That's interesting, I find the Komodo definitely has a cooler look and it's slightly more desaturated I wouldn't say it's muddy but then I'm not putting it up against the Pocket. Maybe that should be the next comparison
I owned both. The power the red provides is insane image clarity/sharpness, dynamic range, global shutter, and the ability to manipulate the image in post in ways you can’t do with any other camera. The muddy image is form ppl not using the camera to its potential. It’s far superior to BMD cameras in every way except file size and weight
@@LightWorkNYC Well this is quite the exaggeration. I work with all kinds of codecs, including RED RAW, even from the 8K Monstro, including BRAW and including DNG RAW to including H.264, H 265, prores, WMV, you name it. To say any one of the RAW codecs is "superior" to the other RAW codecs sounds to me like someone who probably spent money they didn't have on a very expensive setup and needs it to be "superior" to smooth out that cognitive dissonance that comes with certain spending habits. Are there differences in these codecs? Yes, of course, they're different codecs. Are these differences superior to one another? Well, if you're being honest you'd have to objectively say no. Differences, yes, absolutely. Fair. Superior differences? Really? You might fool others into believing your claims but you will not be fooling those that work with all sorts of footage as their day job, day in and day out, and have no skin in the camera fanboy club. Can we try better to be a little more realistic when we're explaining how things work to others who might not know so that people can properly learn and make honest informed decisions? The real truth is all 3 of these RAW flavors break at about the same spots, at least in context of meaningful to real use cases. There's slightly more bandwidth in RED RAW but it is not anything approaching "superior". More like nominal. By the time it gets conformed into REC 709 and uploaded to streaming services those nominal differences start to look more like negligible. The idea that you can somehow push RED footage far beyond the limitations of other RAW codecs is a odd assertion, because this is pantently and objectively untrue. Just be honest. You like RED cameras. You don't need to justify that by making weird and exaggerated claims. You like what you like, it's your jam, you're entitled to it, rock on. We just don't need the justifications masked as exaggerations as it's not accurate nor helpful.
Back in the day moving from HD to 4K...is what pushed me to Blackmagic. Can't beat price for value ratio. Fast forward and I am basically where you ended up, moved away from Blackmagic and landed on RED.
I agree, the BMD cameras are absolutely incredible for the money. Your footage looks really excellent and I liked how you are open minded to all of the tools we have available to us as DPs these days. Subscribed.
I totally agree with your sentiment about cameras. You gotta use a lot of them and be system agnostic. I am personally a big fan of BlackMagic, especially the URSA G2. Having owned it since it came out and used it on 90% of my projects since, I can say it punches WAY above its price tag. I have been using the Komodo on a couple of shoots lately and it's a great camera too. There are just too many amazing options out there nowadays, it's amazing.
Exactly, and you never know when you might be on a shoot with a different camera. I've been trying out the kinefinity and that's also a really great option
@julienpierb I’m going to put up a video in the next couple of weeks about it. That data rates are insane shooting ProRes at 6k but full frame open gate is a really nice option.
Completely agree. Owned Pocket Cinema Camera, URSA Mini Pro G2, & Pocket 6K. URSA Mini Pro G2 randomly died on a shoot after only being about 2.5 years old, and after picking up the Komodo to replace it, Its amazing how good RED has gotten since DSMC 2 even. The dynamic range & just quality of everything...you can't beat it.
Yea, I had the scarlet and that thing was clunky and burned through both media and batteries. Plus changing the lens mount was a nightmare with the back-focus. Every time I pick my Komodo up I'm loving the ease of use and the image I get
Be careful not to burn the SDI on the Komodo. That's interesting, I'm a pocket 6K and UMP G2 Owner, never had any issues with my cameras, owned them for a few years. Previously had the Red Scarlet Dragon DSMC1 and it was unbelievably badly designed, so not enjoyable to use. The new Red's look like a massive improvement, I'm definitely intrigued by them but haven't been convinced yet.
