I think the sony was bit underexposed as compared to red if we look at histogram side by side. And temperature was too cold than red for a comparison to be actually made. I mean, they'll definitely look different with different settings. correct me freely if I'm wrong.
Absolutely spot on: it's amazing how much cameras have improved and how the price points have dropped. Imagine the BMPCC6k in 2012 for 2500.00?!?!?---or even in 2016. Amazing. The cameras are so good the only deciding factor is not camera quality----that's a given in most cases--- but rather ease of use and the ability to get what you want more easily in post processing. It's that way with musical instruments. A great player can get what he or she wants out of any number of instruments. The question that decides what they pick is basically how hard they have to work to sound their best. I see a correlation here.
that is interesting but I suppose it is that way in all things in life the harder you're willing on working or putting in the effort the better we will be at that "thing". To your point, you could give me the most expensive musical instrument in the world and I would not know where to start.
To me it seems FX 6 is keeping down the midtones, while RED and in previous video, the 1dx III are actually lifting the midtones higher on the waveform, so it seems as the image is more "pleasing" because it's more "brighter in your face". Also, in log versions, FX 6 is only topping out at ~60-62% ire, while Gemini is at around ~80% ire. Seems were comparing apples and oranges this way. I know you're saying it's not a scientific comparison, but to make things more equal, maybe FX 6 should be a little more matched in exposure? Also, using different conversion luts makes a big difference in comparison, because it's also like apples and oranges...
If both cameras capture similar dynamic range (within about a stop) and enough to grade for 8bit rec709, which they do, the differences are far more to do with post production technique, not in camera.
Right now if you are spending $2,000+ on a camera body, shooting 24/30fps, and know how to expose and color correct it doesnt really matter what the camera is. Plenty of information to play with the image.
@@carlosq00 Precisely what I say when people complain about a “digital” or “clinical” look.. it’s likely the glass you have in front of the sensor that determines this, not the sensor itself
I like color of the RED camera :) Great comparison. What would have been interesting to see is the were color graded to be similar how they would look side by side.
that would be interesting, but unfortunately we would never see the real differences thanks to TH-cam compressions. the 5K from the Gemini help it a lot. Also grading to match across camera brands really means dumbing down the better camera to match the lower tier camera. And maybe that is what TH-cam wants to see..IDK For me seeing the full resolution on my own display without compression is what guides my narrative.
Is it just me… or would anyone else liked to have seen if the FX6 footage could have been corrected to match the Red? I would have loved to seen that image brighten / adjusted to match.
Hey Carlos any reason why the RED exposure was higher than the FX6? RED's gray was at 640 and FX6 is right under 512 which is like 48% IRE. This is why the FX6 image is darker. Both images are phenomenal, I'm just trying to understand the thought behind it. I never shot with RED so don't know too much about exposing a RED but exposing the FX6 is right on target because of the room we have to push the image.
It's nice to point how cameras are just a tool. But I wish the test was done with same exposure and color grading. Just as curiosity I tried to match the screenshots of the 2 camera's clips and to my surprise they looked incredibly similar simply by bringing up some part of the curve (mostly with the FX6) and playing a bit with the color wheels (mostly removing some magenta/bluish tint in the Sony and slightly less green and warm on the Red).
Great- that is interesting - on another note between all the cameras you’ve mentioned, after working with them, what would you say is your favorite in terms of ease-of-use, getting the image you want, cost for the media and storage, battery life. It may be different answers for all the categories. Sound is great on your videos as always PS - Ignore the naysayers don’t even address them anymore it’s not worth it. You’re a pro no need to apologize or defend anything. Also I appreciate your candidness and authenticity
that's kind of a tough question but right now, I am jumping from the C500 Mark II to the Sony FX6 a lot! and to me both of those cameras can get basically any job done and done well.
@@carlosq00 Interesting -- I thought you liked the C70 a lot more than the FX6 in a past video, unless my memory is mistaken. What swayed you toward the FX6?
