I would still argue that the shots at ISO800 at the end were the most pleasing. Seeing the match fire clip at ISO12800 is not the nicest look, but I understand the implications. I have the Sony A7SIII at work and it has definitely saved me a few times in low light situations!
Yeah I wish I had put a 1 stop ND on it, but hopefully the point I was trying to prove got across haha. Kinda crazy that both of the cameras are passable at 800 with just a lighter tho.
You are continuously raising the bar for no bullshit educational content. As someone very slowly trying to attempt to teach myself Resolve definitely am patiently waiting on a video on your color grading / editing process.
I love how you grade your actual TH-cam videos (like the footage of you talking to camera). We would love to see your process for how you grade these. :)
After watching this, I'm super impressed with the FX3/A7siii/FX6. 90% of the performance at a fraction of the cost of a Komodo X. That 12800 ISO is almost like magic. Oh and fantastic AF, if wanted. I love the Komodo X but thinking that the new iteration of the A7siv/FX3mk2/FX6mk2 is on the horizon, that sensor will blow filmmakers and videographers minds. It's a good time to be a filmmaker/videographer because of the choices we all have. Let's all just remember, it's all about content, composition, and lighting...
You bring up a widely overlookedd topic and present it in a truly cinematic and narrative way - love your style of looking at things from another perspective. Reminds me a bit of my old Nikon D810 (a stills beast) - base ISO was told to be 100, but in fact the sensor nativ eISO was 64. So, just turning on ISO 64, accept some underexposing in the EVF and push up all by 1 stop in post with another 1 stop of dynamic range. As you mentioned, a camera sensor has exactly one ISO - the only thing you change by selecting various ISO values on the camera body is how the readout after the AD-converters for the single pixels get encoded into the video file. With a RED camera it's just the RAW values that get encoded into the RED Raw file, leaving it up to post production to attenuate that encoding in posts. The secret of dual-ISO cameras is to have a completely second set of signal amplifier circuits between sensor pixels and AD, allowing to have high signal amplification with controlled noise floor. You made me reflect again and take more advantage of the dual ISO in my camera - thanks so much!
This was an amazing breathe of fresh air. Most reviewers I couldn't tell, becuase it seemed as though they were following a trend (why I switching to Red X over the ____). All of them still good reviewers, but how you broke it down was very interesting, made me want to learn for about lighting
I appreciate that man! It’s always a bit daunting running these tests knowing half of the people who comment will have something bad to say haha. So I really appreciate your comment 🤘🏽🙏🏽
Hey bro been watching a few of your videos, you inspired me to get back in to making videos. I need help to decide on a camera, I will mostly be a solo operator. Trying to decide between: Sony FX3, FX6, Komodo, Ronin 4D. What would you advise ?
It really shows when you’re pushing a grade. I’d argue if someone is jsut using premier or Final Cut to color grade, that that they wouldn’t actually see the benefits over 10 bit (depending that camera)
hey, right after 4:00, you're showing it with "the correction" turned on and off, what correction, specifically? i know it's not specific to the vid, at least i don't think, i'm not done yet, but i'm not sure it has anything to do w it, it's difft than noise reduction, bc you're turning it off and on as well. thx much, really appreciating your channel lately, found it recently
and i do wonder, on the FX3, when you're in Flex ISO, is it preferable to go up to 12800 *any time* you need to go higher than 640? i mean, 800, 1000, 1250, 1600 in moderate light will give you cleaner img, no? or is it cleaner to go up to 12800 and add ND? bc i'm kinda sure u can go up to 800 and 1000 easily, and prob more, before needing to go to 12800... but it's so tough to figure out on my own
Sorry I have a slur when I speak haha. I said it was the Exposure Correction. So I use the HDR wheels in davinci for majority of my exposure corrections. I had lowered the exposure by 1-2 stops
@@ListenHereOldManso when I’m cine ei, no matter what you change your iso too.. the actual file stays at the base iso. So either 800 or 12,800. So however you change, is literally just changing the level on the monitor basically. So how I use it specifically.. which ever base ISO I am in, I set my exposure for that. So if I’m at the lower base iso, which is 800.. I keep it there and set my exposure. I usually go all the way till highlights starts to peak and then I bring back down right below peaking. That way I have max dynamic range of the scene. Sometimes, the exposure will look insanely bright.. tho there are no peaking highlights. In that case, I will lower the iso JUST SO I CAN SEE THE PREVIEW DARKER. That’s it. It’s not change if the exposure at all, it’s jsut changing how it’s being shown on the monitor.
@@cammackey oh, yeah, i'm aware of how Cine EI only keeps you in the base isos, and it sounds like you might only use that mode, but i'm talking about the other mode, Flexible ISO... its bases are 640 (instead of 800) and 12800, and i just think it should be handy, at least theoretically, when you need a little more than the lower base but don't need anywhere close to 12800... i *think* it's a *little* cleaner at the lower isos in that mode: 640 and 800 ofc will be, but i tend to move up to 12800, and just compensate w ND, around 4000. lower than 4000 seems as clean or cleaner than 12800, basically. but i dunno. different ppl seem to have different opinions on it.
