I am not crazy about RED in general and I am not against switching cameras if I need to BUT a lot of your reasoning was comparing it to an ALEXA which we know none of these cameras are really comparable to. It seems like the only argument was that you bought the camera for the credibility of the name brand.
Actually the Blackmagic Cams are fairly comparable if you actually understand how to grade them and use high-quality lenses. I bet you $5000 I could shoot something on an Alexa and Pocket 4k and you couldn't tell them apart.
@@Frontigenics I agree 100000% but in regards to this video that was the only arguments he really stated. Alexa cams just have better quality control and quality sensors, overall what you said is valid.
@@AndreiLucaa With who though? Most clients don't even know what a RED is. Are we talking about sets that are hiring RED camera ops specifically? And if so, why would a Komodo by the A-cam over something like a Raptor/Monstro/Dragon etc?
I'm all for great cameras and gear but, I'm seeing too many TH-camrs switching from camera to camera. For what? The story is King and resolution isn't really the thing any more to argue. Red, BMPCC, Canon, Sony none of it matters. Just create and stick with something for the Long haul. We keep pushing people to consume, consume, instead of living in the gear and letting it become a part of the work not "the work" Also, you should absolutely not be hired because of your camera. Not a good look as an artist. All that being said, I love this channel.
@Nick Brengle I agree, I made a promise to myself (and the world) to stick with just one camera for a period of time ( th-cam.com/video/PCZbR9SCKjk/w-d-xo.html ) and it was the best decision 🙌!
On the other hand, there are cases when your client just plainly wants a red. They've heard that movies are shot on red and they want it. Landing a job because of your gear is absolutely a thing that happens, for a multitude of reasons. "Good look as an artist" does not matter so much when you get hired to do work and you get paid for it. Your camera is a part of your offer, it is also a part of your investment and it can (and should) reflect on your pricing. It is absolutely not as important as your skill. But you also don't want to get stuck with your tools if you can get better results with other tools.
That’s what TH-camrs do. They need to have the trending keywords to generate traffic, otherwise they get drowned. Story is king, but in the age when content creation is so accessible and desired, the story is the gear, not the content. I love Spencer and his channel, I think he’s hustling even if some of the content does not apply to nominal storytellers.
Not really sure what you mean by that. I went from the pocket 6k to the Komodo and it has been the best investment I’ve ever done in my career. 6K is great but the Komodo is just on another level. Almost a year with it and have never had a single issue. The colors and quality I get out of that thing are unreal.
@@johansermartinez9287 what he means is that generally the experience with the older cameras especially (Red One, Epic, DSMC1) involved lots of crashing
Translation = I have the money so bought a red lol. They’re all the same these days but congrats on your red. I’m personally looking at the kinefinity or ursa 12k if I upgrade from the 6k.
@@ErrickJackson This comment doesn’t apply to me, but for the record - a lot of filmmakers would buy the red if they could afford it which is why I made the comment. I personally wouldn’t upgrade from a BMPCC6K to a Komodo because that’s my preference. That’s my point. I can afford the camera, just don’t want it but I was also making a general statement.
I buy cameras with the idea that I will replace it in 3 to 4 years. My budget is still in the Pocket 4K range. It’s nice to have cinema cameras on a mirrorless APS-C budget.
And the Pocket 4K is 100% capable of the big-budget film look if you understand your craft. A Pocket 4K with proper lighting, color grading, speedbooster, ect... will get you the "Alexa look" just as much as the native Alexa itself. Most of the time, when people talk about the "Alexa look" they're just talking about professional lighting. Diffused, soft-boxes, cove-lighting, ect.
This sounds like someone trying to justify their purchases.. Nothing said meant anything. Nothing here makes a big difference... Sounds like he just wanted a komodo and pulled the trigger.
I think if Blackmagic made a 6k box-shaped camera with batteries in the back that can be hot-swapped I think that would be a red komodo killer. Global shutter would be nice too, but the only problems with the bmpcc6k is the shape (for gimbal use) and battery life imo. You are right that the Red brand can sell more to clients than blackmagic
@@bmefilms6879 I feel like if blackmagic were to make a 6k in komodo shape it could cost the same as the bmpcc6k. if it was global shutter then I would think it would cost the same as a komodo. Either way, yes I would buy one. Especially if I don't have to wait 3+ months
@Dalton Beauregard youre just talking to hear yourself talk. Blackmagic is making cameras that independent low budget filmmakers can afford. why would anybody pay the exact same price w/ exact same specs for a BM camera if they can get a RED? You are being disingenuous...you would already have the red "I dont wanna wait 3 months" is a crock. you want a komodo at BM prices...thats never gonna happen! thats why people complain about the build, BN has to make some cuts to make the price what it is. I personally dont mind because its an affordable camera with an amazing image....that makes me very happy!
@@bmefilms6879 But why would you assume that a blackmagic camera in a cube shape would be the same price as the komodo? I think it would be around 1k-2k like the rest of their cameras. If it was a global shutter maybe more. Blackmagic had a micro camera that was a box shaped camera in 2013, RED doesn't have a patent on box shape cameras. The 6k has similar specs to the komodo except the global shutter. And Red isn't known for it's reliable built cameras and build quality either, even the komodo has the SDI issue that cameras will fry their SDI ports even if you follow the proper protocol exactly
do it wrong? also i don't know about you but clients that i worked with , always like really always care about the camera that i use or will use and it affects my quotation process, they wanted the highest quality but yeah sometimes they cant even bother to compare cameras. Of course, the camera that you own isn't.. but camera that will be / being used is. The fact that people got hired because he/she owns the camera that he/she will use to shoot the project, then whats the problem? if he, she, you or they have the budget for the those expensive cameras then go for it.
Not sure why u even bothered comparing the Komodo to the A7sIII. The A7sIII's low light ability is exaggerated- it's ridiculously noisy AF on ISOs as low as 3200 and horrendous at 6400. The Panasonic S5 looks way way cleaner on said ISOs. Those biased 'fans' say just go to 12800 - but by then the DR and video texture have really degraded bcoz of the in-camera's DNR. I also noticed a lot of like to shoot it on ISO 640! 640?! So much for a so-called "low light" king.
Everyone wants to move from BMPCC to Komodo, (the camera Red made as their gopro for action or crazy shots) and then right into how it's not the best camera. About the only advantage over the BMPCC 6k is it has the name Red on it so other people with cameras can go "Whoa, cool." So $3500 more for noisy, lackluster dynamic range and expensive accessories. You summed it up perfectly by saying you got it cause it has the Red name on and you want to impress clients. Clients that know what Red cameras are will know you're using the cheap prosumer one so that point is invalid. You rig out a BMPCC 6K and anyone not a camera enthusiast will be impressed. Most won't care what you use if your demo reel is amazing.
@@hunterb7549 Yeah gotta agree. I’d also argue its the clients that know what the Komodo is that would also know what the capabilities of the BMPCC 6k are.