Excellent video. In my tests, including blind comparisons, 10 bit XAVC from an a7siii can look so close to 12 bit log encoded raw there is no relevant difference save for your ability to expose and grade properly for rec709 delivery. I am sure an FX6 would be even better. I would like to partner with you in this endeavor and take some samples you have provided and prove they can look so close to same that whatever differences may be there are totally irrelevant, especially to clients or viewers of the products. Again, thanks for the content.
“there are totally irrelevant, especially to clients…” that’s why I went with an R5C instead of a A7SIII. It might not have the best DR but the footage SOC when played back on the higher end display and feeding it an RF 85mm 1.2L and alike combined with a good vision and story, gives customers a higher reason to care than the name of the camera can provide. Also, Dynamic Range is supposed to be helpful primarily when there are drastic changes in exposure such as entering a different room with a different amount of light. Despite of A7SIII’s high DR numbers, I found that when underexposed then recovered or overexposed then recovered, the skin tones turn so yellow as if a human subject is out of a Simpsons episode. Despite the less DR on the R5C, when you recover in post the skin tones don’t fall apart. So what’s the point of extra DR numbers if you get Simpsons like skin tones when supposed to take advantage of the said DR.
@@costinvaly1 I did a test comparison between several different cameras shot by Carlos and indeed, the results are very close. The canon files were the most inconsistent of the set. Whatever yellow skin tones you are talking about sounds like a user error issue which I have helped people with before, so please feel free to reach out. If you are not interpreting color from the Sony SGamut3/SGamut properly, you get yellow skin tones. Also, you can push yellow toward orange and it "fixes" the issue.
Great video! Very useful! Could you please tell me the track name and artist of the track at 7:50? Do you know where I can download it? Many thanks for any help.
FX6 is low light choice because we can process the big sensor info better than other cameras with Red 8K work flow. I’d consider more Sony Venice, but those charges for extra features irritate me and with out the 8K I use in image processing it’s not worth it makes more errors. We’re using/AI to digitally markup content images in film to add interactivity.
There’s nothing clinical about any of these modern high dynamic range sensors. The lens, lighting, and color grading have WAY more to do with the look you get out of a camera than the camera itself. If you’re getting a clinical look out of any of these cameras, you probably just need to learn more... how to get the best out of the camera
Just wanted to offer something to try out. If you use Resolve Color Management, you can actually run whatever footage you have through the IPP2 pipeline's tone mapping for your output. Using the Extra Soft roll-off setting can give you a similar highlight roll-off (though not exactly the same) as what you're seeing on the Gemini. I've started using it lately and the results are gorgeous for whatever footage you adapt.
I think the FX6 is a low light beast, but from Cinema standpoint in much higher budget I’d compare the Monstro with larger sensor. I’ve seen some low light work in Jungle settings that surprised me, but overall the FX6 is the low light lower cost beast. Now I’m curious about R5 recording 8K coming up in a month to Ninja 5+ that will be interesting.
something kind of weird or whacky for me is how much information and Data Atomos recorders dump as they capture in "ProRes RAW" making it not worth it imo or better yet imho because I am sure there are people out there with ROCKSTAR skills that could make that workflow work to their advantage. I am still on the camp of believers that Canon will always choose to capture their best possible image in-camera over an external recorder...until they start selling external recorders that is. haha
People need to stop obsessing over what a “cinema” camera is. Take beautiful images, strive to perfect your craft, who cares what other people feel is “cinematic”. As long as you have a clean, aesthetically pleasing result, the whole cinema vs non cinema camera is a weird cult, cultivated by TH-camrs and insecure people in the industry. Keep making nice, informative content :)
Good comparison man. I thought the RED had more "pop" but a little too much yellow cast. The SONY had a more balanced look. However, the SONY was definitely too cool (T2 Blue) for my taste. I agree with you on the fact that it just comes down to the look you're going for.