@@cammackey I mean i am not shooting on it my self :P I cant blame you... I am using the C70, R5C and R3 for my work because it fits the need for what im doing. It just looks so damn nice with the rigging and all, but for me its not practical... and I dont have the luxury to care about the looks of the camera rig :D hehe as you say in the video.. its just tools.
Is it me, my tiny screen or is the FX3 lens not quite in focus? Feels much more muddy then the KX and we all know Sony dials up the sharpening like crazy.
Love your videos. Some of us freaks just love cameras and love shooting. I am not a pro and don't even upload now. I just shoot videos of cool places and my kids.
@@cammackey That would be amazing! Would be dope to see some S5ii content. I know you are super busy though! I bought the S5ii for video stuff but I've been really happy with the Panasonic 1.8 primes and I've been shooting some photos with it too. From what people were saying on the forums the 1.8 primes are are Leica optical designs.
@@cammackey I'm definitely going to have to try some anamorphic lenses here soon especially with the de squeeze built in to the Panasonic. I got a full time job recently so I haven't had much time but I just filmed a little fishing documentary over the holiday and it's got me super hyped to get back into it. Would love to check out the Panasonic LUT! Much appreciated!
Cause I use davinci resolve cause it’s the only way to get full control of your image. And pro res raw doesn’t give you my image quality bump, just a tiny more color fidelity.
If you have the time and the atomos ninja v+ you can get 16 raw from fx3 externally. The atomos does make the 16bit to 12bit raw, but I believe the color information is there.
I don’t believe that’s how that works sadly. That’s like pushing oil through a filter and expecting rocket fuel haha. And pro res raw can’t be used in the most powerful color grading software, so renders it a bit useless in my opinion. Hopefully some day davinci opens up support. Regardless tho, for my personal workflow.. I would never record externally. It opens up too many opportunities for failure. And most of these tests are based on my personal needs and just cover them for TH-cam.
Still deciding whether or not to pull the trigger on the KX. I have already paid the pre-order deposit, but feel like I'm waiting for something to convince me either way. Thanks for the great content.
@cammackey the KX arrived yesterday, now in the long process of deciding which lenses to invest in. Hope you don't convince me to return it on Monday 🤣
@@cammackey what does this mean? "Add to this the ability to record data-rich 16-bit RAW from the FX3, which is then compressed and recorded in the Ninja V as 12-bit ProRes RAW from the camera's large sensor at 4.2K up to p60." It says 16 bit then compressed to 12. Which is better than 10. But I'm still wondering why not use the best setting for the camera. Thanks!
@@JJTemp so.. you think pushing 16 bit color through a funnel and getting 12 bit color… is still 16bit? Lol. This isn’t a tech channel. I’d be happy to watch someone else make that comparison. My test was about testing their best internal codecs, because that what I use for work. I don’t like pro res raw, I find it a gimmick. If you’ve tried red raw you would experience a night and day difference. I love my FX3 and I think it’s one of the great versatile cameras out right now, which is why I use it for everything. But it doesn’t have 16bit internal raw. And that’s okay. But if it did.. that would be crazy good.
@@cammackey lolol I definitely don't think it's the same, but definitely better than the standard. But I understand. I don't use it, it's not practical. But I hear it's a tad bit better.
Prbly not. It was a great camera but fujis AF still isn’t on the level of Sony. I couldn’t use it for work either, the quality just again doesn’t compare to the Somg A7RV. It was a great TH-cam camera tho
@@cammackey Man I’m surprised, you gave the camera such high praise! I was thinking of using it for filming. Really torn with todays options. Especially with high frame rate.
This highlights the thing about the fx3 that bothers me often. In most low light situations i encounter, iso12800 often overexposes and clips things. Seems like all the yellowishness in your shots may mean your hand and face have clipped color channels in the fx3 12800 shots and obviously the flame is super clipped. Iso12800 is undoubtedly useful in a pinch and extra useful if you are limited in both light and aperture, but i find even in low light I usually want an ISO more like iso 3200 unless im forced to shoot on slow lenses for some reason. Even jf you stop down or ND down, ISO12800 locks you into pretty high photon shot noise though the strong nondefeatable noise reduction takes care of it to some degree.
So are you saying 12,800 is useless because you have to use NDs and other tools for exposure like you normally have to with 800? I dont understand your complaint here.. Just because it shoots 12,800 doesnt mean you dont have to use exposure tools. As I said, it would have looked better if I used an ND with 12,800 rather tryign to recover shadows from 800. If the Komodo or canon or whoever people choose to worship, had 12,800 im sure they wouldn't be complaining about it just because its sony. I much rather have a dual iso of 12,800 than 3600-4000. why? Because it gives me even more latitude to use while using the same tools I use at 800. Silly. People will find anything to complain about. So let's just get rid of 12,800 and just be stuck with 800. Cool. LOL
Love your content always!! I am an old Komodo user. As I knew KX dynamic range is half stop higher than regular Komodo. I am curious how the color preform between KX and regular K Does KX have better low light color information or just similar?