So much hate for the Komodo... Reminds me of the "Iphone vs Android" days. I remember a rich friend of my dad who had this like 20,000 dollar fridge(one of those braggin rights buys, ridiculous) and he's like i explain to people that i dont need a 20,000 dollar fridge(cant remember the brand), i bought it, because i CAN lol! That was hilarious to me as a kid. Good for you man, enjoy your camera. Its a pretty awesome piece of gear, no explaining needed.
y'know, i know this is a copy paste but if this were the difference between the 6k pro and something like an alexa, then sure i understand, i can buy both sets of atlas orion lenses, but between the 6k pro and komodo, what the fuck can i buy? the difference is good for like one sigma cine lens and that's it lol.
Sold my Blackmagic a few weeks ago, bought a Komodo and absolutely love it. Komodo got me more clients, R3D raw is like a butter, global shutter, and the work flow
Image quality is not the issue for 95% of the audience. Work on direction, shot composition, light levels, content. A t2i and a 2core processor is deadly in the right hands
In the correct hands all (red, canon, fuji, sony, bmpcc or any other make) cameras will look great and do the job. Client will NEVER see the difference.
They may not but the money they pay does, as ridiculous as it is, more expensive cameras and camera brands just exude professionalism on set like I could just show up on set with an iphone because those are very good and its merely a tool right? and I would see what you're saying if you never had to interact with your client from beginning to end but that's not always the case y'know that right? It is like the illusion of cinema itself, it's all about selling the illusion that they're getting their money's worth.
The optics portion will definitely rile up some people. I totally agree with you. The appearance is not important until you get into certain markets or price range. The people that defend the whole gear not mattering have not seen or met that threshold yet! It doesn’t help that people are seeing this in a vlog style or one man band platform BUT what you’re saying is so true that gear allows for more doors to open but it won’t open doors for you.
Red cameras are not supposed to be e, posed to middle gray, but rather to protect the highlights in the raw image (as per the "Traffic Lights"). You can remap the middle gray levels via ISO without clipping the highlights. Noise reduction for raw recordings is just part of the normal image pipeline. Also, try using Neat Video. You will not need to sacrifice sharpness when using Neat Video for noise reduction.
I'm waiting for BM to release a 6k full-frame camera in a cube form (built-in NDs, low pass filter, and IBIS if possible) I hope to see something like that soon in 2022.
You made the right choice by buying the Komodo. I just got it last year and the amount of demand for my work and gigs has tripled. The reality of today is that having any Red camera in the film industry specially the independent one is an Asset, Plus a great Tool. Obviously is not an Alexa I have mainly used the Arri Alexa and Amira for most of my work but the Reds have become the standard camera of serious productions. Definitely glad I got this instead of the Blackmagic or a Sony. Anyways I Loved your video Spencer Keep making more content about the Komodo. Great job 👌🏼👏🏼
I think BM needs to step up for its cameras and realize some people would pay more for a better cam. I absolutely love my 6kpro and the image it delivers in this price point cannot be beat. But, if they went with a cube form, gave us global shutter, etc. im sure people would flock. theres no reason they need to keep designing these things to look like DLSRs, especially the goofy idea to put a selfie record button in the front.. like seriously? the one thing they did recently which was genius was to release the gyro stab mode. it completely gets rid of the horrible rolling shutter issue. that alone kept me in the circle.
I truly hope bm releases a box cam modular cam like the komodo. Make it the next iteration of the pocket pro. The current pocket form factor needs to die. It makes no sense any more. Box cam iteration of the pocket pro sub $3000 and you will destroy the market.
my job always need me have at least one back up camera, so in any case, 2 camera body is a must, red is not really good at it, I use to own 3 red scarlet, one of them is always got some issue, and there were a time that 2 of them failed together in the same shooting week, I was super stressed , repair them took me 1 and half month, I switched to alex mini, 2 bodies, never failed . and I also own 6 bmpcc 6k, one of it got some battery issue which is easily fixed by using v mount .. rest of them never got any issue, and they are super cheap and fast to replace, and I can use them to shoot any commercial job, yes any of them if customer do have request over equipment. and no one can tell the different of a image from them if you do know how to control your light and color .So if anyone got the budget for a red, I would either recommand add more for a arri, or get more then 2 ursa/bmpcc 6k, unless you r youtuber or just must have that brand, red is been famous of over price and using cheap parts bad designs etc, the experience was never good, but big budget commercial group always got more than 1 camera, so quality is not issue. they can even use red as crush camera. but this is not the case for average user.
I used to come to this channel for the beautiful lighting and recreation of movie scenes. I learnt a lot and enjoyed watching. Now I’m listening to you explain to us/yourself why you bought a new camera… please don’t turn into another TH-camr telling me about why or what gear to buy. Inspire me with great ideas, stories and concepts. Share your creativity with us. Just my 2 cents.
I can understand the switch from BMPCC to KOMODO...but what about with the BM mini Ursa 12k, now that it's the same price (cheaper actually) with Komodo? Thank You! Your work is always inspiring.
Yeah what I learned from a lot of people in the comments is they'd rather pay for the komodo at $6k than the Ursa 12k at $6k because of the red name i guess.
@@nathancasey7712 THANK YOU FOR SAYING THE QUIET PART OUT LOUD. RED users don't care if you can get the same results with other cameras for faaaar less. They just want the pretentious factor.
I'm reading between the lines here but it sounds like you're justifying a purchase you made for brand recognition. Nothing wrong with that. Makes perfect business sense. It's a good camera, even if it actually has no real advantages over its competition.
A more interesting switch might have been from a G2 or 12K to a Komodo and why. Or a comparison between those two. Submarine style vs Box stile, etc. type of comparisons
Dropped the black magic and upgraded to the C70. I guess it depend on the needs but man do we have some great options nowadays for not that much money. Honestly the c70 to me (as i needed autofocus) has been a bigger gap than i could ever have expected. Guess that's the same for you with the Komodo, for other reasons.
@@faithhouse6111 if they update the c70 with firmware for RAW out .. it would be a beast for the price and features. The R5 got raw out .. and it’s not a cine camera …. So here’s hoping the c70 gets the same treatment!
@@SierraCreative RAW is nice but honestly it's not necessary. You want your scene to look right on set, and the prores the C70 gives you is really holding up to color grading. I had RAW on the black magic i'm not looking back
@@florentdevier check out the raw files from the c300 mk.3 vs the C70. Different for sure. It’s not always necessary, I agree. I just think having more flexibility on high end projects is nice. I’m also constantly working in an R3D environment, so using raw isn’t foreign.
@@SierraCreative Yep i get what you mean. Currently shooting a doc in a very small team and already having this awesome autoF, variable ND's + all those customised buttons is a life changer !
Nothing of what you just said justifies getting a Komodo with all its required addons, when you already have a BMPCC 6k at hand. You can just be honest with yourself and just say the truth: you just wanted a Komodo. It's hot right now, and you just wanted one.