I’ve herd about the SDI issue and so far no problems (touch wood) I would love to try the G2 I really loved having my URSA pro and the only issue I ever had was a screw coming lose on the flip out monitor but that was an easy fix. I’m really excited to see what blackmagic do next
@@JedCamara It’s funny because I actually HATED RED prior. Yeah, I had some many QC issues with the UMPG2 (one CFast 2 slot ejector was broken when I received it, monitor would glitch out and not work) Since buying the Komodo, I’ve been BLOWN away at how much better this thing is. The URSA was awesome, and a camera is a camera, but the DSMC 3 (and Komodo which feels like an in between) is like night and day different! Used a VRaptor a few months back, and it performed magically!
@@thatcameranerd Yeah, I haven’t had any issues, but I follow the protocol! Also, it’s technically with ALL 12G SDI, so even the URSA could have the same issue
I think there used to be an argument about which camera produced a better quality image, but those days are going away fast. The ergonomics of the camera matter more to me than tech specs and that is one of the primary factors in my desire to leave BMD for something like the Kinefinity or RED. I feel the URSA form factor is antiquated for cinema use and should be relegated to broadcast as they seem to be pushing the line into anyway. The PCC line is a great small form run and gun camera system, but there are far too many struggles trying to adapt it's form factor for A-camera use while still retaining enough flexibility/portability to minimize the need for massive camera support systems once fully rigged out.
Agreed I think most people were hoping that blackmagic would release some kind of box camera. Maybe they will next year to compete with the RED/kinefinity cameras. I would really like to try the cinema camera 6k but I wish it had a better shape and battery solution.
Thank you so much Sebastian. I think the Lumix overall the auto focus is pretty good. I would say 90% of the time it works but then every now and then it was act up. I haven’t used Sonys much over the past few years so I’m not sure how it stacks up. But from what I hear it’s a big jump over the previous S5 and I think with future firmware updates it should improve
I’m a big fan of the Alexa mini. I do wish you could shoot at a higher resolution when doing anamorphic but I love the camera. I wonder if they’ll do a refresh of it anytime soon.
It’s been a pleasure watching all your work (whatever the camera) in this video. My Black Magic Pocket 6K developed a problem as regards working from an external power source - and most people find operating that camera with just a Canon battery in the internal battery compartment impracticable. Maybe quality control on the Ursas is better - the puzzling thing is that quite a number of BM Pocket 6K users report no problems whatsoever (with the exception of maybe the odd unexpected “shut down” of the camera) - nevertheless - and accepting the great value for money that the Pocket 6K represents - my experience makes me wary of this sort of “too good to be true” product !
I had a couple of problems with shut downs on my pocket but it only seemed to happen when I was going through my blind spot power junkie. But it can be hard to trust when the price seems too good to be true. I only just tried kinefinity cameras and they seem great
I think because rolling shutter has been an issue on lots of cameras specially dslr’s I’ve been dealing with it for a long time so you end up altering how you shoot. It is an issue but I guess for me it one I’m willing to work around. I remember when the ursa mini first came out they were going to give you the option to switch to global shutter at the expense of two stops of dynamic range but that never happened in the end
I began renting URSA mini 4,6K G2 on many projects and eventually bought the 12K and I'm 85-90% happy with it. There are a couple of things such as battery consumption and lack of Pro Res (the latter not a big deal for me) and that it's a very-very sharp image even at 4K, in 8K 5:1 I have to lower the overall sharpness when I grade, as with such level of sensor sharpness the fix pattern grain appears to be very strong - post processing in resolve solves it completely. I was shooting an exterior documentary where I had to shoot against the direction of the source lights, when met with direct light beamed directly into the camera it looked especially grainy but not aesthetically bad. Even in tough lighting situations I managed to get nearly noise free image by placing my lights correctly in some other shots. I will say that the images that come out of it are very textured and definitely cinematic, more so than the Pocket 4K which I also own. Couple of things I've noticed: when grading with ACES you get best results, as ACES 32bit float color process takes the most out of this camera's dynamic range and bitrate. Recording in 8K in 5:1 is not too bad on storage. I've recorded 5 interviews the length of 30 minutes each + some lengthy B roll and the total was 1,1 terabytes which I don't consider too bad for such high resolution. Footage is very editable on M1 and M2 silicon with at least 16gb of RAM. With that being said, URSA mini is a fantastic intermediate camera for filmmakers who are coming from using mirrorless and the pocket series and want to level up. It offers a "pro cinema camera experience" as well as fantastic image quality at an affordable pice, and has so many features that justify the sub 10,000$ price. It's definitely an indie budget king! )
@@thatcameranerd it’s true but I only shoot on one camera unlike yourself and I think I can really notice the difference! It won’t be for a while and I’m content as pretty new into this but one can aspire haha!
