Right tool for the job, always. I agree RED is great for so many reasons you stated. But, what’s even better is when you don’t make mistakes capturing, RED footage is even better. Shoot what you can. RED is there when you’re ready. Nice video Ruben.
In my opinion, besides all this, shooting with a RED makes me rise the fun of doing this job. At the end of the day, this is what elevates my work quality
This is EXACTLY how I feel after getting my Komodo, I evaluated every other option including the ones you mentioned in this video, top contenders were the FX6, Pyxis 6K and C70, but I have 0 Regrets after choosing RED.
As a former Canon user, shot mainly on the canon cinema series including the c70 which is fantastic, but a current owner operator of the red komodo and komodo x, i agree with you 100 percent. There is something unexplainable about shooting on RED, especially the post production process and the image out of these cameras are amazing. Although, if you have to break an arm and a a leg to purchase one, don’t do it. If you have the budget but have been sitting on the fence, checkout the basket, you wont regret it, once you understand how it works.
If it is unexplainable it is not real, it only exists in your mind. Stick a Red logo on a Canon and you find the same unexplainable feeling, that says it all.
I say it depends on what stage of your career you are in. If it is warranted go ahead. Quote “Upgrade your skills before you upgrade your equipment” I know you heard this before.
Great video. I had a Komodo and now have a Komodo-X. I would have more nuance in saying that shooting in R3D Raw lets you make everything great in post. As a rule the cameras are quite forgiving with underexposure but not with overexposure. The RGB traffic lights are super useful. RED says it’s generally okay to underexpose the RGB bars half way down but to have no bars appear in the RGB highlights.
As much as I would love to own a Red, the best affordable solution for high quality casual video seems to be a Nikon Z9, now owned by the same company. The quality of the Nraw files through Davinci with RED LUTs is breathtaking.
Excellent video, Ruben - spot on! I'd like to offer a brief comparison, though. Both the Toyota Yaris and the Bentley Continental GT can get you to your destination, so why do some individuals opt to spend nearly 300K on a car rather than 20K? The Continental not only gets you to the same destinations, but it does so with enhanced safety, speed, comfort, and enjoyment. Furthermore, it adds a touch of status to the experience! 😉
Hey Rafa. The jump is not small and that’s because of the RED raw which is amazing, of course this is only if you’re into color grading. Also the image quality is greater because the RED records in 16 bits and the Blackmagic in 12. Keep in mind that the OG Komodo 6k is super 35 (a bit bigger than the bmpcc 6k pro) and the other one is full frame, so in the end it all depends on the kind of work you mainly do. Another big difference would be the price 💸💸💸. I hope this was helpful. Let me know if there’s anything else I can help with. btw, interesting channel you got! I'll be checking it later. 🙏
Man, I would love to get a Red camera! My real concern, besides the money, is my amateur camera skills themselves. I don't think I would be able to control the power of said beast, haha! Thanks Ruben for showing us this. I'd like to see more footage that you have shot on the Red. Your skills are already exceptional, I'd like to see the relative difference shooting on the better cam makes... Once again smashing ti out of the park! BOOM! 🔥🧨💪🏽🤠👍🏽🧨🔥
Hey brother. Thanks for passing by. This was an exciting experience. It wasn’t not long enough and not at the best hours of the day because of the light, but it was exciting indeed. I need to rent another and spend more time with it to do something like you said because it’s a system very different from what we usually use. Thanks again and cheers from sunny (for one day) Italy 🇮🇹
A camera is a camera. If you can't shoot on what you have, you can't shoot on anything, likewise if you CAN shoot on what you have, you can shoot on anything.
@@Tugela60 You are 100% right about this= "If you can't shoot on what you have, you can't shoot on anything and vise versa" but there are cameras and "cameras"
So any camera is just a tool. I currently shoot on FX6 or BMPCC 6k Pro. The only reason i want to shoot on Komodo is not r3d really, or global shutter. It is IO. Time code, genlock, 3pin fischer, SDI, and a locking mount. I like how Fx6 compresses but would love to have an option of ProRes444. Sometimes macro blocking is killing the image. Also in my case sometimes i need that s35 sensor but BMCC 6k with its retarded EF mount is limiting on lens choice, But with 6k braw you get that nice highlight recovery option. To sum it all in one sentence, Komod is not a solution for every situation but can be rigged to be in any scenario vs other makers who struggle with that,
Can you do a video on this? Pointing out the differences. Theoretically it should be the same. Blackmagic even has the traffic light on the highlights.