I now always shoot iso 400 ( when I have full control of lighting) feel it give me a much much cleaner image! Outside sometimes 800 to preserve highlights - but 400 is a really nice sweet spot!! Super clean!!!
@@troywalt4834 12K is just the headline feature. Full sensor 8K and 4K at 120fps in braw. Super 16 crop 4K at 240fps in braw. Plus the image itself is very nice.
Everybody is always so salty when a TH-camr or creator goes out and buys a camera like this… So many comments about “you don’t actually need a red, waste of money” blah blah blah” There is a reason Red cameras and arris are still the go to for every medium to large commercial production, it is where the money is at, you can’t fault people for progressing their careers. Keep trying to get expand your productions with your GH5 & see how it goes.
Would love to hear your thoughts about Komodo vs S1H or S5 with a Ninja V. For my uses (documentary and corporate, doing more commercial work) Panasonic is probably the better option.
I think you just wanted a RED and are making a video trying to justify it that doesn’t make sense. Your videos with the Black magic looks insane compared to this
As you have mentioned the client “optics” , that is correct. You might be able to shoot that commercial on an iPhone but unless you have the name of Steven Soderbergh, you do indeed have to show up with the biggest camera package possible to make an impression and get paid the money you want to 🤣
I love the image quality of REDs - but I need speed and convenience from my cameras - so no REDs for me. Just too much work. And the audience doesn’t care - they just want entertaining content.
@@bretthazlett In Germany it's pronounced ah-ry. Fair enough. Here in North America it's always been pronounced airy - both on set and at Arri. In spite of not speaking a word of German I have a VERY German last name (umlauts and everything). Always cracks me up when native German speakers strongly argue with each other over its pronunciation.
So essentially he just hasn’t had the budget to work with premium colorists and/or clients if he thinks he’s always the expert and no one else can grade “his footage”. Plenty of DPs come to grading sessions… in fact the best of the best in Hollywood do this and don’t grade their own work… because they work with the best colorists and have so much work that they don’t have time to grade their own work, commercial feature or otherwise.
Why didn't you stay in the same ecosystem and get an ursa 12k? it has way more features and is similar in pricing. I think the RED gets me work excuse is overused, i see so many people who are skilled get work without it since everyone uses them in Cali. I think your work is dope you just picked a want over a need.
The optics change everything. I've gotten much higher profile shooting gigs since owning this camera. I still do mostly post work as an editor and using the S1H on any internal shoots, but since going Komodo, higher profile commercial gigs etc. I'm having to turn down gigs now because they conflict with the series I'm cutting currently....all because of the Komodo. Also bonus, been shooting on my Contax, Leica's and Soviet cinema's without any issue from clients lol. Great video dude, so well articulated from a position of experience.
I know if you keep hearing the same thing long enough it must be true..., right? So why do all TH-camrs who say they can charge more when they have a Red Camera...., or theycould just charge more...., And how much more are you charging? What percentage? If your client is asking for a cinema camera raw recording aren't they also asking for a bigger production overall? (i make naarative films so red is overkill imo epsecially when you see these oversharp/overclean red short films at festivals...., looks like 60p video to me) I understand having the camera in your pocession is a big thing when learning the camera but no YTer talks about the econimics of having the camera, how many shoot days will make the camera purchase profitable. Is buying a Red instead of renting just self-indulgence- Nothing wrong with buying what you want becaause you can, but the justification of you can sharge more sounds like you are trying to convinve a spouce/partner/yourself you overspent on something that should be rented. Also what is the mantenace for the red? DO you have to sent it in for calibration or servicing? Thanks!
This is a typical red video. Comparing a red to a pocket camera. I'll keep my URSA cameras because I don't choose a camera because if the name but because of quality. By the time the red stuff warms up, I can shoot a scene. And when red crashes, good luck with that. And most people cannot tell the difference in the end.
⚠️⚠️❓ What if you want a compact run & gun that delivers cinematic footage + has autofocus (for a 1 man band)? I understood the BMPCC 4K or 6K's autofocus isn't reliable if even working, So Canon's R5C should've been suitable yet, it's footage doesn't feel Cinematic at all. So, what's left? Sony? With it's not so good color science? (fixing skintones all the time)
Color science of a camera is key to cinematic look, it is the major part that make a camera cost hundreds of thousands of dollars, be cause if the camera doesn't translate the world colors correctly you won't get those colors you see in movies.
Hi! I'm looking for the video you're talking about on how to expose with the gray panel, I can't find it on the channel. Do you have the link? Thank you!
I hope Blackmagic will release a weather-proof full-frame cube camera like that with built-in NDs, low pass filter, and a ton of amazing features in 2022 🤞
Well. It happened, but glad you got one. This video felt lik an excuse, an apology, was not convinced with the words but at least there will be new tips and pretty pictures
Pleasant images and bokeh, though the chromatic aberration is unfortunately quite strong with these Meike lenses, as seen particularly at 3:41, around the rim of the coffee mug, at 9:57 along the edge of your black pants, and at 12:15 along the edge of the white earpiece.
All I need to shoot incredibly beautiful digital film is my b6k and a lens. Oh and a couple of batteries. With the red komodo, who knows how much gear you have to add on just to get out the door. 2 different cameras that produce similar results. I'll spend the extra cash traveling for 10 months in Europe and Northern Africa.
You don't need that much gear to start shooting if you know what you're doing and aren't concerned about selling professionalism to instagrammers, watch Justin Phillips video on that
The Komodo has a slightly muddy look and less color accuracy to it compared to a Blackmagic 6K Pro. Side-by-side comparisons easily show the difference.
That camera took a hit on dynamic range in order to have that resolution, compared to Ursa G2 .. think the original G2 is probably the preferable choice between the two unless you have a specialized need for that resolution
interesting to know if after all this time you feel giving up your blackmagic for red and pay the extra was a good choice this is much more expensive for led i braw give you all the flexibility youll ever - need for great price - im sure that at the begining it was exciting new camera for you but i the image is not better i think and many will prefer the blackmagic
Interesting thoughts. Personally I very much dislike the Komodo, but as you said, all cameras coming out nowadays are perfectly usable. For me, the Komodo makes a lot of strange design decisions. Non-locking non-interchangeable mounts, built in Canon battery plate, etc... That combined with the very strange hard to deal with noise patterns due to the compression method, high noise floor, poor color matrix, and small pixel size makes it a relatively uninteresting option for me personally. It is definitely a significant step down compared to most of the current RED lineup, but it's a budget camera after all. For most it's more than useable and if you need R3D in your pipeline or just want something to step to up from a mirrorless camera that might garner rentals, go for it. I think in the sub $10,000 space, the ZCam F6 (not without it's own design flaws) and the G2 (same story) probably win in IQ for me. Which makes the Kinefinity Mavo Edge a very interesting camera on the horizon. Just a step above that price point, but seems to close the gap significantly between budget cinema cameras and those that are professional standards. All in all, I don't blame you at all for leaving the Pocket cameras behind. It's very hard to justify the workflow especially if you're moving into working with bigger clients. It's a cumbersome camera on set.