Zero clue on that one brother. I've seen some side by sides of the two and I kinda liked the OG komodo color more. But the X def has more latitude it seems
The thing with Komodo (and probably with any RED) is you actually can have better results if you switch your ISO to 100 when you record and then switch it to 800 or higher when editing. You probably wouldn’t see a shit on a display while recording but the camera would protect shadows (and probably sacrifice highlights) but the end result would be much cleaner image.
That’s not how that works. It doesn’t magically give you better results… changing the ISO on the Komodo in RAW only affects the way you expose, it doesn’t actually affect the sensor. The sensor just sees light.. your shutter and aperture are the only things that affect it besides the actual luminance values hitting the sensor.
@@cammackey definitely. The most important thing is how much light hits the sensor. I didn’t mean that it would work like magic. But it’s just how compression algorithm and sensor without native iso works. It would keep more information in shadows. But again it’s not magic and it would definitely be much worse than sensor with native 3200, 4000 or 12800 iso.
This isn’t necessarily bad advice. According to RED and my own experience, in low light it’s best to protect the shadows with a low ISO, in bright light, it’s best to shoot at a higher ISO to protect the highlights. The way the 15ish stops of DR gets distributed shifts depending on the ISO you use
@@chrismcduffiephoto THATS FOR SETTING EXPOSURE. That’s for when you have control of your exposure outside of the camera. This test was to test “uncontrollable” light sources. In low light, if you have control over your lights.. when you lower the ISO it forces you bring the luminance values of the light source higher.. thus pumping more light into the sensor. Lowering the iso doesn’t magically make the sensor better at low light.
@@cammackey it was a great test for just that as all your tests show. Many situations are run & gun and we can't control many (any?) factors. The way R3D works is a bit different than other cameras and codecs tho
Great video Cam, I am curious and have two questions. What codec were you shooting on for the FX3? Was it XAVCS or XAVCS - I or something else? Secondly, curious why you didn't shoot raw externally on the FX3 for a closer comparison? Great video none the less, always look forward to watching your videos Cam.
It was the ALL-I DCI 4K that just came with the latest firmware. And I tested their internal codecs. I don’t like pro res raw at all for a number of reasons and I would just most likely end up breaking an external recorder haha. And you can use it in davinci where you can see how powerful it is for me to be able to stretch this footage around. And I’m not about to spend days on days transcoding footage like it’s 2016 haha.
@@Addrian.I love mine too, it’s the most versatile camera in my kit. At some point imma make a video about “the camera I grab when I’m in a pinch” cause the the camera saves your ass whenever you need AF.. Low light.. tight spaces..
@@cammackey yeah I don't like workflow for PRR either.... but you have a S5ii now and the b-raw on it is amazing. After using it, I can't go back to shooting internal. Are you going to test it?? 🙃
Consistently Great stuff man….. I saw the Sony haters videos(we all know who I’m talking about lol)….saying how the komodo x slaps Sony a7siii ass….. I called him on his bs again….. he’s a trip
No. Same sensor. Same performance. The FX6 does allow you to hold more detail, but the noise cleans up just as easily. The FX6 has a little mroe chroma noise than the fx3 but I used the same amount on both cameras for this. So the FX6 just would of have a tiny bit mroe texture overall. Other than that there’s no color difference between the fx3 and fx6. These are two different tools that people are contemplating on getting with drastic price difference.
@@cammackey Compression artifacts frustrate that too, but that is out of your control in this platform. Could've been way more useful by making the footage comparable in more than the characteristic that gets the most distorted here.
I don’t call that noisy.. did you see the Komodo at 12,800?? That’s noisy haha. 12,800 is insanely clean for what it is. Some very light NR can clean it up too. It’s wild.
It's kind of odd that Sony and other cameras with build in noise reduction don't just give the user control over it. Could also be interesting for RED to doing some in-camera noise reduction when shooting ProRes or something like that. Could be interesting for documentary situations where you don't have control over what is being shot.
No match in lowlight for red camera range sony gets colors washed out at what u get in 800 u wont get same exact at 12800 n image gets so soft n black becomes grey n whole it creates lot of banding ... sony fx3 is great in good light n till 2000 iso but after that i cant match red interms of post recovery even with raw atmos i tried it cant keep put with red komodo in terms of low light recovery in post this is my full time review since long ia have using red i had got best results than any other camera in posf is only red .... no other comapany can match lowlight recover which red can gives us with 16 bit raw thats it ..
I definitely will take my camera and cuddle in bed with my cameras but only after I give them a bubble bath cause they do get dirty when I use them everytime. also, how many cigarettes did you light to shoot this?