Thanks for the video Carlos. I’d be interested to see the waveform for your graded clips. Looks like the FX6 was graded a little darker. I could be wrong about that.
Both look good, but juxtaposed I find shocking----the Red Gemini is just a lot prettier---warmer---like the person is alive with blood coursing through her veins. I prefer it by far.
what the TH-cam video can't show is how much more work it takes to get to this point which for many production businesses would make them go broke unless they hired in that skill set.
@@carlosq00 I disagree. Production companies have lead colorists that make universal node trees that can be applied on the fly. and the rest of the artists adjust basic settings such as exposure & skintone exposure to get an ideal look for different shots, fast. A lot of these can be outsourced to part-time experienced colorists to make a few frameworks.
@@carlosq00 it's all about the workflow for that specific camera. To me, the more settings like raw gives us. The more versatile/flexible the framework. Making it possible and efficient to get the best image even from an average editor with basic color knowledge(look at the histogram and set midtone/hp where it needs to be, literally 1 min for a shot)
I realize not everyone is a fan, but what Sony has stared with the FX6 has much bigger implications that will help all of us and push the industry forward. Like you, I'm now a fan of the FX6.
I like the FX6 hardness as a base… The Sony is a great bang for buck competitor… bro this is your video/you opinion… would be great to hear which is the best for you… unbiased comparisons are for the news outlets.
i see your point. As a matter of fact, I did not only share my opinion but gave a hard definitive answer as to what works best for me and what that meant for my gear choices moving forward in the vide that was published on Saturday - TH-cam Live Replay.
Hey Carlos, Since the Komodo and FX6 have released I have been fascinated by these two cameras, The FX6 is probably one of the best All-Round mid-range to high end "Cinema" camera you can buy today but at the same price "Body-Only" you could actually get a Red Komodo. I'm dying to see comparisons between the RED Komodo and the Sony FX6/FX3 in Real-world scenarios, Direct Sunlight uncontrolled environments to really see how that "Red" image really holds up in tough scenarios compared to an equally priced camera such as the FX6. I would love to see this.
The RED Gemini still looks like the better image camera; EVEN IN 2024! I'll be picking one up for my own personal A cam. KX is cool and all... but it just doesn't have as good as an image as a Gemini. Man. The K-X is cool though for versatility. BUT Gemini for A cam absolutely. If I want frame rate, I guess, I'll just rent an ember for that snippet of high impact slo mo.
This comparison is a bit unfair. The RED looks so much better.. If the FX6 were properly exposed, maybe it would have a better showing against the Gemini.
I can’t get excited about the Gemini, it seems like it not enough, the FX6 is a low light beast for the challenging situations. In higher end, when Monstro is ACam and need Super 35 8K for BCam or for differentiation in perspective. The C500 mk2 works well for a BCam too and also grades to Arri, I’m liking the Komodo in crazy wild action in a Red workflow, but Sony is doing great. Right now I’m still getting my vision straightened out and pounding code watching processing of content.
The skin feel alive on the Gemini… Sony is great but we can’t really feel the blood behind that skin layer ! And yes cameras are all great now it’s all about feature size log name and codec…
the FX6, does not have a great high light roll off, at all ! It actually has got wors thatn the a7 s III. And according to new test, this camera dont score higer that 11.6, dynamic range, and some quite poor latitude...... so, like the fx9, that had on ly 11.5, is not what we should expact from a camera today. Wait ! som e months, not bother to preorder any sony camera.
@@carlosq00 we make videos cool ones and we present a style we are known for and sponsors buy into that style as much as numbers sponsors know what effort level goes in so big sponsor look for big effort
I don't think most people realize how much money, like out of my pocket money I spent on this specific project and maybe that is why we don't see many of these types of videos on TH-cam. the project was shot over a 4 day period more than 1500 miles away from where I live. The travel alone is an expense that cost more than a camera...haha
![Overrated: Camera features that don't matter [ft Gerald Undone]](http://i.ytimg.com/vi/SlLbkeNH9to/mqdefault.jpg)
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/tr.png)
CORRECTION: The RED Gemini Sensor is Taller NOT shorter as I stated in this video!