@@dna8269 comparatively obviously. You can totally work with colors coming off of almost any modern camera, but depth is poor. Skin graduations are massively diminished. Throw it up next to something like the Monstro (REDs best camera in this regard) and you can tell a huge difference. Obviously, that should be the case. It's the budget camera, but I think many confuse the performance of the Komodo.
Congrats dude! I just got my Komodo last week after waiting over 5 months! I've been shooting with a Sony a7sii for the last 5 years on all my shoots and funny enough, 90% of shoots this year I was rented a RED Komodo or DSMC2 to operate. My little Sony no longer was wanted haha! So was time to upgrade!
I can relate. I started my journey with a Sony a6000 and people kept telling me I was talented and didn’t need new gear to land better jobs. I never considered upgrading the camera and for a long time I was stuck with a camera nobody wanted to buy. Clients didn’t want to hire me as soon as they found out about the Sony a6000 being my main camera even though the work was good. Video quality just wasn’t good enough. I recently decided to upgrade to a pocket 6k and I’m yet to see if it improves my clientele
Thanks for sharing your thoughts. As a shooter who's been getting away with using a GH5 for way too long, I agree with you about building up a rig to increase its optics. Plus in my case, I gotta hide that tiny camera body behind a bunch of accessories. Nothing to see here, folks!
I just shoot video as a hobby (but like watching videos such as this one purely out of curiosity about "higher end" cameras) - I bought a Panasonic GH5 second hand - with the VLog loaded in it - I can honestly say the footage is marvellous (for the price) but I can imagine any professional would aspire to something that's the "real deal" - however, don't throw out the GH5 if you do get something like the Komodo - I imagine there will be situations where you want something as compact as possible - possibly for personal footage - that's not being sold to clients.
Thank you, I think i just realized that I need to shoot on a pocket 6k instead of a Komodo. Simply put, alot of the videography I get paid for is run and gun and sometimes studio but I need to be able to have a little more mobility. Honestly been a toss up between those options an an fx3 but tbh I used Sony in the FS days and I hated the menu / grainy looking footage dunno if much has changed. anyone have any opinion on cameras in this range ?
11:18 Ouch. I was gonna ask if komodo fits in for shooting long form documentary. Wonder how is color grading Prores 422 HQ footage different from R3D raw footage. man... I've tested R3d sample footages, like you said images just look so good.
Love my Red Komodo to death, but I'm not going to lie I had a spend a solid month re understanding how to properly expose and edit with it. Wanted to make sure I showed up to sets knowing exactly what I was doing since I was used to using an FS5 and just turning it on and going. That and the SDI make me cringe everytime i do my hookups waiting for the day it burns out, as they always do it seems.
Nice one Spenser. Honestly, you should think about investing in the V-Raptor in due course. When you think about it, it's actually not that expensive for what it can do and as you say 'charge for'.
I TRUSTED YOU SPENCER YOU WERE THE CHOSEN ONE
That’s what I’m saying
Truly 🥲😭
You bastard lol (bmpcc for life )
Chosen one to what?
He was supposed to bring balance to the force
I am not crazy about RED in general and I am not against switching cameras if I need to BUT a lot of your reasoning was comparing it to an ALEXA which we know none of these cameras are really comparable to. It seems like the only argument was that you bought the camera for the credibility of the name brand.
Actually the Blackmagic Cams are fairly comparable if you actually understand how to grade them and use high-quality lenses. I bet you $5000 I could shoot something on an Alexa and Pocket 4k and you couldn't tell them apart.
@@Frontigenics I agree 100000% but in regards to this video that was the only arguments he really stated. Alexa cams just have better quality control and quality sensors, overall what you said is valid.
@@Frontigenics yeah lol. This dude bought cause of lack of skills. Needs the name to sell pitch to a customer.
@@craigman7262 unfortunately, if you own a RED you can charge more. It’s just the way this unfair world works 😂
@@AndreiLucaa With who though? Most clients don't even know what a RED is. Are we talking about sets that are hiring RED camera ops specifically? And if so, why would a Komodo by the A-cam over something like a Raptor/Monstro/Dragon etc?
I'm all for great cameras and gear but, I'm seeing too many TH-camrs switching from camera to camera. For what? The story is King and resolution isn't really the thing any more to argue. Red, BMPCC, Canon, Sony none of it matters. Just create and stick with something for the Long haul. We keep pushing people to consume, consume, instead of living in the gear and letting it become a part of the work not "the work"
Also, you should absolutely not be hired because of your camera. Not a good look as an artist.
All that being said, I love this channel.
@Nick Brengle I agree, I made a promise to myself (and the world) to stick with just one camera for a period of time ( th-cam.com/video/PCZbR9SCKjk/w-d-xo.html ) and it was the best decision 🙌!
gear pimps...
On the other hand, there are cases when your client just plainly wants a red. They've heard that movies are shot on red and they want it. Landing a job because of your gear is absolutely a thing that happens, for a multitude of reasons. "Good look as an artist" does not matter so much when you get hired to do work and you get paid for it. Your camera is a part of your offer, it is also a part of your investment and it can (and should) reflect on your pricing. It is absolutely not as important as your skill. But you also don't want to get stuck with your tools if you can get better results with other tools.
For views
That’s what TH-camrs do. They need to have the trending keywords to generate traffic, otherwise they get drowned. Story is king, but in the age when content creation is so accessible and desired, the story is the gear, not the content. I love Spencer and his channel, I think he’s hustling even if some of the content does not apply to nominal storytellers.
"Reliable" is definitely not a word I associate with Red cameras ;)
At least the build quality is better. Had an ursa baseplate crumble on me. Pot metal!
Not really sure what you mean by that. I went from the pocket 6k to the Komodo and it has been the best investment I’ve ever done in my career. 6K is great but the Komodo is just on another level. Almost a year with it and have never had a single issue. The colors and quality I get out of that thing are unreal.
@@johansermartinez9287 what he means is that generally the experience with the older cameras especially (Red One, Epic, DSMC1) involved lots of crashing
@@johansermartinez9287 Reds are notorious for glitches and bugs, even if some go their entire life cycle without issue
@@DollyRanch Agreed, compared to black magic the build seems solid!
Translation = I have the money so bought a red lol. They’re all the same these days but congrats on your red. I’m personally looking at the kinefinity or ursa 12k if I upgrade from the 6k.
The Komodo costs the same as the Mavo LF and the Ursa 12k so what’s your point?
@@ErrickJackson This comment doesn’t apply to me, but for the record - a lot of filmmakers would buy the red if they could afford it which is why I made the comment.
I personally wouldn’t upgrade from a BMPCC6K to a Komodo because that’s my preference. That’s my point. I can afford the camera, just don’t want it but I was also making a general statement.
dude the Komodo is 5 grand lol, its not expensive lets be honest in comparison to a LF arri.
Right on.
This video sounds like the pitch I give my wife every Friday when the desire to buy a new camera rises.