I think you can compare baked in log to Raw. If you get it right while shooting the final result for a pretty wide range of cameras will be indistinguishable once you take into account colour space transforms, added film grain (even small amounts), edge processing etc. A bit of patience will take your films "to the next level" but not buying a Red. All of those elements that I mentioned have to be taken into account anyway, Red or not. I liked your point about the categories. But that's also why footage from Red cameras often looks so good... people who invest in them often also know what they're doing colour grading because they're further down the line. That doesn't mean the camera produces better results or takes your footage "to the next level". This is just consumerism.
Nice one Ruben! Surely they have the RAW Supremacy and other brands always try to figure out various ways to acquire raw in such a way that doesn't clash with their patents. But that price tag though! I personally think right now it's Arri and RED vs Rest of the brands (when it comes to image quality). Today we live in such great times that for every budget there is a great option to capture spectacular visuals to serve the story. No complaints as a creator and storyteller in todays times. :)
I agree with you, brother. We hunt with the gun we can afford 😄, but definitely there are lots of choices out there. In any case, the crucial thing is the guy behind the camera, not the camera itself. Thanks so much for watching and the support 🙏
Thank you very much for your kind words 🙏. Yes, I recorded the audio directly into the camera with a boom Mic. Keep in mind that for the head talk I used the Blackmagic Pocket Cinema Camera 6K Pro which has 2 XLR input, and I use a Sennheiser MKE 600 that produces a great audio. Thanks for watching!
Great video, bro! I'm loving the setup. RED is a good brand, but what I didn't like is how they have seemingly ignored the DSMC2 cameras. Now, they don't seem to hold their value, which is unfortunate for current owners and operators. On the bright side, this could be great for buyers looking to jump into the RED ecosystem!
You are absolutely right! We don't see anymore any of those fantastic RED Monsters, Gemini, Scarlets, etc in their website..., and those were a hell of a machines, but as you also said, that could be an opportunity for people to jump into the RED ecosystem. I've been checking around and a Gemini still costs A LOT of money, lol! Anyway, thanks for much for watching and leaving a great comment, brother! See ya around!
I heard once that dividing the video in chapters (like in the timeline) kills the video cause people will jump into the part they want to see. What do you think? Thanks for watching and leaving your comments 🙏
yeah that's actually what peopl3 want! I'm sorry for you to hear that. I an sure you are a handsome dude but I almost always skips the intro of any video because I don't see the point to watch it. So although I am really sure you put a lot of thoughts into the video. People sometimes just want to hear this one specific point of a video like f.e. The topic of the title or thumbnail 🤷🏼♂️ I am just not that person that wants to look through 10+ minutes long videos always. Often I just want the conclusion of a person. Cause I care about their opinion or something like that 🤷🏼♂️😊
The reason why… is the codec. Certain codecs just fall apart with heavy grades. Blackmagic is 10 Bit, but it’s not true raw. So it falls apart really quick and is very susceptible to fixed pattern noise very easily, even with the dual native ISO. Red just has a solid codec. That’s like comparing Arris log codec to a B-Raw codec. The B-Raw doesn’t stand a chance, even at 6k, against a 4K codec. Red is the comfortable medium.
@@EMBEVIDEO because I’ve worked exclusively with Blackmagic codecs for for the past 8 years. Not just reading articles and repeating other creators ideas and concept.
@@EMBEVIDEO Come on guys, are we going to compare 12 bit with 16 bit, and also the difference in dynamic range form these cameras? This is beyond price and internal NDs and having a great screen. Don't get me wrong. BRAW is great. You can manipulate that in post very well and in my opinion one of the best things is that "highlight recovery" when working in DR with the RAW controls, and the amount of controls that BRAW gives you, but shooting with a RED camera and working with the footage in post is amazing and no one can deny that, lol
@@topicruben Well, I might chime in as an editor that works with all kinds of footage including RED 8k Monstro footage in Resolve. You can break any codec with enough pushing. Yes, even RED RAW. Let's all collect ourselves a little and come back down to practical earth, back to the things that actually inform our material life. For most people's needs, except a compositor perhaps, RED RAW, BRAW and DNG RAW are plenty malleable for most projects you'll encounter. Hell, in most cases even Prores 4:4:2 and 4:4:4 is. If you want a RED, just get one and carry on.