I appreciate you stressing that cinematography is about the artist, not the camera.
100% facts
I think the sony was bit underexposed as compared to red if we look at histogram side by side. And temperature was too cold than red for a comparison to be actually made. I mean, they'll definitely look different with different settings. correct me freely if I'm wrong.
Absolutely spot on: it's amazing how much cameras have improved and how the price points have dropped. Imagine the BMPCC6k in 2012 for 2500.00?!?!?---or even in 2016. Amazing.
The cameras are so good the only deciding factor is not camera quality----that's a given in most cases--- but rather ease of use and the ability to get what you want more easily in post processing.
It's that way with musical instruments. A great player can get what he or she wants out of any number of instruments. The question that decides what they pick is basically how hard they have to work to sound their best. I see a correlation here.
that is interesting but I suppose it is that way in all things in life the harder you're willing on working or putting in the effort the better we will be at that "thing". To your point, you could give me the most expensive musical instrument in the world and I would not know where to start.
To me it seems FX 6 is keeping down the midtones, while RED and in previous video, the 1dx III are actually lifting the midtones higher on the waveform, so it seems as the image is more "pleasing" because it's more "brighter in your face".
Also, in log versions, FX 6 is only topping out at ~60-62% ire, while Gemini is at around ~80% ire. Seems were comparing apples and oranges this way. I know you're saying it's not a scientific comparison, but to make things more equal, maybe FX 6 should be a little more matched in exposure? Also, using different conversion luts makes a big difference in comparison, because it's also like apples and oranges...
different time of day for each camera also affected the scene's exposure.
While the FX6 may technically be more true to life I love the image coming out of the Gemini.
@@conrad2nr i think that my color grade for each is making this color thing miss the objective.
If both cameras capture similar dynamic range (within about a stop) and enough to grade for 8bit rec709, which they do, the differences are far more to do with post production technique, not in camera.
screen recording and TH-cam compression a bad combination...
Right now if you are spending $2,000+ on a camera body, shooting 24/30fps, and know how to expose and color correct it doesnt really matter what the camera is. Plenty of information to play with the image.
Lenses matter more 💯 facts
@@carlosq00 Precisely what I say when people complain about a “digital” or “clinical” look.. it’s likely the glass you have in front of the sensor that determines this, not the sensor itself
I like color of the RED camera :) Great comparison. What would have been interesting to see is the were color graded to be similar how they would look side by side.
that would be interesting, but unfortunately we would never see the real differences thanks to TH-cam compressions. the 5K from the Gemini help it a lot. Also grading to match across camera brands really means dumbing down the better camera to match the lower tier camera. And maybe that is what TH-cam wants to see..IDK For me seeing the full resolution on my own display without compression is what guides my narrative.
I appreciate the time and effort you put into these. Thanks!
Is it just me… or would anyone else liked to have seen if the FX6 footage could have been corrected to match the Red? I would have loved to seen that image brighten / adjusted to match.
There are several other videos on this channel where that did happen.
Hey Carlos any reason why the RED exposure was higher than the FX6? RED's gray was at 640 and FX6 is right under 512 which is like 48% IRE. This is why the FX6 image is darker. Both images are phenomenal, I'm just trying to understand the thought behind it. I never shot with RED so don't know too much about exposing a RED but exposing the FX6 is right on target because of the room we have to push the image.
It's nice to point how cameras are just a tool. But I wish the test was done with same exposure and color grading. Just as curiosity I tried to match the screenshots of the 2 camera's clips and to my surprise they looked incredibly similar simply by bringing up some part of the curve (mostly with the FX6) and playing a bit with the color wheels (mostly removing some magenta/bluish tint in the Sony and slightly less green and warm on the Red).