The only reason is the global shutter... everthing else, is bla bla bla, i need a RED camer.
The Global Shutter and the R3D.
the real reason starts at 16:52 - you're welcome =)
Thanks mate
I buy cameras with the idea that I will replace it in 3 to 4 years. My budget is still in the Pocket 4K range. It’s nice to have cinema cameras on a mirrorless APS-C budget.
And the Pocket 4K is 100% capable of the big-budget film look if you understand your craft. A Pocket 4K with proper lighting, color grading, speedbooster, ect... will get you the "Alexa look" just as much as the native Alexa itself. Most of the time, when people talk about the "Alexa look" they're just talking about professional lighting. Diffused, soft-boxes, cove-lighting, ect.
Whereabouts are you based? I’m selling my whole BMPCC4K handheld setup with a Peli Case if you’re interested?
This sounds like someone trying to justify their purchases.. Nothing said meant anything. Nothing here makes a big difference... Sounds like he just wanted a komodo and pulled the trigger.
Love your channel, but the coffee shot?really? So you tuber / Peter McKinnon wanna be…. Where’s the one wheeler skateboard?
Without even watching the video: because he can afford it.
There - I saved everybody 18 minutes. You’re welcome.
I think if Blackmagic made a 6k box-shaped camera with batteries in the back that can be hot-swapped I think that would be a red komodo killer. Global shutter would be nice too, but the only problems with the bmpcc6k is the shape (for gimbal use) and battery life imo. You are right that the Red brand can sell more to clients than blackmagic
so if they made that at the same price as the komodo are you buying one?
@@bmefilms6879 I feel like if blackmagic were to make a 6k in komodo shape it could cost the same as the bmpcc6k. if it was global shutter then I would think it would cost the same as a komodo. Either way, yes I would buy one. Especially if I don't have to wait 3+ months
@Dalton Beauregard thank goodness they aren't listening to you. Buy a komodo dude, you'll have it before blackmagic mimics red!
@Dalton Beauregard youre just talking to hear yourself talk. Blackmagic is making cameras that independent low budget filmmakers can afford. why would anybody pay the exact same price w/ exact same specs for a BM camera if they can get a RED? You are being disingenuous...you would already have the red "I dont wanna wait 3 months" is a crock. you want a komodo at BM prices...thats never gonna happen! thats why people complain about the build, BN has to make some cuts to make the price what it is. I personally dont mind because its an affordable camera with an amazing image....that makes me very happy!
@@bmefilms6879 But why would you assume that a blackmagic camera in a cube shape would be the same price as the komodo? I think it would be around 1k-2k like the rest of their cameras. If it was a global shutter maybe more. Blackmagic had a micro camera that was a box shaped camera in 2013, RED doesn't have a patent on box shape cameras. The 6k has similar specs to the komodo except the global shutter. And Red isn't known for it's reliable built cameras and build quality either, even the komodo has the SDI issue that cameras will fry their SDI ports even if you follow the proper protocol exactly
because you are rich.
If you get hired based on the camera you own, you are doing it wrong.
do it wrong? also i don't know about you but clients that i worked with , always like really always care about the camera that i use or will use and it affects my quotation process, they wanted the highest quality but yeah sometimes they cant even bother to compare cameras. Of course, the camera that you own isn't.. but camera that will be / being used is. The fact that people got hired because he/she owns the camera that he/she will use to shoot the project, then whats the problem? if he, she, you or they have the budget for the those expensive cameras then go for it.
@@lifeofapotato4595 I have never had that issue. Clients do not care about cameras
@@AllThingsKen do you work in the high end?
Not sure why u even bothered comparing the Komodo to the A7sIII. The A7sIII's low light ability is exaggerated- it's ridiculously noisy AF on ISOs as low as 3200 and horrendous at 6400. The Panasonic S5 looks way way cleaner on said ISOs. Those biased 'fans' say just go to 12800 - but by then the DR and video texture have really degraded bcoz of the in-camera's DNR. I also noticed a lot of like to shoot it on ISO 640! 640?! So much for a so-called "low light" king.
Everyone wants to move from BMPCC to Komodo, (the camera Red made as their gopro for action or crazy shots) and then right into how it's not the best camera. About the only advantage over the BMPCC 6k is it has the name Red on it so other people with cameras can go "Whoa, cool." So $3500 more for noisy, lackluster dynamic range and expensive accessories. You summed it up perfectly by saying you got it cause it has the Red name on and you want to impress clients. Clients that know what Red cameras are will know you're using the cheap prosumer one so that point is invalid. You rig out a BMPCC 6K and anyone not a camera enthusiast will be impressed. Most won't care what you use if your demo reel is amazing.
Very unlikely clients keep up with reds camera lineup, unless you are talking producers or something.
TRUE. David ha reason
@@hunterb7549 Yeah gotta agree. I’d also argue its the clients that know what the Komodo is that would also know what the capabilities of the BMPCC 6k are.
100 %true.
Don’t forget about Global shutter. Super big selling point
So much hate for the Komodo... Reminds me of the "Iphone vs Android" days. I remember a rich friend of my dad who had this like 20,000 dollar fridge(one of those braggin rights buys, ridiculous) and he's like i explain to people that i dont need a 20,000 dollar fridge(cant remember the brand), i bought it, because i CAN lol! That was hilarious to me as a kid. Good for you man, enjoy your camera. Its a pretty awesome piece of gear, no explaining needed.
because i CAN is the best answer for EVERYTHING
@@brcrender2370 lol! It is.
Here’s a tip: Buy the BlackMagic 6k Pro and spent the rest on glass
y'know, i know this is a copy paste but if this were the difference between the 6k pro and something like an alexa, then sure i understand, i can buy both sets of atlas orion lenses, but between the 6k pro and komodo, what the fuck can i buy? the difference is good for like one sigma cine lens and that's it lol.
Depends on your budget ofc
The 2-4K savings wouldn't buy a ton of cine glass. Plus it already looks like he has some so why get more?
Sold my Blackmagic a few weeks ago, bought a Komodo and absolutely love it. Komodo got me more clients, R3D raw is like a butter, global shutter, and the work flow
Can you operate a Komodo by yourself and as fast as a BMPCC? Or operating has a toll?
Spencer in
Image quality is not the issue for 95% of the audience. Work on direction, shot composition, light levels, content. A t2i and a 2core processor is deadly in the right hands
But people don't pay for a t2i and a 2 core processor do they?
For youtube, sure, but he doesn't shoot for the audience, he shoots for clients
Facts
Facts all day!!
Please god tell me you aren't shooting for clients on a t2i in 2021
i did the EXACT inverse way! From Red Komodo to BMPCC6KPRO !
In the correct hands all (red, canon, fuji, sony, bmpcc or any other make) cameras will look great and do the job. Client will NEVER see the difference.