@ I’m saying being obsessed with it. The same way auto is an amateur’s delight. Not saying auto isn’t useful. But I know low light cameras greatly help those who have trouble understanding how to light a scene. Although low light greatly benefits a skilled shooter like any update in tech would
I don't own either camera, but I have used both and this is not a good test at all. First of all, when using a Raw camera you recover exposure in the Raw settings. Any Raw footage will look better if you get exposure close in Raw in post, not by using nodes. It doesn't matter what ISO you set while shooting. These cameras allow full ISO control in post - and that's the whole point. So all your tests really show is how good Komodo can be if you don't handle the footage correctly in post. 2 - The Fx3 does primitive low-budget noise reduction in-camera. This is why it looks so "clean" "out of camera". Raw cameras require you to do this in post, likely getting better results that damage the image less than what a tiny camera box can accomplish in real time. This is not very interesting data. This is merely misleading.
lol you might wanna double check yourself and your “knowledge”. And my noise reduction in the FX3 was turned all the way down, tho you’d ant truly turn it off in that camera. But I had the same noise reduction on both cameras. It was about who’s the noisiest.. it’s about what can actually be used in low light. Maybe it’s too simple of an idea for a dense viewer
The only thing i understood was "lighting up the little cmd smoke thing" 😉🤭🫣🤫 i have a 6300, i think no matter what i get, at night everything looks like shit...I'll just buythe fx 3 right away...i am just making videos of my kids on Vacation etc... so no pro here 😶🌫️
I am pissed you didn't reshoot fx3 shots in focus.
I would still argue that the shots at ISO800 at the end were the most pleasing. Seeing the match fire clip at ISO12800 is not the nicest look, but I understand the implications.
I have the Sony A7SIII at work and it has definitely saved me a few times in low light situations!
Yeah I wish I had put a 1 stop ND on it, but hopefully the point I was trying to prove got across haha. Kinda crazy that both of the cameras are passable at 800 with just a lighter tho.
@@cammackey modern cameras are wild. Kubrick could've shot Barry Lyndon run-and-gun style with this stuff 😅
Fellow Sony FX3 owner here and loving it.
But wow....I still have so much to learn!
You've just gained a new subscriber!
missed focus on the fx3 renders this test null . not sure why you went with it anyways because the noise profile is what is being looked at.
Meh meh meh 😖
You are continuously raising the bar for no bullshit educational content. As someone very slowly trying to attempt to teach myself Resolve definitely am patiently waiting on a video on your color grading / editing process.
Well said👍👍
Totally agree! I would love to see Cam's current color grading process! His videos look stunning. Just look at the talking head shot in this video.
I love how you grade your actual TH-cam videos (like the footage of you talking to camera). We would love to see your process for how you grade these. :)
After watching this, I'm super impressed with the FX3/A7siii/FX6. 90% of the performance at a fraction of the cost of a Komodo X. That 12800 ISO is almost like magic. Oh and fantastic AF, if wanted. I love the Komodo X but thinking that the new iteration of the A7siv/FX3mk2/FX6mk2 is on the horizon, that sensor will blow filmmakers and videographers minds. It's a good time to be a filmmaker/videographer because of the choices we all have. Let's all just remember, it's all about content, composition, and lighting...
You bring up a widely overlookedd topic and present it in a truly cinematic and narrative way - love your style of looking at things from another perspective.
Reminds me a bit of my old Nikon D810 (a stills beast) - base ISO was told to be 100, but in fact the sensor nativ eISO was 64.
So, just turning on ISO 64, accept some underexposing in the EVF and push up all by 1 stop in post with another 1 stop of dynamic range.
As you mentioned, a camera sensor has exactly one ISO - the only thing you change by selecting various ISO values on the camera body is how the readout after the AD-converters for the single pixels get encoded into the video file. With a RED camera it's just the RAW values that get encoded into the RED Raw file, leaving it up to post production to attenuate that encoding in posts.
The secret of dual-ISO cameras is to have a completely second set of signal amplifier circuits between sensor pixels and AD, allowing to have high signal amplification with controlled noise floor.
You made me reflect again and take more advantage of the dual ISO in my camera - thanks so much!
How do I expose correctly with the Komodo in low light to get the best picture?
My man came out swinging with the first 10s! love how you said what everyone is thinking.
wake up people, cammackey posted a new banger no BS video
😂😂🙏🏽🙏🏽
Real test, real pro, no BS propaganda. You’re a breath of fresh air Cam ! Thanks for everything you’re doing with this channel man 🙏
🥹🤘🏽🙏🏽
Thanks for the hard work you did on this and your other videos. I ended up liking both of them for different reasons.
🙏🏽🙏🏽🤘🏽🤘🏽 thank you. And dude same. I’d be happy and confident to use either of these cameras honestly
This was an amazing breathe of fresh air. Most reviewers I couldn't tell, becuase it seemed as though they were following a trend (why I switching to Red X over the ____). All of them still good reviewers, but how you broke it down was very interesting, made me want to learn for about lighting
Thank you for all the work you put into these test. We really appreciate it.
I appreciate that man! It’s always a bit daunting running these tests knowing half of the people who comment will have something bad to say haha. So I really appreciate your comment 🤘🏽🙏🏽
I appreciate your time in creating this, but the footage is so out of focus it's really hard to compare.