Great- that is interesting - on another note between all the cameras you’ve mentioned, after working with them, what would you say is your favorite in terms of ease-of-use, getting the image you want, cost for the media and storage, battery life. It may be different answers for all the categories. Sound is great on your videos as always
PS - Ignore the naysayers don’t even address them anymore it’s not worth it.
You’re a pro no need to apologize or defend anything. Also I appreciate your candidness and authenticity
that's kind of a tough question but right now, I am jumping from the C500 Mark II to the Sony FX6 a lot! and to me both of those cameras can get basically any job done and done well.
@@carlosq00 Are you going to do a C500 mk2 vs FX6 video, or did I miss it?
@@carlosq00 Interesting -- I thought you liked the C70 a lot more than the FX6 in a past video, unless my memory is mistaken. What swayed you toward the FX6?
Excellent video. In my tests, including blind comparisons, 10 bit XAVC from an a7siii can look so close to 12 bit log encoded raw there is no relevant difference save for your ability to expose and grade properly for rec709 delivery. I am sure an FX6 would be even better.
I would like to partner with you in this endeavor and take some samples you have provided and prove they can look so close to same that whatever differences may be there are totally irrelevant, especially to clients or viewers of the products.
Again, thanks for the content.
“there are totally irrelevant, especially to clients…” that’s why I went with an R5C instead of a A7SIII. It might not have the best DR but the footage SOC when played back on the higher end display and feeding it an RF 85mm 1.2L and alike combined with a good vision and story, gives customers a higher reason to care than the name of the camera can provide. Also, Dynamic Range is supposed to be helpful primarily when there are drastic changes in exposure such as entering a different room with a different amount of light. Despite of A7SIII’s high DR numbers, I found that when underexposed then recovered or overexposed then recovered, the skin tones turn so yellow as if a human subject is out of a Simpsons episode. Despite the less DR on the R5C, when you recover in post the skin tones don’t fall apart. So what’s the point of extra DR numbers if you get Simpsons like skin tones when supposed to take advantage of the said DR.
@@costinvaly1 I did a test comparison between several different cameras shot by Carlos and indeed, the results are very close. The canon files were the most inconsistent of the set.
Whatever yellow skin tones you are talking about sounds like a user error issue which I have helped people with before, so please feel free to reach out. If you are not interpreting color from the Sony SGamut3/SGamut properly, you get yellow skin tones. Also, you can push yellow toward orange and it "fixes" the issue.
I like the gemini colors.. Sony has great colors too.. I would love to see Red monstro and canon c500 mark II..
I have those clips...just not ready for all the comments that may come my way if I share them.
Great video! Very useful! Could you please tell me the track name and artist of the track at 7:50? Do you know where I can download it? Many thanks for any help.
@@georgefeatherby5264 Johnny Stimson
FX6 is low light choice because we can process the big sensor info better than other cameras with Red 8K work flow. I’d consider more Sony Venice, but those charges for extra features irritate me and with out the 8K I use in image processing it’s not worth it makes more errors. We’re using/AI to digitally markup content images in film to add interactivity.
Yeah but red Gemini is dual iso which is where it has the fx6 beat by a long shot
Great honest comparison, I've been considering the FX6, but still not convinced its the way to go even though its good value. Maybe the Fx9,?
the FX9 Mark II might be a better option
We'll said! - "Whatever we can afford empowers us to create our vision through these tools." (paraphrase)
The RED skin tone looks nice. The Sony looks clinical. You didn't mention the 16 bit advantage of RED.