You can get RAW in other cameras that can save almost any footage as the R3D (only almost) but the R3D is the only raw format that is not in need of 1000 SSDs to store it and the only RAW format that is easy to edit where you can actually se what live what you are working on. The sigma FP have 4:4:4:4 RAW.. thats even better that R3D... but no one can edit it.. RED really has the market in its grasp with that RAW patent.. Just to coment on the "some say that the C70 has the same sensor as the ARRI cameras" - Those people are wrong :D - NO, not even by a stretch. Im the proud owner of an C70, R5C and R3... and not of them gets close to even the older ARRIs :)
I know that the C70 doesn't have the same sensor as the ARRI, LOL. I mentioned it cause every time I said something about RED cameras that "friend" used to bring that up, which is kind of crazy. Thanks for watching and leaving your good comment 🙏
I didnt say you did :) I know you know what you are talking about, I can hear that :D hehe But those friends have not worked with the RED or the ARRI cameras, bacause then they would know better... but what is the biggest problem for me with RED and ARRI when renting them (Because i dont own that kind of money :P hahah LOL is that the workflow to film somthing fast is not there (because they were never ment to film "SoMe" clips for instagram or whatever clients sometimes think they want) In that regard the C70 is pretty great for that. or the FX6 for that matter@@topicruben
I have worked with BRAW, but not often I have to say, and I know the compression is impressive from BRAW, not saying its now. Where did I say anything about converting anything into R3D Raw :P ? I newer did. BRAW is nice, but so is R3D raw, and on my computer and my NLE it runs better.@@NicoBaum-dr5sf
Well, when you start adding accessories they're still pretty expensive. Nevertheless, I will still recommend them due to their amazing image quality and cool features. Thanks for passing by 🙏
Rule number 1 for successful business: "If you can't afford it you don't need it" Client pay for your equipment, is an investment not a cost. Otherwise, you have an issue with you business model.
RED is for everyone that can afford it/wants it, grats. Plenty of cameras do the same or better. All comes down to tools to tell a story. Which tool is hardly relevant.
I'm sorry to see you have that opinion about RED users. I'm not one yet, but so far I've got the opposite opinion about all the RED users I know and got in contact with. Thanks for watching and sharing your thoughts. Cheers
I think the ‘snob’ appeal is not with Red owners- but clients who think - ‘ he must be a Pro- he has a Red’! A bit like Hasselblad on the still side. I believe that ANY of our current crop of ‘cinema’ cameras has more than enough dynamic range/resolution and gradeability to create Hollywood quality images (the Creator movie filmed on an FX3 is a proof!). Almost any current camera has better ‘specs’ than the original OG Arri Alexa (14 stops DR/ 3.2K sensor). It’s about lighting/ lenses/ grading much much more than the sensor now.
Most Things are still shot for the Internet or Web commercials, more of them are shot on Red and others, than you think. The Issue here is many people lower theier Profit margins, to devolpe experience with these set ups. Once you Start Shooting, everything is heavy and you need people around you to get it done in time. The most Important thing in my opinion is set Design and lighting. Framing and composition are fundamental. 8k red footage, yes it's compressed, but Transfer and storage gets painful Quick. Red cameras also dont hold their value well, in the End just you product is valuable. Increasing the workload for anyone, with limeted budget is not always a good call. Everybody is betting on getting better Jobs, by using these gear inflatingly often, people working in the Industry are not profiting of this mindset, if Red and rentals take a big chunk of the money, you otherwise pay could pay your crew with. 😅
@dirtykraut I have no doubt people do use them, but the main reason is because the equipment is perceived as high end and they can afford them, more than actually needing the gear. It is human nature to do that. Every enthusiast and professional is probably significantly overgeared and spending far more than is actually necessary to get the job done efficiently.
blah blah blah, cheap hype for red camera, " we messed up white balance and tint and we want to see how much we can recover the footage" are you for real? you shoot raw, duh. it's R3D , nothing else , if any other camera would shoot R3D i'd rather have it instead of red.
![[#2024MAMA] G-DRAGON - 무제(Untitled, 2014)+POWER+HOME SWEET HOME+뱅뱅뱅+FANTASTIC BABY | Mnet 241123 방송](http://i.ytimg.com/vi/Ox29z5Nf1Uk/mqdefault.jpg)
Right tool for the job, always. I agree RED is great for so many reasons you stated. But, what’s even better is when you don’t make mistakes capturing, RED footage is even better. Shoot what you can. RED is there when you’re ready. Nice video Ruben.