They may not but the money they pay does, as ridiculous as it is, more expensive cameras and camera brands just exude professionalism on set like I could just show up on set with an iphone because those are very good and its merely a tool right? and I would see what you're saying if you never had to interact with your client from beginning to end but that's not always the case y'know that right? It is like the illusion of cinema itself, it's all about selling the illusion that they're getting their money's worth.
That is bullshit
@@DavidRuiz-kw8kx my comment or theirs?
@@zebius4157 your comment was golden!
The optics portion will definitely rile up some people. I totally agree with you. The appearance is not important until you get into certain markets or price range. The people that defend the whole gear not mattering have not seen or met that threshold yet! It doesn’t help that people are seeing this in a vlog style or one man band platform BUT what you’re saying is so true that gear allows for more doors to open but it won’t open doors for you.
Red cameras are not supposed to be e, posed to middle gray, but rather to protect the highlights in the raw image (as per the "Traffic Lights"). You can remap the middle gray levels via ISO without clipping the highlights. Noise reduction for raw recordings is just part of the normal image pipeline. Also, try using Neat Video. You will not need to sacrifice sharpness when using Neat Video for noise reduction.
I already see it.....You gonna get a Arri Alexa! :D
I'm waiting for BM to release a 6k full-frame camera in a cube form (built-in NDs, low pass filter, and IBIS if possible) I hope to see something like that soon in 2022.
such a dream come true, full frame is just a different league
If only
Hello from 2023. Yes, Blackmagic released a new camera but it wasn’t a boxed cinema camera with ibis, low pass filter and built in NDs. Lol
@@Gordymax I'm still waiting... 😂 I hope Panasonic releases the S2H with those specs
You made the right choice by buying the Komodo. I just got it last year and the amount of demand for my work and gigs has tripled. The reality of today is that having any Red camera in the film industry specially the independent one is an Asset, Plus a great Tool. Obviously is not an Alexa I have mainly used the Arri Alexa and Amira for most of my work but the Reds have become the standard camera of serious productions. Definitely glad I got this instead of the Blackmagic or a Sony.
Anyways I Loved your video Spencer
Keep making more content about the Komodo. Great job 👌🏼👏🏼
So if I suck as a dp, buying a RED will help me get clients?
I think BM needs to step up for its cameras and realize some people would pay more for a better cam. I absolutely love my 6kpro and the image it delivers in this price point cannot be beat. But, if they went with a cube form, gave us global shutter, etc. im sure people would flock. theres no reason they need to keep designing these things to look like DLSRs, especially the goofy idea to put a selfie record button in the front.. like seriously? the one thing they did recently which was genius was to release the gyro stab mode. it completely gets rid of the horrible rolling shutter issue. that alone kept me in the circle.
The orange in the sky n tones probably came from the Canon FD lenses and usually that’s desirable.
yea, the color science is the same, but the lens choice can skew the colors
I truly hope bm releases a box cam modular cam like the komodo. Make it the next iteration of the pocket pro. The current pocket form factor needs to die. It makes no sense any more. Box cam iteration of the pocket pro sub $3000 and you will destroy the market.
stop moving your hand front of you face lol
Global shutter could have been a major point of argument
my job always need me have at least one back up camera, so in any case, 2 camera body is a must, red is not really good at it, I use to own 3 red scarlet, one of them is always got some issue, and there were a time that 2 of them failed together in the same shooting week, I was super stressed , repair them took me 1 and half month, I switched to alex mini, 2 bodies, never failed . and I also own 6 bmpcc 6k, one of it got some battery issue which is easily fixed by using v mount .. rest of them never got any issue, and they are super cheap and fast to replace, and I can use them to shoot any commercial job, yes any of them if customer do have request over equipment. and no one can tell the different of a image from them if you do know how to control your light and color .So if anyone got the budget for a red, I would either recommand add more for a arri, or get more then 2 ursa/bmpcc 6k, unless you r youtuber or just must have that brand, red is been famous of over price and using cheap parts bad designs etc, the experience was never good, but big budget commercial group always got more than 1 camera, so quality is not issue. they can even use red as crush camera. but this is not the case for average user.
I used to come to this channel for the beautiful lighting and recreation of movie scenes. I learnt a lot and enjoyed watching. Now I’m listening to you explain to us/yourself why you bought a new camera… please don’t turn into another TH-camr telling me about why or what gear to buy. Inspire me with great ideas, stories and concepts. Share your creativity with us.
Just my 2 cents.
Best 2 cents ever!
I bet he only got it because he wanted be chill with the big boys in the pub.
#IUnderstand
#UsBMPCCPeopleArentGoodEnough
holy shit the parasocial relationship jumped out.
I can understand the switch from BMPCC to KOMODO...but what about with the BM mini Ursa 12k, now that it's the same price (cheaper actually) with Komodo? Thank You! Your work is always inspiring.
Yeah what I learned from a lot of people in the comments is they'd rather pay for the komodo at $6k than the Ursa 12k at $6k because of the red name i guess.
@@nathancasey7712 THANK YOU FOR SAYING THE QUIET PART OUT LOUD. RED users don't care if you can get the same results with other cameras for faaaar less. They just want the pretentious factor.
I'm reading between the lines here but it sounds like you're justifying a purchase you made for brand recognition. Nothing wrong with that. Makes perfect business sense. It's a good camera, even if it actually has no real advantages over its competition.
A more interesting switch might have been from a G2 or 12K to a Komodo and why. Or a comparison between those two. Submarine style vs Box stile, etc. type of comparisons
THIS! - I've been looking for a video on this! I can't find any. Ursa Mini 12k vs KOMODO.
Dropped the black magic and upgraded to the C70. I guess it depend on the needs but man do we have some great options nowadays for not that much money.
Honestly the c70 to me (as i needed autofocus) has been a bigger gap than i could ever have expected. Guess that's the same for you with the Komodo, for other reasons.
Love my C70 but I don't have a Komodo to compare it to.
@@faithhouse6111 if they update the c70 with firmware for RAW out .. it would be a beast for the price and features. The R5 got raw out .. and it’s not a cine camera …. So here’s hoping the c70 gets the same treatment!
@@SierraCreative RAW is nice but honestly it's not necessary. You want your scene to look right on set, and the prores the C70 gives you is really holding up to color grading. I had RAW on the black magic i'm not looking back
@@florentdevier check out the raw files from the c300 mk.3 vs the C70. Different for sure. It’s not always necessary, I agree. I just think having more flexibility on high end projects is nice. I’m also constantly working in an R3D environment, so using raw isn’t foreign.
@@SierraCreative Yep i get what you mean. Currently shooting a doc in a very small team and already having this awesome autoF, variable ND's + all those customised buttons is a life changer !
U don't need to buy a specific camera to impress your client...when you are the client. Go make your own movie everyone!
Nothing of what you just said justifies getting a Komodo with all its required addons, when you already have a BMPCC 6k at hand. You can just be honest with yourself and just say the truth: you just wanted a Komodo. It's hot right now, and you just wanted one.
Um. Nope.
Spenser, you do what you want. Good for you! I'm bummed that you won't do anymore BMP6K vids, but we gotta move on sometimes.