We have created a whole YT Algorithum of Extreme Indecisiveness and "Pixel Peepers"..which camera should I buy and the Why I Switched, and Then switch back, its getting crazy...at the end of the day, its about the "Story, story story.."
Love the energy. It was difficult to hear what you had to say when you were driving your car. Could have lowered the volume on the music. Other than that. Keep up the great work.
I used to have the BMPCC4K. And I loved it especially because of BRAW. I'm now running with the Sony FX30. I hope BM adds PDAF to a new camera. Box shaped? Sure, but not a deal breaker. As a low budget/indie filmmaker, having autofocus is pretty important. If I could afford the Sony Burano, I'd grab it. But, yea, I suspect I will use Blackmagic again some day, too. I really love the warmth of the BRAW image. Anyway. Thanks for sharing your journey. Cheers. Susbcribed.
I like blackmagic very much as a brand as i love davinci resolve but their cameras just cant do everything i need. Thats why i use panasonic kameras. I wish panasonic would buy the company to merge it with panasonic tech. I bet this could produce some really cool cameras.
No we didn’t get it 😟 I think a large reason the keep the price low is because they reuse previous bodies. I’d imagine they will update the URSA range at some point with the full frame and Lmount with internal NDs maybe they could take the monitor off and reduce the size a little bit. I’m not excited to try the cinema camera but I wish it had a better battery solution.
My main 2 cameras are rigged 6K Pros and they are absolute work horses. However, I would switch to any brand that creates a camera that would make my workflow more reliable, faster and better.
I would love to give the Komodo X a try, I only recently got my Komodo and also the difference in price meant it wouldn't have been an option for me. But I would love to get my hands on it for a few days 😁
I don't care. I am willing to spend time and effort, for example, fighting domestic violence or for the environment, but I won't use a less than ideal camera for a cause like that.
I personally like Sony cameras and black magic. I like Sony for the color grading and the cost. You get what you paid for and that's with every penny. But black magic they go above and beyond and keep they're customers happy. I personally like raw footage. But rn I'm rocking the Sony A7R II . And I love it but the next camera I'm getting is the Black Magic URSA 12K Pro.
Why make this video? You spent 13 minutes only to say Blackmagic is great but you feel like trying something different. Thought you might have something interesting to say given the unique title, but just wasted my time.
@@thatcameranerd First of all it looks like it is tinting the image a lot. Secondly colour looks flat, especially skin which looks more gray. Thirdly it looks like all colours are off with very unified shades ( look a t-shirts etc ). With colour shift, for example an orange sky will tint red, teal becomes more skyblue etc. And highlights aren't popping. It's probably correctable, but would maybe require a lot of input, because even if you check out the image with something stellar like Phantom Luts it just never feel as it should. I personally grew up watching movies made on film, and I love that medium, and to me closes image to film is s-log3. Some time ago I even read that sony researchers goal was to make it as close to the film as possible and you can clearly see that. I bought a6400, to start filming my own films ( with budget I had ) and even with all its faults, I preferer its s-log3 then anything filmed on BM. Before I decided to buy it over 2 years ago I've made extensive research, and was also asking friends about feedback on the blind videos tests and everyone was always saying "This looks like film" and everyone liked that image the most and so did I. BM has a lot going for it: sharpness of the image, raw, menu, nd's, price, global shutter in some cases etc, but it's just not it, and it is not producing exciting image. And noither does Panasonic, Z-Cam, Fuji, even thought in general they are exceeding in features and image quality, shutter my humble a6400. And in the future I'd like to get a better Sony cam. Not sure if I can add link here, but check out how slog3 on sony a6400 looks like and compare it with BM's. Sony's is more grainy, has some sky banding, some imperfections, but the colour feels natural. Sony A6400 + Tamron 17-70mm f2.8 for APSC | Handheld shooting Cinematic 4K Video th-cam.com/video/WtYcJBVPkj8/w-d-xo.html
I love my Blackmagic Ursa Mini Pro 4.6k colors. Maybe it has to do with the fact that it’s made by the same company behind Davinci Resolve, the greatest color grading software ever made.