Guess I shouldn’t of posted it 🥲
@@cammackey I would assume it's too late for a re-shoot?
Thanks for sharing, great tests!!
How could you post this comparison with defocused images? It affect noise... shocking
Literally… I ask the same thing
its been a helpful video, many thanks
Actual film camera to consumer film camera. Red or Alexa will never be compared which I owned. But still love my FX3 and FX30
Hey bro been watching a few of your videos, you inspired me to get back in to making videos. I need help to decide on a camera, I will mostly be a solo operator. Trying to decide between: Sony FX3, FX6, Komodo, Ronin 4D. What would you advise ?
Really cool and interesting breakdown. Thank you, Cam!
Finally someone does an ACTUAL low light situation with the FX3! I'm so happy with the results of the FX3! Did you use SLOG3?
Bro, great comparison! I never really mess with 16 bit raw so it was cool to see it next to 10 bit
It really shows when you’re pushing a grade. I’d argue if someone is jsut using premier or Final Cut to color grade, that that they wouldn’t actually see the benefits over 10 bit (depending that camera)
@@cammackey Oh that would be interesting to test
Super helpful! Thanks! ❤
How is samyang xeen cf in sony compred to dzo cine lens?
Don't watch this if you're trying to quit smoking! LOL 🙂 Thanks for the breakdown - awesome info as always!
hey, right after 4:00, you're showing it with "the correction" turned on and off, what correction, specifically? i know it's not specific to the vid, at least i don't think, i'm not done yet, but i'm not sure it has anything to do w it, it's difft than noise reduction, bc you're turning it off and on as well.
thx much, really appreciating your channel lately, found it recently
and i do wonder, on the FX3, when you're in Flex ISO, is it preferable to go up to 12800 *any time* you need to go higher than 640? i mean, 800, 1000, 1250, 1600 in moderate light will give you cleaner img, no?
or is it cleaner to go up to 12800 and add ND? bc i'm kinda sure u can go up to 800 and 1000 easily, and prob more, before needing to go to 12800... but it's so tough to figure out on my own
Sorry I have a slur when I speak haha. I said it was the Exposure Correction. So I use the HDR wheels in davinci for majority of my exposure corrections. I had lowered the exposure by 1-2 stops
@@ListenHereOldManso when I’m cine ei, no matter what you change your iso too.. the actual file stays at the base iso. So either 800 or 12,800. So however you change, is literally just changing the level on the monitor basically.
So how I use it specifically.. which ever base ISO I am in, I set my exposure for that. So if I’m at the lower base iso, which is 800.. I keep it there and set my exposure. I usually go all the way till highlights starts to peak and then I bring back down right below peaking. That way I have max dynamic range of the scene. Sometimes, the exposure will look insanely bright.. tho there are no peaking highlights. In that case, I will lower the iso JUST SO I CAN SEE THE PREVIEW DARKER. That’s it. It’s not change if the exposure at all, it’s jsut changing how it’s being shown on the monitor.
@@cammackey oh, yeah, i'm aware of how Cine EI only keeps you in the base isos, and it sounds like you might only use that mode, but i'm talking about the other mode, Flexible ISO... its bases are 640 (instead of 800) and 12800, and i just think it should be handy, at least theoretically, when you need a little more than the lower base but don't need anywhere close to 12800... i *think* it's a *little* cleaner at the lower isos in that mode: 640 and 800 ofc will be, but i tend to move up to 12800, and just compensate w ND, around 4000. lower than 4000 seems as clean or cleaner than 12800, basically.
but i dunno. different ppl seem to have different opinions on it.
@@ListenHereOldMan yeah that’s what great with the FX3, can adapt too many different workflows!
Uh, huh…the good stuff. Nice little light composition.
Really you had nailed that focus on the FX3.
Same :((((( we used a 7” monitor on the KX and 5” on the FX3 which makes it difficult to focus anamorphic. Was super bummed
what was the song used at the end of the video?
!!!!!! literally what is the song
Miss when you made videos about the Z-cam :) did you see that they make a new one. Z-cam PRO??
Zcam is a hard pass for me. Great camera for someone jsut getting into cinema cameras tho. But there’s better options in my opinion!
@@cammackey I mean i am not shooting on it my self :P I cant blame you... I am using the C70, R5C and R3 for my work because it fits the need for what im doing. It just looks so damn nice with the rigging and all, but for me its not practical... and I dont have the luxury to care about the looks of the camera rig :D hehe as you say in the video.. its just tools.
Is it me, my tiny screen or is the FX3 lens not quite in focus? Feels much more muddy then the KX and we all know Sony dials up the sharpening like crazy.
Did you listen to the audio lol?
Ack. My apologies. Had sound off cause the sleeping kiddo and must’ve missed that portion in the subtitles. 🤦🏼♂️🤦🏼♂️
Will they bump the XVAC to 12bit on the Sony FX3 II?
Love your videos. Some of us freaks just love cameras and love shooting. I am not a pro and don't even upload now. I just shoot videos of cool places and my kids.