Thank you so much , Scott. I had LOTS of fun playing around with it, oh boy oh boy!!!!!!!!
In my opinion, besides all this, shooting with a RED makes me rise the fun of doing this job. At the end of the day, this is what elevates my work quality
@@deceres1 Motivation = fun = quality = 💰. Thanks for watching and leaving your thoughts. Appreciate it 🙏
Great video! I went from an R5C and C70 to Red Komodo X and feel like I’ve never made a better upgrade in my life!
Nice to hear, man. This is such an amazing camera! Thanks for watching and sharing 🙏
You're the BEST CAMERA GUY that I know.
Haha, thanks my brother 🙏
This is EXACTLY how I feel after getting my Komodo, I evaluated every other option including the ones you mentioned in this video, top contenders were the FX6, Pyxis 6K and C70, but I have 0 Regrets after choosing RED.
I'm super happy for your decision, man. I know you won't regret it! Thanks for watching and for leaving a comment
As a former Canon user, shot mainly on the canon cinema series including the c70 which is fantastic, but a current owner operator of the red komodo and komodo x, i agree with you 100 percent. There is something unexplainable about shooting on RED, especially the post production process and the image out of these cameras are amazing. Although, if you have to break an arm and a a leg to purchase one, don’t do it. If you have the budget but have been sitting on the fence, checkout the basket, you wont regret it, once you understand how it works.
I’m happy to see we resonate with the same bell 🔔. Thanks for watching and sharing your thoughts. Most appreciated 🙏
If it is unexplainable it is not real, it only exists in your mind. Stick a Red logo on a Canon and you find the same unexplainable feeling, that says it all.
@@Tugela60 You got lost on the semantics, lol
I say it depends on what stage of your career you are in. If it is warranted go ahead. Quote “Upgrade your skills before you upgrade your equipment” I know you heard this before.
I’m with you 💯%!
I am so glad you found your passion, Ruben. Keep lighting up the screen!
Thank you so much my dear friend 🙏♥️🙏
Great video. I had a Komodo and now have a Komodo-X. I would have more nuance in saying that shooting in R3D Raw lets you make everything great in post. As a rule the cameras are quite forgiving with underexposure but not with overexposure. The RGB traffic lights are super useful. RED says it’s generally okay to underexpose the RGB bars half way down but to have no bars appear in the RGB highlights.
Thanks so much for your tips, brother. Enjoy that KX! 👏👏👏
Very spot on, it's not about the cameras these days.
Thanks brother 🙏
Absolute dream camera. One day... 😊great video Ruben!!
It is, indeed! Thanks for stopping by my brother!
As much as I would love to own a Red, the best affordable solution for high quality casual video seems to be a Nikon Z9, now owned by the same company. The quality of the Nraw files through Davinci with RED LUTs is breathtaking.
It is indeed! Thanks for checking the video!
Thanks, Ruben! Very helpful video as always!
ps - love seeing the guitar in the video :)
@@NenaLavonne I had to add something of who I am, lol. Thanks, Nena!
Excellent video, Ruben - spot on! I'd like to offer a brief comparison, though. Both the Toyota Yaris and the Bentley Continental GT can get you to your destination, so why do some individuals opt to spend nearly 300K on a car rather than 20K?
The Continental not only gets you to the same destinations, but it does so with enhanced safety, speed, comfort, and enjoyment. Furthermore, it adds a touch of status to the experience! 😉
Hahahaha 😂. You’re the best. Thanks brother
Another wonderful video, Ruben! The love the pacing, info, b-roll, etc. Very well done and I agree with your viewpoint about RED.
Thank you very much, Rene. Appreciate you 🙏
Great video Ruben! You made it clear and easy to understand 🙌🏼
Glad you liked it, brother. Thanks 🙏
would you advise upgrade from bmcc6kFF to the red-komodo OG (not x) or the jump is to small?