Literally just noticed how your dogs are having the best naps of their lives haha. great video! Keep em coming
I think those guys make an appearance in just about every video I do 😂
09:13 the actual answer
Damn the clips at 5:03 and beyond look so good. Amazing how "cinematic" footage really does look different than TH-cam content when done right.
I’m sorry but the Blackmagic is the closest to the Arri look for me
And yet all of the side-by-sides I've seen between the 6K Pro and G2 vs. the Komodo... the Komodo color pickup is less and has a slightly muddy look.
That's interesting, I find the Komodo definitely has a cooler look and it's slightly more desaturated I wouldn't say it's muddy but then I'm not putting it up against the Pocket. Maybe that should be the next comparison
I agree, the red side by sides never look better. The Pocket cameras look amazing
I owned both. The power the red provides is insane image clarity/sharpness, dynamic range, global shutter, and the ability to manipulate the image in post in ways you can’t do with any other camera. The muddy image is form ppl not using the camera to its potential. It’s far superior to BMD cameras in every way except file size and weight
That's a grading choice. It can look like anything, especially if you shoot 16 bit RAW.
@@LightWorkNYC
Well this is quite the exaggeration.
I work with all kinds of codecs, including RED RAW, even from the 8K Monstro, including BRAW and including DNG RAW to including H.264, H 265, prores, WMV, you name it.
To say any one of the RAW codecs is "superior" to the other RAW codecs sounds to me like someone who probably spent money they didn't have on a very expensive setup and needs it to be "superior" to smooth out that cognitive dissonance that comes with certain spending habits.
Are there differences in these codecs? Yes, of course, they're different codecs. Are these differences superior to one another? Well, if you're being honest you'd have to objectively say no. Differences, yes, absolutely. Fair. Superior differences? Really?
You might fool others into believing your claims but you will not be fooling those that work with all sorts of footage as their day job, day in and day out, and have no skin in the camera fanboy club.
Can we try better to be a little more realistic when we're explaining how things work to others who might not know so that people can properly learn and make honest informed decisions?
The real truth is all 3 of these RAW flavors break at about the same spots, at least in context of meaningful to real use cases.
There's slightly more bandwidth in RED RAW but it is not anything approaching "superior". More like nominal. By the time it gets conformed into REC 709 and uploaded to streaming services those nominal differences start to look more like negligible.
The idea that you can somehow push RED footage far beyond the limitations of other RAW codecs is a odd assertion, because this is pantently and objectively untrue.
Just be honest. You like RED cameras. You don't need to justify that by making weird and exaggerated claims. You like what you like, it's your jam, you're entitled to it, rock on. We just don't need the justifications masked as exaggerations as it's not accurate nor helpful.
Back in the day moving from HD to 4K...is what pushed me to Blackmagic. Can't beat price for value ratio. Fast forward and I am basically where you ended up, moved away from Blackmagic and landed on RED.
I agree, the BMD cameras are absolutely incredible for the money. Your footage looks really excellent and I liked how you are open minded to all of the tools we have available to us as DPs these days. Subscribed.
Thanks for the compliment Dan and I appreciate your support
what lens were you using on those same ursa shots? They look so good, lol
I totally agree with your sentiment about cameras. You gotta use a lot of them and be system agnostic. I am personally a big fan of BlackMagic, especially the URSA G2. Having owned it since it came out and used it on 90% of my projects since, I can say it punches WAY above its price tag. I have been using the Komodo on a couple of shoots lately and it's a great camera too. There are just too many amazing options out there nowadays, it's amazing.
Exactly, and you never know when you might be on a shoot with a different camera. I've been trying out the kinefinity and that's also a really great option
@@thatcameranerd never had the chance to use Kinefinity, but I'd love to
@julienpierb I’m going to put up a video in the next couple of weeks about it. That data rates are insane shooting ProRes at 6k but full frame open gate is a really nice option.
@@thatcameranerd You've got my attention 👀
Completely agree. Owned Pocket Cinema Camera, URSA Mini Pro G2, & Pocket 6K. URSA Mini Pro G2 randomly died on a shoot after only being about 2.5 years old, and after picking up the Komodo to replace it, Its amazing how good RED has gotten since DSMC 2 even. The dynamic range & just quality of everything...you can't beat it.