Are you trying out the S5ii? I just picked one of those up. Your Slog3 Luts work surprisingly well on V-Log
I own one! I’ll make a version of my LUTs for it this month when I get a moment!
@@cammackey That would be amazing! Would be dope to see some S5ii content. I know you are super busy though! I bought the S5ii for video stuff but I've been really happy with the Panasonic 1.8 primes and I've been shooting some photos with it too. From what people were saying on the forums the 1.8 primes are are Leica optical designs.
@@NickDelDuca oh dang maybe I’ll try those out then! Tho I’m all about anamorphic haha. Remind me later this month and I’ll send you the LUT for free
@@cammackey I'm definitely going to have to try some anamorphic lenses here soon especially with the de squeeze built in to the Panasonic. I got a full time job recently so I haven't had much time but I just filmed a little fishing documentary over the holiday and it's got me super hyped to get back into it. Would love to check out the Panasonic LUT! Much appreciated!
Why are you not shooting raw on the Sony FX3 with the Atomos Ninja?
Cause I use davinci resolve cause it’s the only way to get full control of your image. And pro res raw doesn’t give you my image quality bump, just a tiny more color fidelity.
If you have the time and the atomos ninja v+ you can get 16 raw from fx3 externally. The atomos does make the 16bit to 12bit raw, but I believe the color information is there.
I don’t believe that’s how that works sadly. That’s like pushing oil through a filter and expecting rocket fuel haha. And pro res raw can’t be used in the most powerful color grading software, so renders it a bit useless in my opinion. Hopefully some day davinci opens up support. Regardless tho, for my personal workflow.. I would never record externally. It opens up too many opportunities for failure. And most of these tests are based on my personal needs and just cover them for TH-cam.
Still deciding whether or not to pull the trigger on the KX. I have already paid the pre-order deposit, but feel like I'm waiting for something to convince me either way. Thanks for the great content.
Monday. Wait for my review.
@cammackey the KX arrived yesterday, now in the long process of deciding which lenses to invest in. Hope you don't convince me to return it on Monday 🤣
Hey :)
What´s the song playing in the end called?
There is no S5II or S5IIX vs FX3 anywhere online. Pls do one
Hi. what is a name of your background music?
It’s from Audiio.com! I’ll update the description with it soon when I get timw
What is the song at the end?
Nice video! But is there a reason why u didn't shoot 16bit with the fx3 if ur comparing it with the 16bit komodo?
It doesn’t have 16 bit…..
@@cammackey what does this mean?
"Add to this the ability to record data-rich 16-bit RAW from the FX3, which is then compressed and recorded in the Ninja V as 12-bit ProRes RAW from the camera's large sensor at 4.2K up to p60."
It says 16 bit then compressed to 12. Which is better than 10. But I'm still wondering why not use the best setting for the camera.
Thanks!
@@JJTemp so.. you think pushing 16 bit color through a funnel and getting 12 bit color… is still 16bit? Lol.
This isn’t a tech channel. I’d be happy to watch someone else make that comparison. My test was about testing their best internal codecs, because that what I use for work. I don’t like pro res raw, I find it a gimmick. If you’ve tried red raw you would experience a night and day difference.
I love my FX3 and I think it’s one of the great versatile cameras out right now, which is why I use it for everything. But it doesn’t have 16bit internal raw. And that’s okay. But if it did.. that would be crazy good.
Real professionals shoot in 32 bit.
@@cammackey lolol I definitely don't think it's the same, but definitely better than the standard. But I understand. I don't use it, it's not practical. But I hear it's a tad bit better.
Will you ever do more work with the xh2s?
Prbly not. It was a great camera but fujis AF still isn’t on the level of Sony. I couldn’t use it for work either, the quality just again doesn’t compare to the Somg A7RV. It was a great TH-cam camera tho
@@cammackey Man I’m surprised, you gave the camera such high praise! I was thinking of using it for filming. Really torn with todays options. Especially with high frame rate.
@@TheDreInDaHouse it’s still a great camera, just wasn’t comfortable using it for big clients
@@cammackey very fair understanding, thank you for your response.
what do you think about the blazar nero ?
Love it! Great budget options. There’s some work arounds for it due to its size, but great overall. Lots of charcter
Awesome video
Any lenses you have in mind for the KX?
All anamorphics haha
This highlights the thing about the fx3 that bothers me often. In most low light situations i encounter, iso12800 often overexposes and clips things. Seems like all the yellowishness in your shots may mean your hand and face have clipped color channels in the fx3 12800 shots and obviously the flame is super clipped. Iso12800 is undoubtedly useful in a pinch and extra useful if you are limited in both light and aperture, but i find even in low light I usually want an ISO more like iso 3200 unless im forced to shoot on slow lenses for some reason. Even jf you stop down or ND down, ISO12800 locks you into pretty high photon shot noise though the strong nondefeatable noise reduction takes care of it to some degree.
