TomTheDP

It does get used like I said. Though wasn't Squid Games purchased by Netflix after the fact. It was pretty low budget. Is Henry Graham a DOP? Some directors seem to like RED like Fincher or Zach Snyder. Stranger Things Season 4 was shot on the ARRI Alexa LF though. Around me Sony seems to be preferred over RED if ARRI is not in the budget. The Komodo is largely popular but all I hear from AC's is complaints and it certainly isn't being used as an A-cam outside of a few select movies. I do think the Komodo and Raptor are amazing bargains and would be the set I go with in the low budget indie space.

I don't mind external recording though I dislike the idea of a cable killing my shot, but I guess that is just overthinking. My main issue right now is BM recorders draw a ton of power and Atomos Prores RAW isn't compatible with Davinci or Premiere. Probably just going to buy a RED. 🥲

Have you tried correcting skintones specifically though. That is where I have heard 12 bit is most beneficial, due to skintones being one of the trickiest things to capture well.

Yeah in terms of cine cameras, bottom of the barrel. For cinema or high end commercial you pretty much have ARRI, Sony, and RED. Around here everyone like ARRI or Venice. Obviously RED gets used, Squid Games was shot on RED helium. Now the Panavision DXL2 is a different story, if you want to count that as a RED camera then yeah it gets a ton of high end usage. Off topic, I have been considering the Venice but I recently was looking at some high dynamic range shots with their REC709 lut and it just wasn't doing it for me. The Alexa would have looked better. Now I am sure with some work they'd look the same. But I'd just rather go with an OG alexa mini at that point. It is light and smaller. That said I'd probably get more work with the Venice due to its 6K full frame sensor.

You can shoot BRAW with the BM video assist.

Yeah this. RED is the most gimmicky camera company out there. Who would of thought with names like "Epic Dragon". They are good at marketing, which is why their stuff is so popular in the indie scene. In Detroit so many people know of RED and have never heard of ARRI. But talk to any high end DOP and they will tell you RED is bottom of the barrel for cine cameras. I don't think I have ever heard one positive thing about RED cameras from people who work in higher end productions. Of course that is just coming from being in the Detroit Michigan area. However I do really like the RED Komodo. They finally nailed the color science. The camera itself and the power draw is also ideal for indie run and gun productions. The RED Raven is also pretty compelling at 3k used right now. It's too bad mini mags are still so expensive. The RED Komodo and the Raptor are both really compelling. I wish they went for lower resolution sensors. I'd much prefer a 4k s35 camera and a 6k full frame camera. 20K for what you get on the Raptor is really awesome.

It's all about control I think. If you know what you are capturing it makes it easy to make decisions on set. If you are doing set design you don't want the camera making random decisions for you on what looks best. What I have found with Arri is they always look very true to life while still somehow being pleasing. I think it's just whatever magic ARRI does with skintones without effecting the rest of the image so much.

Because people 1:1 4.6k RAW is no problem for a big production I guess. I am sure ARRI would have a compressed RAW option if it wasn't for RED. RED is sometimes used on big production though like Guardians of the Galaxy 2.

Sony has compressed RAW too. The Venice can do 16 bit RAW at about 500mbps. Not sure why or how. Prores 444 is good for me, especially because you can downsample prores without losing too much detail. 2k or 3k Prores 444 off the Alexa is my preferred way to shoot. Just saw a mini in decent condition being sold for 26k, maybe I'll be able to get one soon. 🤣

The Z9 is doing RAW internal, not sure if it has fans or if it overheats though.

Yeah I appreciate the external RAW codecs but why not some internal H265 12 bit codec or something like that. I know people are obsessed with RAW but if you have the color information you can recover incorrect WB, may not be as easy but no one complains about shooting prores 444 on an Alexa. Seems like an easy way to get around RED's strangle hold on RAW.

Yeah RAW is getting too much hype. Just include a 12 bit codec instead, that is the real advantage of RAW to me, smoother color transitions and better skintones. Just give us 12 bit.

I personally think Patents do more harm than good. Plus it's not like RED only goes after big corporations.

The OG mini and Amira both do Cfast. But yeah the LF you are right.

I don't see the Mini price falling that much. They are going for 30-35k used while this bad boy is gonna be 70k. The OG Alexa mini is the smallest ARRI camera and that makes it still desirable. Just my opinion, though I'd be overjoyed if it dropped to 15k'ish LOL

I've seen them on ebay frequently for 4k but that is just the body with nothing else, no evf, no top handle. I am not sure how it will effect old ARRI prices. It will defiantly effect the mini I would think as it basically makes it outdated. I feel the Amira still has a solid place in the line up. The Classic not so much but people buying used classics are not the same people buying an Alexa mini. Maybe it'll drive down the prices of used XT's. It'll be interesting to see where this places in the entire lineup as it could potentially out perform LF. Which is kind of why I think they are going to be developing an entire new line of cameras. I agree on full frame vs crop, though after using an Alexa its easy to embrace S35 again. There is really no better shooting experience IMO. I really love my classic but I will probably part ways and get a Komodo. Even an Alexa mini is heavy and power hungry compared to a Komodo.

This one will capture higher color depth and more dynamic range according to ARRI. That has always been consistently the same on any given ARRI camera until now.

There is a lot of cheap fast glass for x mount cameras. Canon R6 is more pricey being full frame but you probably don't need anything as fast seeing that it's full frame. You should share some pics at night with your smartphone. I am occasionally impressed with smartphone photos in good light but aside from that it gets dicey.

Should mean better low light performance. ARRI in my opinion has never been super clean in the shadows, maybe that will change with this one. But yeah the LF is beautiful hard to argue against it lol. Lots of people like the Venice for it's 2500 dual native ISO.

if he is not happy with his Fuji in low light that smart phone isn't going to cut it. I like the colors in Canon LOG2 after just throwing a lut on. Of course you gotta get the WB right. Fuji Autofocus has improved since the XT2 and the 10 bit H265 looks better in low light than the 8 bit coming out of the XT2, similar amounts of noise though.

I don't think that is likely to happen. I think this new S35 camera is the first in an entirely new line up. I think we will see a higher resolution full frame camera to replace the LF. ARRI is still leading in Dynamic range 10 years after their first camera was released(2011 approx). It sounds like this camera will have higher color depth and dynamic range. Maybe this will be a 14 or 16 bit log image, which would make sense if the camera boasts 16 stops of dynamic range.

If you like Fuji just go with that. You'll never really be able to get Canon to look like Fuji. I personally love the Canon look and the R6 is a great choice overall. Two cameras for family stuff seems annoying. I think Fuji is very usable up to 3200 iso which is enough for most things. Get some fast lenses.

Yes it does.

48 would be good enough for me. Also on another note I just bought this. Hoping it will completely eliminate breakage on the micro hdmi.

I heard it has the same poor latency. Don't ask me how with SDI. Yeah I mean all I really need is full HDMI, you can rig the rest out, may not be the best rig but it so small it makes up for it kind of. Not really for high end sets at the end of the day. But hey if the micro HDMI breaks I suppose you can just have another another cam on standby at the price point they go for. It is annoying though.