Yea, I had the scarlet and that thing was clunky and burned through both media and batteries. Plus changing the lens mount was a nightmare with the back-focus. Every time I pick my Komodo up I'm loving the ease of use and the image I get
Be careful not to burn the SDI on the Komodo. That's interesting, I'm a pocket 6K and UMP G2 Owner, never had any issues with my cameras, owned them for a few years. Previously had the Red Scarlet Dragon DSMC1 and it was unbelievably badly designed, so not enjoyable to use. The new Red's look like a massive improvement, I'm definitely intrigued by them but haven't been convinced yet.
I’ve herd about the SDI issue and so far no problems (touch wood) I would love to try the G2 I really loved having my URSA pro and the only issue I ever had was a screw coming lose on the flip out monitor but that was an easy fix. I’m really excited to see what blackmagic do next
@@JedCamara It’s funny because I actually HATED RED prior. Yeah, I had some many QC issues with the UMPG2 (one CFast 2 slot ejector was broken when I received it, monitor would glitch out and not work) Since buying the Komodo, I’ve been BLOWN away at how much better this thing is. The URSA was awesome, and a camera is a camera, but the DSMC 3 (and Komodo which feels like an in between) is like night and day different! Used a VRaptor a few months back, and it performed magically!
@@thatcameranerd Yeah, I haven’t had any issues, but I follow the protocol! Also, it’s technically with ALL 12G SDI, so even the URSA could have the same issue
I love your passion, it really comes through. Fantastic work you have done in the past.
Thank you so much
I think there used to be an argument about which camera produced a better quality image, but those days are going away fast. The ergonomics of the camera matter more to me than tech specs and that is one of the primary factors in my desire to leave BMD for something like the Kinefinity or RED. I feel the URSA form factor is antiquated for cinema use and should be relegated to broadcast as they seem to be pushing the line into anyway. The PCC line is a great small form run and gun camera system, but there are far too many struggles trying to adapt it's form factor for A-camera use while still retaining enough flexibility/portability to minimize the need for massive camera support systems once fully rigged out.
Agreed I think most people were hoping that blackmagic would release some kind of box camera. Maybe they will next year to compete with the RED/kinefinity cameras. I would really like to try the cinema camera 6k but I wish it had a better shape and battery solution.
Great vid … what Anamorphic lens did you use @5:10 that won you award for cinematography?
We used the Kowa Anamorphic 4 lens kit, 40mm T2.3, 50mm T2.3, 75mm T2.8 and the 100mm T3.4
7:42 . . . whaaa O0O what is that film ?
The a short film called Easy As www.imdb.com/title/tt7055598/?ref_=ext_shr_lnk
Great content Mark! Curious what lenses the 6:13 project was shot on? I couldn't locate it in your short film links
Thanks Lew, we shot that project on the Samyang Xeen EF Mount Prime Lens Set, I think that is probably the 85 or the 100mm
@@thatcameranerd Thanks Mark! Great little lens, I used to shoot with the 85mm often..
Samyang make some great lenses, the new xeen range are really nice I tested them out recently, a lot smaller than the originals
@@lew.parker Have you tried the new Xeen primes, I tested them at ProAV really nice lenses
The footage you shot in Iceland was gorgeous! How is the autofocus on the Lumix? It seems to really like your chair xD
Thank you so much Sebastian. I think the Lumix overall the auto focus is pretty good. I would say 90% of the time it works but then every now and then it was act up. I haven’t used Sonys much over the past few years so I’m not sure how it stacks up. But from what I hear it’s a big jump over the previous S5 and I think with future firmware updates it should improve
Which cam ?
Budget r.a. 25k
Ursa 12k olpf
Komodo x
Raptor
Used Alexa LF
Venice 1 Used
Priorety is image
Thanks 😊
If budget was no option I'd probably go for the Alexa LF
I'd choose an Alexa Mini (I know it's not in your list)
I’m a big fan of the Alexa mini. I do wish you could shoot at a higher resolution when doing anamorphic but I love the camera. I wonder if they’ll do a refresh of it anytime soon.