So are you saying 12,800 is useless because you have to use NDs and other tools for exposure like you normally have to with 800? I dont understand your complaint here.. Just because it shoots 12,800 doesnt mean you dont have to use exposure tools. As I said, it would have looked better if I used an ND with 12,800 rather tryign to recover shadows from 800. If the Komodo or canon or whoever people choose to worship, had 12,800 im sure they wouldn't be complaining about it just because its sony. I much rather have a dual iso of 12,800 than 3600-4000. why? Because it gives me even more latitude to use while using the same tools I use at 800. Silly. People will find anything to complain about. So let's just get rid of 12,800 and just be stuck with 800. Cool. LOL
Well I’m happy with photo camera doing video R5 😌
Love your content always!!
I am an old Komodo user.
As I knew KX dynamic range is half stop higher than regular Komodo. I am curious how the color preform between KX and regular K
Does KX have better low light color information or just similar?
Zero clue on that one brother. I've seen some side by sides of the two and I kinda liked the OG komodo color more. But the X def has more latitude it seems
@@cammackey thanks brother
Awesome!
Thanks!
I have no idea what tf you're talking about, so I subbed.
Gahahahaha
Honestly the Komodo confuses me a bit. Doesnt quite seem to hit the mark as a proper "RED" camera when looking at the value for the price.
RED was always overrated in your head. The X is one of their best but competition is different compared to 2008.
Could have also done FX3 with ProRes via Atomos. Good test tho.
The thing with Komodo (and probably with any RED) is you actually can have better results if you switch your ISO to 100 when you record and then switch it to 800 or higher when editing.
You probably wouldn’t see a shit on a display while recording but the camera would protect shadows (and probably sacrifice highlights) but the end result would be much cleaner image.
That’s not how that works. It doesn’t magically give you better results… changing the ISO on the Komodo in RAW only affects the way you expose, it doesn’t actually affect the sensor. The sensor just sees light.. your shutter and aperture are the only things that affect it besides the actual luminance values hitting the sensor.
@@cammackey definitely. The most important thing is how much light hits the sensor. I didn’t mean that it would work like magic. But it’s just how compression algorithm and sensor without native iso works. It would keep more information in shadows. But again it’s not magic and it would definitely be much worse than sensor with native 3200, 4000 or 12800 iso.
This isn’t necessarily bad advice. According to RED and my own experience, in low light it’s best to protect the shadows with a low ISO, in bright light, it’s best to shoot at a higher ISO to protect the highlights. The way the 15ish stops of DR gets distributed shifts depending on the ISO you use
@@chrismcduffiephoto THATS FOR SETTING EXPOSURE. That’s for when you have control of your exposure outside of the camera. This test was to test “uncontrollable” light sources. In low light, if you have control over your lights.. when you lower the ISO it forces you bring the luminance values of the light source higher.. thus pumping more light into the sensor. Lowering the iso doesn’t magically make the sensor better at low light.
@@cammackey it was a great test for just that as all your tests show. Many situations are run & gun and we can't control many (any?) factors. The way R3D works is a bit different than other cameras and codecs tho
The R5C's 3200 gain stage would've been right in the wheelhouse for a shot like that.
Yup or the Panasonic S cameras at 4000.
dont say that word here! #canon
Have yet to have a camera that’s great in low light, considering my shooting style, I can’t wait to jump to Sony.
Been looking for this kind of comparison. Super cool!
Holy shit that thumbnail! 🔥
Screengrab from the Komodo frame! Was able to edit it like a regular photo, pretty wild. 6K comes in handy for stuff like that for sure
Great video Cam, I am curious and have two questions. What codec were you shooting on for the FX3? Was it XAVCS or XAVCS - I or something else? Secondly, curious why you didn't shoot raw externally on the FX3 for a closer comparison? Great video none the less, always look forward to watching your videos Cam.
It was the ALL-I DCI 4K that just came with the latest firmware. And I tested their internal codecs. I don’t like pro res raw at all for a number of reasons and I would just most likely end up breaking an external recorder haha. And you can use it in davinci where you can see how powerful it is for me to be able to stretch this footage around. And I’m not about to spend days on days transcoding footage like it’s 2016 haha.
@@cammackey ha ha thanks Cam. That's fair enough. I own the FX3 and absolutely love it.
@@Addrian.I love mine too, it’s the most versatile camera in my kit. At some point imma make a video about “the camera I grab when I’m in a pinch” cause the the camera saves your ass whenever you need AF.. Low light.. tight spaces..
@@cammackey Completely agree, i'm looking forward to that video!
@@cammackey yeah I don't like workflow for PRR either.... but you have a S5ii now and the b-raw on it is amazing. After using it, I can't go back to shooting internal. Are you going to test it?? 🙃
Consistently Great stuff man….. I saw the Sony haters videos(we all know who I’m talking about lol)….saying how the komodo x slaps Sony a7siii ass….. I called him on his bs again….. he’s a trip
Oh for real?!?! I thought he retired 😂😂😂
@@cammackey lmao…. He should😁
Comment sessions is going to be so good on this one;)
Trying my best to keep my sassy pants off
@@cammackey hahahaha sass it up:)
Good stuff
More fair comparison would be FX6 with noise reduction control and $6k price vs Komodo x and $10k price, no?