Form factor and better image quality / color are worth it alone. I’ve owned both.
the only pluses the komodo has over the bmpcc6k is form factor and global shutter. image quality isn't worth 3x the cost though imo
@@YY-py1rp 6k pro has internal Nd's and 1500 nit monitor. Like Eugenia said, Just say you want a Red and im cool with that!.
Just got one. I was really tempted to get the Komodo X mostly for the slow mo but I find hard to justify 4K£ more than the Komodo 6K
I now always shoot iso 400 ( when I have full control of lighting) feel it give me a much much cleaner image! Outside sometimes 800 to preserve highlights - but 400 is a really nice sweet spot!! Super clean!!!
It is, that's one of the dual native iso's from that camera
over the black magic 12K for the same price??
12 k is a very niche need
@@troywalt4834 12K is just the headline feature. Full sensor 8K and 4K at 120fps in braw. Super 16 crop 4K at 240fps in braw. Plus the image itself is very nice.
@@AdamMurtland - well, all those things plus an RGB sensor... that's the thing I think most people miss about that camera.
@@AdamMurtland I see, wasn't aware of that
red seccsy
Everybody is always so salty when a TH-camr or creator goes out and buys a camera like this… So many comments about “you don’t actually need a red, waste of money” blah blah blah”
There is a reason Red cameras and arris are still the go to for every medium to large commercial production, it is where the money is at, you can’t fault people for progressing their careers. Keep trying to get expand your productions with your GH5 & see how it goes.
Cause we all know if we pay more for something, it has to be better right?
17:18 footage of the komodo body. What camera was this video filmed on? Cause thats the camera I want...
Would love to hear your thoughts about Komodo vs S1H or S5 with a Ninja V. For my uses (documentary and corporate, doing more commercial work) Panasonic is probably the better option.
For sure it is. Panasonic is a fantastic camera and you can make insanely cool stuff.
I truly love my S1H. It's wonderful even without ninja v
Pretty sure if you have someone who knows how to color grade, you won't notice the difference between them
I've seen awesome footage from Lumix
I’m convinced people only by red because it makes them feel good
I think you just wanted a RED and are making a video trying to justify it that doesn’t make sense. Your videos with the Black magic looks insane compared to this
lol just say u wanted a red ..
As you have mentioned the client “optics” , that is correct. You might be able to shoot that commercial on an iPhone but unless you have the name of Steven Soderbergh, you do indeed have to show up with the biggest camera package possible to make an impression and get paid the money you want to 🤣
Should I just buy a cage for my stills camera even if nothing will go on them lol
I love the image quality of REDs - but I need speed and convenience from my cameras - so no REDs for me. Just too much work. And the audience doesn’t care - they just want entertaining content.
Komodo = Brown Skin tones.
For now, you gonna switch from Komodo to Lumix BS1H
I haven't even touched an Arri but it's ah-ry, not airy. Thank-you for your Komodo thoughts!
This is not correct. It’s pronounced airy.
@@2ZipZoomFly The people in Arri Tech Talk Live in German pronounce it ah-ry.
@@bretthazlett In Germany it's pronounced ah-ry. Fair enough. Here in North America it's always been pronounced airy - both on set and at Arri. In spite of not speaking a word of German I have a VERY German last name (umlauts and everything). Always cracks me up when native German speakers strongly argue with each other over its pronunciation.
@@2ZipZoomFly Thanks for this!
it doesn't matter bro
So essentially he just hasn’t had the budget to work with premium colorists and/or clients if he thinks he’s always the expert and no one else can grade “his footage”. Plenty of DPs come to grading sessions… in fact the best of the best in Hollywood do this and don’t grade their own work… because they work with the best colorists and have so much work that they don’t have time to grade their own work, commercial feature or otherwise.
Perhaps his jobs don’t have the budget of a Hollywood film production, yes you’re probably correct
Because MKBHD did it and everything he does is correct... HAHAHAHAHAHA
Why didn't you stay in the same ecosystem and get an ursa 12k? it has way more features and is similar in pricing. I think the RED gets me work excuse is overused, i see so many people who are skilled get work without it since everyone uses them in Cali. I think your work is dope you just picked a want over a need.
The optics change everything. I've gotten much higher profile shooting gigs since owning this camera. I still do mostly post work as an editor and using the S1H on any internal shoots, but since going Komodo, higher profile commercial gigs etc. I'm having to turn down gigs now because they conflict with the series I'm cutting currently....all because of the Komodo. Also bonus, been shooting on my Contax, Leica's and Soviet cinema's without any issue from clients lol.
Great video dude, so well articulated from a position of experience.
Glad to have someone else to back that up! Cheers Mark. - But side note. Our vintage lenses not working with the speedbooster fully is a bummer.
My friend, do you find the motion cadence, highlight rolloff, and overall cinematic value more appealing on your S1H or Komodo. Thank you very much.
I know if you keep hearing the same thing long enough it must be true..., right? So why do all TH-camrs who say they can charge more when they have a Red Camera...., or theycould just charge more...., And how much more are you charging? What percentage? If your client is asking for a cinema camera raw recording aren't they also asking for a bigger production overall? (i make naarative films so red is overkill imo epsecially when you see these oversharp/overclean red short films at festivals...., looks like 60p video to me) I understand having the camera in your pocession is a big thing when learning the camera but no YTer talks about the econimics of having the camera, how many shoot days will make the camera purchase profitable. Is buying a Red instead of renting just self-indulgence- Nothing wrong with buying what you want becaause you can, but the justification of you can sharge more sounds like you are trying to convinve a spouce/partner/yourself you overspent on something that should be rented. Also what is the mantenace for the red? DO you have to sent it in for calibration or servicing? Thanks!
I love the look of the pocket cameras, just not the form factor. The cube form of the Komodo and raptor are just perfect to rig out 😌.
This is a typical red video. Comparing a red to a pocket camera. I'll keep my URSA cameras because I don't choose a camera because if the name but because of quality. By the time the red stuff warms up, I can shoot a scene. And when red crashes, good luck with that. And most people cannot tell the difference in the end.
⚠️⚠️❓ What if you want a compact run & gun that delivers cinematic footage + has autofocus (for a 1 man band)?
I understood the BMPCC 4K or 6K's autofocus isn't reliable if even working, So Canon's R5C should've been suitable yet, it's footage doesn't feel Cinematic at all. So, what's left? Sony? With it's not so good color science? (fixing skintones all the time)
why not save some money and buy a used alexa? this flip flopping will probably cost more money on the long run
Color science of a camera is key to cinematic look, it is the major part that make a camera cost hundreds of thousands of dollars, be cause if the camera doesn't translate the world colors correctly you won't get those colors you see in movies.
Hi! I'm looking for the video you're talking about on how to expose with the gray panel, I can't find it on the channel. Do you have the link? Thank you!
I hope Blackmagic will release a weather-proof full-frame cube camera like that with built-in NDs, low pass filter, and a ton of amazing features in 2022 🤞
RED owners will still find an excuse to not want it.