@@thatcameranerd I think it's the Alexa 35
It’s been a pleasure watching all your work (whatever the camera) in this video. My Black Magic Pocket 6K developed a problem as regards working from an external power source - and most people find operating that camera with just a Canon battery in the internal battery compartment impracticable. Maybe quality control on the Ursas is better - the puzzling thing is that quite a number of BM Pocket 6K users report no problems whatsoever (with the exception of maybe the odd unexpected “shut down” of the camera) - nevertheless - and accepting the great value for money that the Pocket 6K represents - my experience makes me wary of this sort of “too good to be true” product !
I had a couple of problems with shut downs on my pocket but it only seemed to happen when I was going through my blind spot power junkie. But it can be hard to trust when the price seems too good to be true. I only just tried kinefinity cameras and they seem great
Was rolling shutter never an issue for you?
I think because rolling shutter has been an issue on lots of cameras specially dslr’s I’ve been dealing with it for a long time so you end up altering how you shoot. It is an issue but I guess for me it one I’m willing to work around. I remember when the ursa mini first came out they were going to give you the option to switch to global shutter at the expense of two stops of dynamic range but that never happened in the end
I began renting URSA mini 4,6K G2 on many projects and eventually bought the 12K and I'm 85-90% happy with it. There are a couple of things such as battery consumption and lack of Pro Res (the latter not a big deal for me) and that it's a very-very sharp image even at 4K, in 8K 5:1 I have to lower the overall sharpness when I grade, as with such level of sensor sharpness the fix pattern grain appears to be very strong - post processing in resolve solves it completely. I was shooting an exterior documentary where I had to shoot against the direction of the source lights, when met with direct light beamed directly into the camera it looked especially grainy but not aesthetically bad. Even in tough lighting situations I managed to get nearly noise free image by placing my lights correctly in some other shots. I will say that the images that come out of it are very textured and definitely cinematic, more so than the Pocket 4K which I also own.
Couple of things I've noticed: when grading with ACES you get best results, as ACES 32bit float color process takes the most out of this camera's dynamic range and bitrate. Recording in 8K in 5:1 is not too bad on storage. I've recorded 5 interviews the length of 30 minutes each + some lengthy B roll and the total was 1,1 terabytes which I don't consider too bad for such high resolution. Footage is very editable on M1 and M2 silicon with at least 16gb of RAM.
With that being said, URSA mini is a fantastic intermediate camera for filmmakers who are coming from using mirrorless and the pocket series and want to level up. It offers a "pro cinema camera experience" as well as fantastic image quality at an affordable pice, and has so many features that justify the sub 10,000$ price. It's definitely an indie budget king! )
dang, super nice stuff, thanks for sharing! really want a red now ... thanks haha
Haha to be honest I think so many cameras these days look amazing.
@@thatcameranerd it’s true but I only shoot on one camera unlike yourself and I think I can really notice the difference! It won’t be for a while and I’m content as pretty new into this but one can aspire haha!
We have created a whole YT Algorithum of Extreme Indecisiveness and "Pixel Peepers"..which camera should I buy and the Why I Switched, and Then switch back, its getting crazy...at the end of the day, its about the "Story, story story.."
Weird reason to switch but to each their own
Love the energy. It was difficult to hear what you had to say when you were driving your car. Could have lowered the volume on the music. Other than that. Keep up the great work.
I used to have the BMPCC4K. And I loved it especially because of BRAW. I'm now running with the Sony FX30. I hope BM adds PDAF to a new camera. Box shaped? Sure, but not a deal breaker. As a low budget/indie filmmaker, having autofocus is pretty important. If I could afford the Sony Burano, I'd grab it. But, yea, I suspect I will use Blackmagic again some day, too. I really love the warmth of the BRAW image. Anyway. Thanks for sharing your journey. Cheers. Susbcribed.
I like blackmagic very much as a brand as i love davinci resolve but their cameras just cant do everything i need. Thats why i use panasonic kameras. I wish panasonic would buy the company to merge it with panasonic tech. I bet this could produce some really cool cameras.
Panasonic crossed with blackmagic, now that’s a camera I would love to get my hands on
we all wanted that box camera but they didn't listen... for now!
No we didn’t get it 😟 I think a large reason the keep the price low is because they reuse previous bodies. I’d imagine they will update the URSA range at some point with the full frame and Lmount with internal NDs maybe they could take the monitor off and reduce the size a little bit. I’m not excited to try the cinema camera but I wish it had a better battery solution.