Hey Rafa. The jump is not small and that’s because of the RED raw which is amazing, of course this is only if you’re into color grading. Also the image quality is greater because the RED records in 16 bits and the Blackmagic in 12. Keep in mind that the OG Komodo 6k is super 35 (a bit bigger than the bmpcc 6k pro) and the other one is full frame, so in the end it all depends on the kind of work you mainly do. Another big difference would be the price 💸💸💸. I hope this was helpful. Let me know if there’s anything else I can help with. btw, interesting channel you got! I'll be checking it later. 🙏
@@topicrubenthank you for the answer. Yes it’s pricey so I am thinking about used og komodo
@@RafalGendarzthe Cinema 6k full frame changes all of this.
@@MrJayclas what it changes?
It still has 10 bits vs 16 bits from the Komodo! Something important to be considered
Great video!! What lens do you use with your camera?
I shot this one with the Sigma 18-35mm. Thanks for watching 🙏
Your lighting is so pleasing, I like your accent tooo
Thank you
Man, I would love to get a Red camera! My real concern, besides the money, is my amateur camera skills themselves. I don't think I would be able to control the power of said beast, haha! Thanks Ruben for showing us this. I'd like to see more footage that you have shot on the Red. Your skills are already exceptional, I'd like to see the relative difference shooting on the better cam makes...
Once again smashing ti out of the park! BOOM! 🔥🧨💪🏽🤠👍🏽🧨🔥
Hey brother. Thanks for passing by. This was an exciting experience. It wasn’t not long enough and not at the best hours of the day because of the light, but it was exciting indeed. I need to rent another and spend more time with it to do something like you said because it’s a system very different from what we usually use. Thanks again and cheers from sunny (for one day) Italy 🇮🇹
A camera is a camera. If you can't shoot on what you have, you can't shoot on anything, likewise if you CAN shoot on what you have, you can shoot on anything.
@@Tugela60 You are 100% right about this= "If you can't shoot on what you have, you can't shoot on anything and vise versa" but there are cameras and "cameras"
So any camera is just a tool. I currently shoot on FX6 or BMPCC 6k Pro. The only reason i want to shoot on Komodo is not r3d really, or global shutter. It is IO. Time code, genlock, 3pin fischer, SDI, and a locking mount. I like how Fx6 compresses but would love to have an option of ProRes444. Sometimes macro blocking is killing the image. Also in my case sometimes i need that s35 sensor but BMCC 6k with its retarded EF mount is limiting on lens choice, But with 6k braw you get that nice highlight recovery option.
To sum it all in one sentence, Komod is not a solution for every situation but can be rigged to be in any scenario vs other makers who struggle with that,
Well said! Thanks for sharing your thoughts 🙏
Ruben to the moon!
Haha, that’s how I felt with that machine in my hands. Thanks for watching
Can't you do the same setting changes in BRAW on the BMPCC 6K Pro?
Not quite the same
Can you do a video on this? Pointing out the differences. Theoretically it should be the same. Blackmagic even has the traffic light on the highlights.
@OrigEntertainmentOfficial Excellent idea! Thanks 🙏
I think you can compare baked in log to Raw. If you get it right while shooting the final result for a pretty wide range of cameras will be indistinguishable once you take into account colour space transforms, added film grain (even small amounts), edge processing etc. A bit of patience will take your films "to the next level" but not buying a Red. All of those elements that I mentioned have to be taken into account anyway, Red or not. I liked your point about the categories. But that's also why footage from Red cameras often looks so good... people who invest in them often also know what they're doing colour grading because they're further down the line. That doesn't mean the camera produces better results or takes your footage "to the next level". This is just consumerism.
Thanks for sharing your thoughts, man. I appreciate it
Nice one Ruben! Surely they have the RAW Supremacy and other brands always try to figure out various ways to acquire raw in such a way that doesn't clash with their patents. But that price tag though! I personally think right now it's Arri and RED vs Rest of the brands (when it comes to image quality). Today we live in such great times that for every budget there is a great option to capture spectacular visuals to serve the story. No complaints as a creator and storyteller in todays times. :)
I agree with you, brother. We hunt with the gun we can afford 😄, but definitely there are lots of choices out there. In any case, the crucial thing is the guy behind the camera, not the camera itself. Thanks so much for watching and the support 🙏
They only have compressed raw. Raw which is not heavily compressed can be used by anyone.
You are just amazing... btw how do you record your voice while vlogging ? You record directly into camera or a recorder? What mic do you use??
