something for them lol.

He did say their new camera control phone app will work on the AMIRA, Mini, LF, and 35 I feel the Amira still has a place while to me the mini not so much.

That is for marketing IMO, I don't even think they have the same people working on it. What does it output 16bit RAW to? The Venice has its own compressed RAW. The FX6 only does Prores RAW to my knowledge. I don't know if I draw the line there but it seems like Sony intentionally limited the FX6 to separate it from the Venice. The Venice shoots its own form of compressed RAW. You can only do Prores RAW on the FX6.

For sure but I really don't think the FX3/FX6 fit in their cine line. It's a clear separation without any of the RAW recording options you get in the Venice. I just feel the Venice could be smaller, but maybe not. I wasn't comparing the mini to the Venice with the removable sensor, I was comparing it to the Alexa M, which is basically obsolete now. IMO Arri has a chance to completely take over the Market by making a 6k full frame camera, and something lighter and smaller than the Alexa 35. But they are happy with the current line up and the Alexa 35. The Venice definitely has a place in Cinema.

As long as there is some mode that can be used as a tripod replacement, for short periods of course, then I am good with it. My main disappointment which will keep me from buying it is in 4k 60p it goes down to 12 bit readout vs 14 in 24-30p.

In the Keynote presentation Stephan Schenk says that the Alexa 35, LF, and 65 will be their line up going forward. He said they will continue producing the LF for the next 2-3 years at least. He didn't include the original mini in that though. Hopefully that means it'll be discontinued and the price will tank lol. This is interesting as the new Alexa 35 body seems very much superior to the LF. A higher resolution full frame camera with the LF body seems like it would be a hit. But I appreciate ARRI sticking to their products. The new colorspace that sits slightly above REC2020 is interesting. It kind of turns me off that they strongly advise against manual grading. One of the lovely things about the original Arri Log C is that it's so easy to manually grade. But I understand why. The fact that you won't have to deal with out of gamut clipping, especially in the blue channel, is amazing. The higher sensitivity mode is a bit off putting. ARRI mentioned there is a certain amount of ghosting with their in camera noise reduction. Though knowing ARRI it is probably very minimal and probably totally suitable for any project.

They could try to cater more to the BM type market though there IBIS has huge appeal with vloggers.

FX3 in RAW is one of the best options right now IMO.

Very niche. A more practical example of usage is just to make the rigs smaller. But dealing with a smaller body without cables is just easier.

It's definitely a nice feature. However it becomes outdated as soon as the camera body gets small enough to not need it, which happened with the Alexa mini. I am honestly not quite sure why there isn't a smaller version of the Venice. The RED Monstro body, which does 8k RAW, is under 4 pounds. Less than half the weight of the Venice.

Maybe, they could also design a whole new sensor with the same tech. Seems like if they are creating an all new colorspace it wouldn't be for a single release.

ARRI is really coming for competition. I really think if they release a new full frame 6k camera with this sensor, the competition is really gonna struggle.

Hmmm I want this. First mirrorless that has interested me in a bit.

The new Alexa 35 really makes sense. The mini and mini lF suffered from no menu screen on the body. This new design also has a battery plate on the rear which means less rigging. 4.5k with less rolling shutter than the LF and a stop more highlight dynamic range than any Alexa to date. Very impressive image coming out of this. Looks very modern and sharp yet still looks really organic and raw.

that camera looks insane

It is an odd world we live in. Originally cameras were made a certain way to serve a purpose. It's definitely got to a point where you question the necessity of much of what you see in the video world today.

Prores RAW gets rid of the noise reduction though and you can use it up to 120fps like the internal recordings. But I agree the S1 series cameras are equally as nice aside from the lack of high speed recording. Yeah I have found always being ultra conservative in what you try to accomplish always pays off. Even if you make things as easy as possible for yourself you'll still likely run into problems. I am really tempted to go with the Sony system right now. I keep juggling different options and it seems like the best one for me.

Very odd.

I love the look of the Microprimes. Maybe my favorite budget set.

I am talking my specific market in Detroit, where RED seems to be universally hated unless you shoot hip hop videos. I do recall it being used on the Matrix 4. Probably due to the extremely small size of the komodo compared to anything else on the market and maybe the global shutter. Matrix 4 is one of the worst looking movies I have ever seen recently, though I wouldn't say its due to RED.