Bro use a De-SSS its very distracting to my hears.
Thanks for the feedback
Hahahahahahahah 😂😂
Great video man!
Thanks man
Thanks for sharing very informative.
Thanks Joseph
i'm so happy i found your channel. Your footage is amazing!!
Thanks so much, Nicholas I really appreciate the support
The bmpcc 6k is (for me) better image quality than Komodo, but URSA 12k destroys the RED
Same here.. I've been a Blackmagic user for years and finally grabbed a Komodo.. best decision ever
Nice! Would love to see some of the things you shoot on it
My main 2 cameras are rigged 6K Pros and they are absolute work horses. However, I would switch to any brand that creates a camera that would make my workflow more reliable, faster and better.
I totally agree you have to pick the camera that works for you. So many great options out there to choose from
Nice honest video, thanks. I wonder what do you think of the new RED Komodo x, its seems to check many boxes for you (besides, maybe, the price?)
I would love to give the Komodo X a try, I only recently got my Komodo and also the difference in price meant it wouldn't have been an option for me. But I would love to get my hands on it for a few days 😁
I’m black magic guy. I would not touch red because of their products because of their patent on internal raw recording and evil business practices.
I herd that was actually one of the reasons that raw was removed from the kinefinity cameras
I don't care. I am willing to spend time and effort, for example, fighting domestic violence or for the environment, but I won't use a less than ideal camera for a cause like that.
It’s not evil it’s business
I personally like Sony cameras and black magic. I like Sony for the color grading and the cost. You get what you paid for and that's with every penny.
But black magic they go above and beyond and keep they're customers happy. I personally like raw footage. But rn I'm rocking the Sony A7R II . And I love it but the next camera I'm getting is the Black Magic URSA 12K Pro.
Red cameras are so overrated.
I think that is a silly reason to switch cameras.
Why make this video? You spent 13 minutes only to say Blackmagic is great but you feel like trying something different. Thought you might have something interesting to say given the unique title, but just wasted my time.
U obsessed bro
😂
Great video, just improve your thumbnail
Thank you and I appreciate the feedback
black magic vs white magic vs red magic lol
😂
Bm colour is not very good looking.
Interesting, what about BM colour don't you like?
@@thatcameranerd First of all it looks like it is tinting the image a lot. Secondly colour looks flat, especially skin which looks more gray. Thirdly it looks like all colours are off with very unified shades ( look a t-shirts etc ). With colour shift, for example an orange sky will tint red, teal becomes more skyblue etc. And highlights aren't popping. It's probably correctable, but would maybe require a lot of input, because even if you check out the image with something stellar like Phantom Luts it just never feel as it should. I personally grew up watching movies made on film, and I love that medium, and to me closes image to film is s-log3. Some time ago I even read that sony researchers goal was to make it as close to the film as possible and you can clearly see that. I bought a6400, to start filming my own films ( with budget I had ) and even with all its faults, I preferer its s-log3 then anything filmed on BM. Before I decided to buy it over 2 years ago I've made extensive research, and was also asking friends about feedback on the blind videos tests and everyone was always saying "This looks like film" and everyone liked that image the most and so did I. BM has a lot going for it: sharpness of the image, raw, menu, nd's, price, global shutter in some cases etc, but it's just not it, and it is not producing exciting image. And noither does Panasonic, Z-Cam, Fuji, even thought in general they are exceeding in features and image quality, shutter my humble a6400. And in the future I'd like to get a better Sony cam.
Not sure if I can add link here, but check out how slog3 on sony a6400 looks like and compare it with BM's. Sony's is more grainy, has some sky banding, some imperfections, but the colour feels natural. Sony A6400 + Tamron 17-70mm f2.8 for APSC | Handheld shooting Cinematic 4K Video
th-cam.com/video/WtYcJBVPkj8/w-d-xo.html
@@thatcameranerd Nothing beats Sony and Canon color science, but of course they don't have the quality capabilities as these cameras
I love my Blackmagic Ursa Mini Pro 4.6k colors. Maybe it has to do with the fact that it’s made by the same company behind Davinci Resolve, the greatest color grading software ever made.