Thank you very much for your kind words 🙏. Yes, I recorded the audio directly into the camera with a boom Mic. Keep in mind that for the head talk I used the Blackmagic Pocket Cinema Camera 6K Pro which has 2 XLR input, and I use a Sennheiser MKE 600 that produces a great audio. Thanks for watching!
Great video, bro! I'm loving the setup. RED is a good brand, but what I didn't like is how they have seemingly ignored the DSMC2 cameras. Now, they don't seem to hold their value, which is unfortunate for current owners and operators. On the bright side, this could be great for buyers looking to jump into the RED ecosystem!
You are absolutely right! We don't see anymore any of those fantastic RED Monsters, Gemini, Scarlets, etc in their website..., and those were a hell of a machines, but as you also said, that could be an opportunity for people to jump into the RED ecosystem. I've been checking around and a Gemini still costs A LOT of money, lol! Anyway, thanks for much for watching and leaving a great comment, brother! See ya around!
I'm on the Lumix S5ii but every since I saw that Red 8k video I knew that one day I would get a Red
facts!
Thanks for watching brother 🙏
love that you seperate the video in catergories but why there are no chapters? :(
I heard once that dividing the video in chapters (like in the timeline) kills the video cause people will jump into the part they want to see. What do you think? Thanks for watching and leaving your comments 🙏
yeah that's actually what peopl3 want! I'm sorry for you to hear that. I an sure you are a handsome dude but I almost always skips the intro of any video because I don't see the point to watch it. So although I am really sure you put a lot of thoughts into the video. People sometimes just want to hear this one specific point of a video like f.e. The topic of the title or thumbnail 🤷🏼♂️ I am just not that person that wants to look through 10+ minutes long videos always. Often I just want the conclusion of a person. Cause I care about their opinion or something like that 🤷🏼♂️😊
@@ShangleLP Thanks for sharing your thoughts 🙏
The pros use lighting, art direction and color grading
Sounds like the people complaining about Leica until they try one and they get hooked
You got the feeling. Thanks for watching and leaving some comments 🙏
The reason why… is the codec. Certain codecs just fall apart with heavy grades. Blackmagic is 10 Bit, but it’s not true raw. So it falls apart really quick and is very susceptible to fixed pattern noise very easily, even with the dual native ISO. Red just has a solid codec. That’s like comparing Arris log codec to a B-Raw codec. The B-Raw doesn’t stand a chance, even at 6k, against a 4K codec. Red is the comfortable medium.
💯👍. Thank you for watching and for your valuable comment 🙏
@@EMBEVIDEO because I’ve worked exclusively with Blackmagic codecs for for the past 8 years. Not just reading articles and repeating other creators ideas and concept.
@@EMBEVIDEO Come on guys, are we going to compare 12 bit with 16 bit, and also the difference in dynamic range form these cameras? This is beyond price and internal NDs and having a great screen. Don't get me wrong. BRAW is great. You can manipulate that in post very well and in my opinion one of the best things is that "highlight recovery" when working in DR with the RAW controls, and the amount of controls that BRAW gives you, but shooting with a RED camera and working with the footage in post is amazing and no one can deny that, lol
Hahaha oh boy. BRAW is actually 16 bit linear 12 bit encoded.
Weeeeeeee.
@@topicruben
Well, I might chime in as an editor that works with all kinds of footage including RED 8k Monstro footage in Resolve.
You can break any codec with enough pushing. Yes, even RED RAW.
Let's all collect ourselves a little and come back down to practical earth, back to the things that actually inform our material life.
For most people's needs, except a compositor perhaps, RED RAW, BRAW and DNG RAW are plenty malleable for most projects you'll encounter. Hell, in most cases even Prores 4:4:2 and 4:4:4 is.
If you want a RED, just get one and carry on.
You can get RAW in other cameras that can save almost any footage as the R3D (only almost) but the R3D is the only raw format that is not in need of 1000 SSDs to store it and the only RAW format that is easy to edit where you can actually se what live what you are working on.
The sigma FP have 4:4:4:4 RAW.. thats even better that R3D... but no one can edit it.. RED really has the market in its grasp with that RAW patent..
Just to coment on the "some say that the C70 has the same sensor as the ARRI cameras" - Those people are wrong :D - NO, not even by a stretch.
