Why I Hate My RED KOMODO in 2024 | & LOVE | Pros & Cons
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- Опубликовано: 28 апр 2024
- Welcome back! Today I deep into the daily life with the RED KOMODO in 2024. As technology advances, so does the demand for high-quality footage, and the KOMODO has been a buzzworthy contender in the digital cinema game. 📽️
In this comprehensive review, I break down the pros and cons of integrating the RED KOMODO into your daily workflow in 2024. From its compact design to its stunning 6K capabilities, I explore how this powerhouse camera stacks up against the some of my other cameras. Whether you're a seasoned professional or an aspiring filmmaker, this video is a great guide to making getting an inside view of someone that uses this camera daily.
Join me as we discuss the ergonomic design that makes shooting on the go a breeze, alongside its robust feature set that empowers creatives to bring their visions to life. However, no camera is without its limitations, and we address potential drawbacks such as battery life and post-production workflow considerations.
Stay tuned as I provide valuable insights, practical tips, and real-world examples to help you navigate the ever-evolving landscape of cinematography. Don't miss out on this essential discussion if you're considering the RED KOMODO for your filmmaking arsenal in 2024!
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Im afraid of getting the Komodo but i really reaaally like it, it has aged so well so far 16 stops, R3D Raw and great form factor. The Kx is another win. Im currently shooting on an Xh2s Fuji which also shoots 6k, 14bit readout amazing colour science.
I’ve never used Fuji for video but I’ve been seeming some good stuff from them! I love their photo camera tho! If you’re interested in the R3D and can afford it and also afford the slow downs it’s always worth trying something new!
@@IvenChaqueco The Fuji Xh2s is a pretty good hybrid Video pro-res internal at 422 & HQ. Yes it would be a gem to mess with R3D but in due time because getting there is an entire investment journey.
The issue is that you are comparing a true cinema camera to hybrids. Anything that involves cinema is relatively expensive. Plus it usually involves a team. Cameras like the Komodo are for 15k budgets and up. Maybe 10k, but the budgets can go all the way up to the millions.
Remember, the Komodo was made to compete against the GoPro. It’s was specifically requested from Netflix. It’s a cine crash cam so it’s on the cheaper side of the cinema cameras.
That is correct!
I really like having V mount as well as a couple of normal batteries. I like not worrying about issues of overheating like other cams. Pretty much infinite wireless power. A hand full of memory cards. Having a bunch of ipad, phones to monitor with the apps. Awesomeness. ACES in davinci. Love the global shutter for stabilised stuff as well. R3D HQ fx and LQ for general. Blackshading does not have to be done every time you use the camera fyi. Love being able to break the cam down to travel as well as fit in tiny spaces.
Batteries are definitely one of my favorite things! And I love the wireless monitor app when it works. Sometimes it’s amazing and sometimes it’s unusable it’s weird. And gotcha, I usually just black shade it before I start recording for the day! Size is pretty nice!
@IvenChaqueco typically there will be no need unless you are shooting in a vastly different temperature location/climate with for example very different humidity. You mentioned you shoot the same content for that client for example. There would be no need to do it again for that location if it hasn't changed much. Do an experiment for yourself and see. The vast majority of issues I have seen with komodo footage is jus poooorly exposed and poor use LUTs. Remember that R3D files are not denoised and not sharpened. If you expose properly (stoplight 🚦 not lighting up on the left of screen and not on much on right) then you will not have noisy images and even if you decide to put up your iso to 900+ images will look fine and you can use resolve to de-noise to taste. Oh and change your live quality to see a stream improvement. Or change channel.
@@IvenChaqueco Get the Moman 99 v-mount battery. It's small and will last 7 hours. It was also $120.
@@anthonyrock5039 You can set the ISO to 640 to increase dynamic range in the shadows and goto ISO 1200 to move dynamic range to the highlights.
@@IvenChaqueco how long does it take to black shade
Are your main productions for RUclips release?
Yeah my main client is RUclips but I do freelance work as well, products, events and brand stories
I ower RED KOMODO WHITE same you, I have problem the same you, But luckily, I previously owned two Canon C70 , so when I heard what you said, I could feel it. Now, if you are no longer interested in it, I highly recommend you to go with the Canon C70 instead. Fx3
Canon C70 was a tempting choice but I think I would rather go back to the FX3 or FX6 just because I have so much Sony gear.
Yeah , if you have more sony gears fx6 so great 😁
Agreed!!
How does the Komodo footage compare to the FX3 footage?
In a professional environment I think they are very similar. In harsh conditions (like outside run & gun) R3D can be more helpful since it can be pushed around more. Just depends both really really good!
@@IvenChaqueco Just do some test to see the difference. I saw a big difference between the two and the file size was still big with Pro Reds. Have you done any test?
I did actually! Pro Res files aren’t much or any smaller than R3D in ELQ 😬
So I will keep using R3D files for now
I subscribed
Appreciate it! 🔥
There is NO RED TAX or extra cost when owning a Komodo. It used to be very expensive to own a RED camera but that's not true today. Not sure why you repeated the Red Tax statement. The cage, side handles, etc do not cost more compared to other cameras. You are correct about the CFexpress cards. You can record to SD drives. It works and look it up. You are also correct about R3D files, they are crazy.
R3D 16bit is night and day better than the Pro Res options so do your test and see if the drop in image quality is acceptable. It would be good for you to use the exposure and false color options on the Komodo. No don't get a skin for that Storm Trooper.
R3D files are massive!
@@IvenChaqueco They are...haha. I don't like that but it's RAW 16 bit. How do you like the FX30 compared to the Komodo?
Sounds like a lot of whining. Whenever you go from hybrid to cinema camera, there is always some learning curves. My FS5 also required black shading, it really is no big deal. Both Sony and ARRI have issues with the SDI port, ARRI also wrote a white paper on SDI protocols. You buy a RED for access to R3D files, no other camera company makes something comparable. The FX3 and FX30 are not cinema cameras, they are hybrids acting like a cinema camera, they barely got shutter angle recently. The only advantage the Sony and Canon had over RED was autofocus, but now with the DJI Focus Pro, that is no longer an issue. If you really pay attention to proper exposure, it is really easy to turn around RED R3D files. You need proxies, because either you do not have a M1/2/3/4 MacBook or a super slow disk drive, the Samsung T7 works wonders.
True!
That's crazy bro you must be like hella smart fr 🔥🙏
Fx3 is king u fumbled
FX3 is the 🐐 but having the FX30 makes not having the FX3 a lot easier!
Shit aint even cinealta
Lol. The skintones and latitude aren’t even close.
The fx3/30 oversamples from 6k so you're still getting a 6k image.
Fx30 does, but Fx3 shoots basically straight 4k (although it still looks great)
The FX30 oversamples but the FX3 doesn’t