Well. It happened, but glad you got one.
This video felt lik an excuse, an apology, was not convinced with the words but at least there will be new tips and pretty pictures
First reason would be cause you can afford to. Other than that. I see no point. Especially if we're on a budget.
Like dream comes true Bro
Great video! I went the opposite way and bought a Sony FX3 for video and gimbal work and for my hybrid shooting the Sony A1! I love those cameras.
Pleasant images and bokeh, though the chromatic aberration is unfortunately quite strong with these Meike lenses, as seen particularly at 3:41, around the rim of the coffee mug, at 9:57 along the edge of your black pants, and at 12:15 along the edge of the white earpiece.
those werent with the Meike. that was canon fd 55mm 1.2 at 1.2....haha
@@spensersakurai Ahhh, I see. That's a relief!
"Switching" is when you change your gear but you stay approximately in the same budget. That's upgrade or something else.
All I need to shoot incredibly beautiful digital film is my b6k and a lens. Oh and a couple of batteries. With the red komodo, who knows how much gear you have to add on just to get out the door. 2 different cameras that produce similar results. I'll spend the extra cash traveling for 10 months in Europe and Northern Africa.
You don't need that much gear to start shooting if you know what you're doing and aren't concerned about selling professionalism to instagrammers, watch Justin Phillips video on that
release an apology video
What did he do?
Cope
Because you have too much money and don't know what to do with it
you switched coz you had the money, as simple as that
The Komodo has a slightly muddy look and less color accuracy to it compared to a Blackmagic 6K Pro. Side-by-side comparisons easily show the difference.
Muddy for either of those two would be down to 100% user error with raw capture in HQ setting.
going to wait for the GH6 see what that brings, but the 6K Pro was the farthest I was going to go for cinema cameras. Maybe the A7SIII too
Those hand symbols are distracting
Red cameras are known and trusted in Hollywood... but how does this camera compare to the Blackmagic 12K camera?
That camera took a hit on dynamic range in order to have that resolution, compared to Ursa G2 .. think the original G2 is probably the preferable choice between the two unless you have a specialized need for that resolution
interesting to know if after all this time you feel giving up your blackmagic for red and pay the extra was a good choice this is much more expensive for led i braw give you all the flexibility youll ever - need for great price - im sure that at the begining it was exciting new camera for you but i the image is not better i think and many will prefer the blackmagic
I much prefer the image out of the RED.
Interesting thoughts. Personally I very much dislike the Komodo, but as you said, all cameras coming out nowadays are perfectly usable.
For me, the Komodo makes a lot of strange design decisions. Non-locking non-interchangeable mounts, built in Canon battery plate, etc... That combined with the very strange hard to deal with noise patterns due to the compression method, high noise floor, poor color matrix, and small pixel size makes it a relatively uninteresting option for me personally.
It is definitely a significant step down compared to most of the current RED lineup, but it's a budget camera after all. For most it's more than useable and if you need R3D in your pipeline or just want something to step to up from a mirrorless camera that might garner rentals, go for it.
I think in the sub $10,000 space, the ZCam F6 (not without it's own design flaws) and the G2 (same story) probably win in IQ for me. Which makes the Kinefinity Mavo Edge a very interesting camera on the horizon. Just a step above that price point, but seems to close the gap significantly between budget cinema cameras and those that are professional standards.
All in all, I don't blame you at all for leaving the Pocket cameras behind. It's very hard to justify the workflow especially if you're moving into working with bigger clients. It's a cumbersome camera on set.
Poor color matrix? Komodo colors are great to work with in my experience.
@@dna8269 comparatively obviously. You can totally work with colors coming off of almost any modern camera, but depth is poor. Skin graduations are massively diminished. Throw it up next to something like the Monstro (REDs best camera in this regard) and you can tell a huge difference. Obviously, that should be the case. It's the budget camera, but I think many confuse the performance of the Komodo.
Red Komodo = Finesse quality
Congrats dude! I just got my Komodo last week after waiting over 5 months! I've been shooting with a Sony a7sii for the last 5 years on all my shoots and funny enough, 90% of shoots this year I was rented a RED Komodo or DSMC2 to operate. My little Sony no longer was wanted haha! So was time to upgrade!
I can relate. I started my journey with a Sony a6000 and people kept telling me I was talented and didn’t need new gear to land better jobs. I never considered upgrading the camera and for a long time I was stuck with a camera nobody wanted to buy. Clients didn’t want to hire me as soon as they found out about the Sony a6000 being my main camera even though the work was good. Video quality just wasn’t good enough. I recently decided to upgrade to a pocket 6k and I’m yet to see if it improves my clientele
Thanks for sharing your thoughts. As a shooter who's been getting away with using a GH5 for way too long, I agree with you about building up a rig to increase its optics. Plus in my case, I gotta hide that tiny camera body behind a bunch of accessories. Nothing to see here, folks!
I just shoot video as a hobby (but like watching videos such as this one purely out of curiosity about "higher end" cameras) - I bought a Panasonic GH5 second hand - with the VLog loaded in it - I can honestly say the footage is marvellous (for the price) but I can imagine any professional would aspire to something that's the "real deal" - however, don't throw out the GH5 if you do get something like the Komodo - I imagine there will be situations where you want something as compact as possible - possibly for personal footage - that's not being sold to clients.
Thank you, I think i just realized that I need to shoot on a pocket 6k instead of a Komodo. Simply put, alot of the videography I get paid for is run and gun and sometimes studio but I need to be able to have a little more mobility. Honestly been a toss up between those options an an fx3 but tbh I used Sony in the FS days and I hated the menu / grainy looking footage dunno if much has changed. anyone have any opinion on cameras in this range ?
For run and gun nothing beats an FX6, basically a perfect doc camera
11:18 Ouch. I was gonna ask if komodo fits in for shooting long form documentary.
Wonder how is color grading Prores 422 HQ footage different from R3D raw footage.
man... I've tested R3d sample footages, like you said images just look so good.
The Komodo x is so different
*jazz hands*
Here before I even got the notification!
Love your stuff bro but this just sounded like justifying spending more money to your wife 😂 a lot of fluff
No noise redn 🤔 sorry not for me
I am happy with the purchase.....but why do I hear your wallet crying in the background? 😂
Love my Red Komodo to death, but I'm not going to lie I had a spend a solid month re understanding how to properly expose and edit with it. Wanted to make sure I showed up to sets knowing exactly what I was doing since I was used to using an FS5 and just turning it on and going.
That and the SDI make me cringe everytime i do my hookups waiting for the day it burns out, as they always do it seems.
Are you aware of the SDI protocol? It shouldn’t burn out if you plug it in and unplug it properly
lol why wouldnt you?
Nice one Spenser. Honestly, you should think about investing in the V-Raptor in due course. When you think about it, it's actually not that expensive for what it can do and as you say 'charge for'.
Youre not wrong butttt the ROI is nice on the komodo.