Im the proud owner of an C70, R5C and R3... and not of them gets close to even the older ARRIs :)
I know that the C70 doesn't have the same sensor as the ARRI, LOL. I mentioned it cause every time I said something about RED cameras that "friend" used to bring that up, which is kind of crazy. Thanks for watching and leaving your good comment 🙏
I didnt say you did :) I know you know what you are talking about, I can hear that :D hehe But those friends have not worked with the RED or the ARRI cameras, bacause then they would know better... but what is the biggest problem for me with RED and ARRI when renting them (Because i dont own that kind of money :P hahah LOL
is that the workflow to film somthing fast is not there (because they were never ment to film "SoMe" clips for instagram or whatever clients sometimes think they want)
In that regard the C70 is pretty great for that. or the FX6 for that matter@@topicruben
Man have you ever handled BRAW files? The compression is amazing as well. And why should you even try to convert other codecs into R3D?
I have worked with BRAW, but not often I have to say, and I know the compression is impressive from BRAW, not saying its now. Where did I say anything about converting anything into R3D Raw :P ? I newer did. BRAW is nice, but so is R3D raw, and on my computer and my NLE it runs better.@@NicoBaum-dr5sf
great camera to but it is too expensive
@@wilismatrix9847 it is indeed!
this is an extremely reasonable opinion!
rest in peace Mark Toia.
We will miss him. Thanks for watching 🙏
100% agree
Thank you 🙏
still in italy?@@topicruben
@@deceres1 Hey brother, yes still here 😄
Excellent video, but in light of the AMAZING price drops on the X (THOUSANDS of dollars less!), I don't think this video aged very well lol
Well, when you start adding accessories they're still pretty expensive. Nevertheless, I will still recommend them due to their amazing image quality and cool features. Thanks for passing by 🙏
Rule number 1 for successful business:
"If you can't afford it you don't need it"
Client pay for your equipment, is an investment not a cost.
Otherwise, you have an issue with you business model.
That’s an excellent way to put it. Thank you 🙏
RED is for everyone that can afford it/wants it, grats. Plenty of cameras do the same or better. All comes down to tools to tell a story. Which tool is hardly relevant.
Thanks for watching and sharing your thoughts 🙏
your click sfx are mono and just on the left ear
If you look well they’re happening on the left side of the screen, that’s why you hear it on the left ear 😉
@@topicrubenah. I got it😊
The Red users are the snooty ones who think they are better than everyone else, but other than that, no difference 😂
I'm sorry to see you have that opinion about RED users. I'm not one yet, but so far I've got the opposite opinion about all the RED users I know and got in contact with. Thanks for watching and sharing your thoughts. Cheers
I think the ‘snob’ appeal is not with Red owners- but clients who think - ‘ he must be a Pro- he has a Red’! A bit like Hasselblad on the still side. I believe that ANY of our current crop of ‘cinema’ cameras has more than enough dynamic range/resolution and gradeability to create Hollywood quality images (the Creator movie filmed on an FX3 is a proof!). Almost any current camera has better ‘specs’ than the original OG Arri Alexa (14 stops DR/ 3.2K sensor). It’s about lighting/ lenses/ grading much much more than the sensor now.
@@GlobalShutterNY That’s correct. Thanks
Most Things are still shot for the Internet or Web commercials, more of them are shot on Red and others, than you think. The Issue here is many people lower theier Profit margins, to devolpe experience with these set ups. Once you Start Shooting, everything is heavy and you need people around you to get it done in time. The most Important thing in my opinion is set Design and lighting. Framing and composition are fundamental. 8k red footage, yes it's compressed, but Transfer and storage gets painful Quick.
Red cameras also dont hold their value well, in the End just you product is valuable.
Increasing the workload for anyone, with limeted budget is not always a good call. Everybody is betting on getting better Jobs, by using these gear inflatingly often, people working in the Industry are not profiting of this mindset, if Red and rentals take a big chunk of the money, you otherwise pay could pay your crew with. 😅
@dirtykraut I have no doubt people do use them, but the main reason is because the equipment is perceived as high end and they can afford them, more than actually needing the gear. It is human nature to do that. Every enthusiast and professional is probably significantly overgeared and spending far more than is actually necessary to get the job done efficiently.
blah blah blah, cheap hype for red camera, " we messed up white balance and tint and we want to see how much we can recover the footage" are you for real?
you shoot raw, duh.
it's R3D , nothing else , if any other camera would shoot R3D i'd rather have it instead of red.
but they don't. Thanks for watching
Too much talking
Change channel