There’s nothing clinical about any of these modern high dynamic range sensors. The lens, lighting, and color grading have WAY more to do with the look you get out of a camera than the camera itself. If you’re getting a clinical look out of any of these cameras, you probably just need to learn more... how to get the best out of the camera
Just wanted to offer something to try out. If you use Resolve Color Management, you can actually run whatever footage you have through the IPP2 pipeline's tone mapping for your output. Using the Extra Soft roll-off setting can give you a similar highlight roll-off (though not exactly the same) as what you're seeing on the Gemini. I've started using it lately and the results are gorgeous for whatever footage you adapt.
Thanks for posting this! Is there a tutorial you've seen that covers this?
I think the FX6 is a low light beast, but from Cinema standpoint in much higher budget I’d compare the Monstro with larger sensor. I’ve seen some low light work in Jungle settings that surprised me, but overall the FX6 is the low light lower cost beast. Now I’m curious about R5 recording 8K coming up in a month to Ninja 5+ that will be interesting.
something kind of weird or whacky for me is how much information and Data Atomos recorders dump as they capture in "ProRes RAW" making it not worth it imo or better yet imho because I am sure there are people out there with ROCKSTAR skills that could make that workflow work to their advantage. I am still on the camp of believers that Canon will always choose to capture their best possible image in-camera over an external recorder...until they start selling external recorders that is. haha
You have a very good delivery. I get something out of watching even though I use a different camera Brand. Thanks Bud.
I appreciate that!
People need to stop obsessing over what a “cinema” camera is. Take beautiful images, strive to perfect your craft, who cares what other people feel is “cinematic”. As long as you have a clean, aesthetically pleasing result, the whole cinema vs non cinema camera is a weird cult, cultivated by TH-camrs and insecure people in the industry. Keep making nice, informative content :)
Good comparison man. I thought the RED had more "pop" but a little too much yellow cast. The SONY had a more balanced look. However, the SONY was definitely too cool (T2 Blue) for my taste. I agree with you on the fact that it just comes down to the look you're going for.
Thanks for watching!
Bro you did the FX6 dirty on this one. Could’ve at least matched the grades.
here you go th-cam.com/video/KmNU70KdHtg/w-d-xo.html
Thanks for the video Carlos. I’d be interested to see the waveform for your graded clips. Looks like the FX6 was graded a little darker. I could be wrong about that.
I posted that exact picture on my IG feed this afternoon
@@carlosq00 I will check it out. Thnx! Keep up the good work.
Both look good, but juxtaposed I find shocking----the Red Gemini is just a lot prettier---warmer---like the person is alive with blood coursing through her veins. I prefer it by far.
what the TH-cam video can't show is how much more work it takes to get to this point which for many production businesses would make them go broke unless they hired in that skill set.
@@carlosq00 I disagree. Production companies have lead colorists that make universal node trees that can be applied on the fly. and the rest of the artists adjust basic settings such as exposure & skintone exposure to get an ideal look for different shots, fast. A lot of these can be outsourced to part-time experienced colorists to make a few frameworks.
@@carlosq00 it's all about the workflow for that specific camera. To me, the more settings like raw gives us. The more versatile/flexible the framework. Making it possible and efficient to get the best image even from an average editor with basic color knowledge(look at the histogram and set midtone/hp where it needs to be, literally 1 min for a shot)
Image from Fx6 looks like shit
I love the FX6 it's just a great camera overall. Thanks Carlos
I realize not everyone is a fan, but what Sony has stared with the FX6 has much bigger implications that will help all of us and push the industry forward. Like you, I'm now a fan of the FX6.
I like the FX6 hardness as a base… The Sony is a great bang for buck competitor… bro this is your video/you opinion… would be great to hear which is the best for you… unbiased comparisons are for the news outlets.
i see your point. As a matter of fact, I did not only share my opinion but gave a hard definitive answer as to what works best for me and what that meant for my gear choices moving forward in the vide that was published on Saturday - TH-cam Live Replay.