No. Same sensor. Same performance. The FX6 does allow you to hold more detail, but the noise cleans up just as easily. The FX6 has a little mroe chroma noise than the fx3 but I used the same amount on both cameras for this. So the FX6 just would of have a tiny bit mroe texture overall. Other than that there’s no color difference between the fx3 and fx6. These are two different tools that people are contemplating on getting with drastic price difference.
@@cammackeygotcha
I have Sony fx3
Should I get RED ??
If you have to ask, Prbly not.
Bro did a 9 minute video on focused vs unfocused footage.
Good thing it was about low light. Guess there was nothing to be learned then. Gotta be a little high brow I guess.
@@cammackey Compression artifacts frustrate that too, but that is out of your control in this platform. Could've been way more useful by making the footage comparable in more than the characteristic that gets the most distorted here.
ISO 12800 on the FX3 is amazing, but I’ve noticed it is noisier than ISO 800. This is understandable, but 12800 is not “totally clean.”
I don’t call that noisy.. did you see the Komodo at 12,800?? That’s noisy haha. 12,800 is insanely clean for what it is. Some very light NR can clean it up too. It’s wild.
@@cammackey I hear you! 12800 is amazing, but not as clean as 800 and obviously blew away the Komodo fo sho!
It's kind of odd that Sony and other cameras with build in noise reduction don't just give the user control over it. Could also be interesting for RED to doing some in-camera noise reduction when shooting ProRes or something like that. Could be interesting for documentary situations where you don't have control over what is being shot.
RIP lungs
No match in lowlight for red camera range sony gets colors washed out at what u get in 800 u wont get same exact at 12800 n image gets so soft n black becomes grey n whole it creates lot of banding ... sony fx3 is great in good light n till 2000 iso but after that i cant match red interms of post recovery even with raw atmos i tried it cant keep put with red komodo in terms of low light recovery in post this is my full time review since long ia have using red i had got best results than any other camera in posf is only red .... no other comapany can match lowlight recover which red can gives us with 16 bit raw thats it ..
Komodo X 🤌🤌
I definitely will take my camera and cuddle in bed with my cameras but only after I give them a bubble bath cause they do get dirty when I use them everytime.
also, how many cigarettes did you light to shoot this?
Haha 1 1/2! They’re actually just CBD smokes, zero nicotine or chemical ish
@@cammackey aah! I got high just from the smoke once. but got nice shots.
@@winterkat8693 haha there no thc or anything like that. I don’t smoke that stuff, don’t like it
@@cammackey no, like we used the real stuff for the shoot and went throught a box real quick. we were on a budget.
Yup, Color science kills. Low light is for those who really don’t know how to light a photo or find light composition
So you’re saying Gareth Edwards and Grieg Fraser doesn’t know how to light? Got it.
@ I’m saying being obsessed with it. The same way auto is an amateur’s delight.
Not saying auto isn’t useful. But I know low light cameras greatly help those who have trouble understanding how to light a scene. Although low light greatly benefits a skilled shooter like any update in tech would
@@SyvilMedia yeah so why generalize a tool for all amateurs.. it’s jsut the internet but these hot takes are dumb
Happy 4th of July!!!!!!
They're two different type cameras
100% both great in their own ways
An out of focus test....nice.
Just for you 😘
KomodoX > SonyFX3
youre going to miss focus and upload a comparison video...
You’re going to watch it? Cause no one’s making you ☺️
Cbd………. Riiiiiiight 😂
Stop speaking the truth! Are you trying to destroy people's illusions?
🤣
First
I don't own either camera, but I have used both and this is not a good test at all. First of all, when using a Raw camera you recover exposure in the Raw settings. Any Raw footage will look better if you get exposure close in Raw in post, not by using nodes. It doesn't matter what ISO you set while shooting. These cameras allow full ISO control in post - and that's the whole point. So all your tests really show is how good Komodo can be if you don't handle the footage correctly in post. 2 - The Fx3 does primitive low-budget noise reduction in-camera. This is why it looks so "clean" "out of camera". Raw cameras require you to do this in post, likely getting better results that damage the image less than what a tiny camera box can accomplish in real time. This is not very interesting data. This is merely misleading.
lol you might wanna double check yourself and your “knowledge”. And my noise reduction in the FX3 was turned all the way down, tho you’d ant truly turn it off in that camera. But I had the same noise reduction on both cameras. It was about who’s the noisiest.. it’s about what can actually be used in low light. Maybe it’s too simple of an idea for a dense viewer
The only thing i understood was "lighting up the little cmd smoke thing" 😉🤭🫣🤫 i have a 6300, i think no matter what i get, at night everything looks like shit...I'll just buythe fx 3 right away...i am just making videos of my kids on Vacation etc... so no pro here 😶🌫️
*feelings not “fillings” 😁🫡🥁