What we’re the IPP2 settings?
this video might be helpful th-cam.com/video/nqIXFiuTbvc/w-d-xo.html
Hey Carlos, Since the Komodo and FX6 have released I have been fascinated by these two cameras, The FX6 is probably one of the best All-Round mid-range to high end "Cinema" camera you can buy today but at the same price "Body-Only" you could actually get a Red Komodo.
I'm dying to see comparisons between the RED Komodo and the Sony FX6/FX3 in Real-world scenarios, Direct Sunlight uncontrolled environments to really see how that "Red" image really holds up in tough scenarios compared to an equally priced camera such as the FX6.
I would love to see this.
you may want to check this out th-cam.com/video/KmNU70KdHtg/w-d-xo.html
The RED Gemini still looks like the better image camera; EVEN IN 2024! I'll be picking one up for my own personal A cam. KX is cool and all... but it just doesn't have as good as an image as a Gemini. Man. The K-X is cool though for versatility. BUT Gemini for A cam absolutely. If I want frame rate, I guess, I'll just rent an ember for that snippet of high impact slo mo.
I will choose any RED camera over most others for most situations, so I am both bias and a bad judge of character because of my bias.
@@carlosq00 Very diplomatic.
Very cool comparison! The right tool for the job.
Thanks! 👍
I believe u trust me ...people don't know the costs...but seriously Carlos name your price
The red looked like it had a yellowish tint the fx6 looked more natural
Why is the red is so jumpy and nice
More red vs sony fx6 pleeease that was awesome
Years later they shot The Creator with a FX3
a few shots that is true...
@@carlosq00 what few shots?
@@carlosq00 It was their main camera :)
Anyways - I switched my FX6 to the Gemini here in 24 :)
Really interesting! Amazing work
Thank you! Cheers!
Hahha - "scientistic test work great in science labs, go screen your film in a science lab"
This comparison is a bit unfair. The RED looks so much better.. If the FX6 were properly exposed, maybe it would have a better showing against the Gemini.
it was properly exposed but I would be happy to pin a link to any other test that shows better results.
Red gemini ♊ blows it out of the water
i mean, i like Gemini too but I wouldn't say it blew the FX6 out of the water...
skin tones on the red is better the sony feel more like a video image.
is it $14,000USD better?
Carlos Quintero it is not not 14k better at all.
I can’t get excited about the Gemini, it seems like it not enough, the FX6 is a low light beast for the challenging situations. In higher end, when Monstro is ACam and need Super 35 8K for BCam or for differentiation in perspective. The C500 mk2 works well for a BCam too and also grades to Arri, I’m liking the Komodo in crazy wild action in a Red workflow, but Sony is doing great. Right now I’m still getting my vision straightened out and pounding code watching processing of content.
8:40 - no client on the planet would pick the look of the FX6 over what they see on the other side... Yikes.
th-cam.com/video/KmNU70KdHtg/w-d-xo.html
The skin feel alive on the Gemini… Sony is great but we can’t really feel the blood behind that skin layer ! And yes cameras are all great now it’s all about feature size log name and codec…
the FX6, does not have a great high light roll off, at all ! It actually has got wors thatn the a7 s III. And according to new test, this camera dont score higer that 11.6, dynamic range, and some quite poor latitude...... so, like the fx9, that had on ly 11.5, is not what we should expact from a camera today. Wait ! som e months, not bother to preorder any sony camera.
Corlos you should do short films when you do the test shots it's going to be more work but it would be healthy...So it's not so clinical
haha max max max goon sure, who wants to sponsor that project I'll give a discount on my day-rate. LOL
@@carlosq00 we make videos cool ones and we present a style we are known for and sponsors buy into that style as much as numbers sponsors know what effort level goes in so big sponsor look for big effort
@@carlosq00 I mean I'll sponsor a video
I don't think most people realize how much money, like out of my pocket money I spent on this specific project and maybe that is why we don't see many of these types of videos on TH-cam. the project was shot over a 4 day period more than 1500 miles away from where I live. The travel alone is an expense that cost more than a camera...haha