Thanks Riley, great video. I own the Red Komodo since it came out and have already 800hrs of runtime and shot everything with it. For the audio I use the tentacle track E which is mounted to my cage and I plug the Sennheiser into the track E which gives me 32 Bit float and very clean audio. And I just use TC to connect it in post. In tens of Dynamic Range I agree it’s always good to check the goal posts but in fact shooting at a higher ISO gives you more stops in the highlights by same ND and F stop and so l on. I experienced it myself and there are a few videos from Red that show that very nicely.
Thanks Paule! That’s great to know about the track e! I’ll definitely look into that. With the ISO point I’m referring to R3D specifically and not pro res - since it’s raw iso is just metadata it doesn’t remap dynamic range or change the log curve with every iso value.
Great tips Riley thanks for doing this! Do you use the Ninja V with the Komodo just for monitoring or do you record externally on it as well ? Also would be great if you can make a video about Flycam and compare to Easyrig for example if you used both. Thanks again & keep up the great work!
Thanks! I use it primarily as a monitor but if I ever need a backup/proxy recording it’s nice to have that option. I don’t have an easy rig but if I ever get my hands on one I’ll definitely do that! The flycam is great overall!
Your ISO section literally reflects most modern cameras - especially Sony. I have done SO MANY Dynamic range tests at different ISO values on my FX3 and FX30 and the verdict is....doesnt matter where your ISO is. I have shot at the lowest ISO value and the dynamic range at 800 was identical
I wish I knew the Komodo didn't work properly with RF zoom lenses. After a firmware update it is much better, but still not as solid as on Canon cameras. Never had these kinds of issues with a native mount before.
OG Komodo user here! Just found your channel from RUclips suggestions and I love it! Love what you got going on! New subscriber indeed! Salute to you! On a side note, I too fell into the trap of pulling the trigger on the original Komodo right on the heels of the Komodo X and now I’m stuck with what I’m stuck with. Lol. Not that’s it’s a bad consolation prize but I really wanted the audio fix and 60fps at 6k. But oh well. My point is, I racked my brain for nearly a year searching for the right audio fix for the OG and I can tell you that the DXA-PRE from Beachtek can solve all your problems. It’s a nifty little box you can rig to your OG and it will provide phantom power for any mic you throw at it. I watch a review on the box you have from mid49 but when I realized it didn’t have phantom power I went the other way. Since you’re a documentarian you probably boom your mics anyway, so check out Beachtek. That is unless you have the budget you can always get a Mix Pre 3 or higher. Hope that’s helps. 🫡🎥
Hey! Thanks so much for subscribing and for the recommendation! I’ll definitely check it out - having phantom power would be awesome. It’s always good to know the other audio options on the market! 😎
I am sure someone already mentioned these following tips, but here you go... For in-camera audio, look at one of the higher end powered on-camera mics. I use the Deity d3 pro and d4 pro... These allow you to raise the gain up on your mic and use lower preamp settings in the komodo. Option 2, which I prefer, is running audio into a Zoom F3, which is mounted to the camera. You can then run a 3.5mm back into the komodo to record scratch audio. The zoom offers phantom power and 32bit float recording... with two xlr inputs. Just my $0.02
hey bro, i’m having so much stress with audio on my komodo! really like your input here. thanks for taking the time. Also, so you just use your Deity shotguns into the 3.5mm jack on the Komodo? When you’re not using option 2 as you said you prefer
@@ianhtavares depends on the job..... but yes. On higher end jobs I'm using the zoom F3 on camera to record from an XLR mic running a 3.5 mm back into the Komodo for redundancy
I got the Komodo as “an indulgence” when I retired - I’m shooting a half hour documentary with it where the great picture quality (assuming I get all the “associated things” right) will suit the particular subject matter of the video very well. That said - for a lot of documentaries - I feel something like the Sony FX3 or Sony ZVE 1 would be a “better fit” in many people’s minds. I knew - buying the Komodo - that its two really big selling points were the Red Raw codec and the global shutter - and I’m totally happy with it - it’s just that - the “start up”/initialisation time - common to many “cinema cameras” - could prove frustrating to documentary film makers if capturing fast moving situations - sudden, difficult to anticipate events - is vital to one’s particular project.
My inexperienced friend, they filmed ONE movie on the fx3, and it is known to look pretty shoddy on the big screen lot of chroma noise. Arri and Red arent going anywhere bud, its night and day.
@@John-e4p1x exactly people get caught in the click bait titles not realizing there is more to it. Maybe in the future but for now still going to see Arris Reds and Sony Venices and Buranos
Valuable information, man. Thanks so much. Cheers from Italy
Thanks Riley,
great video. I own the Red Komodo since it came out and have already 800hrs of runtime and shot everything with it.
For the audio I use the tentacle track E which is mounted to my cage and I plug the Sennheiser into the track E which gives me 32 Bit float and very clean audio.
And I just use TC to connect it in post.
In tens of Dynamic Range I agree it’s always good to check the goal posts but in fact shooting at a higher ISO gives you more stops in the highlights by same ND and F stop and so l on.
I experienced it myself and there are a few videos from Red that show that very nicely.
Thanks Paule! That’s great to know about the track e! I’ll definitely look into that.
With the ISO point I’m referring to R3D specifically and not pro res - since it’s raw iso is just metadata it doesn’t remap dynamic range or change the log curve with every iso value.
Great tips Riley thanks for doing this! Do you use the Ninja V with the Komodo just for monitoring or do you record externally on it as well ? Also would be great if you can make a video about Flycam and compare to Easyrig for example if you used both. Thanks again & keep up the great work!
Thanks! I use it primarily as a monitor but if I ever need a backup/proxy recording it’s nice to have that option.
I don’t have an easy rig but if I ever get my hands on one I’ll definitely do that! The flycam is great overall!
Great thank you! Same for the Red Raptor if you ever play with it please share your thoughts@@RileyEndicott
Your ISO section literally reflects most modern cameras - especially Sony. I have done SO MANY Dynamic range tests at different ISO values on my FX3 and FX30 and the verdict is....doesnt matter where your ISO is. I have shot at the lowest ISO value and the dynamic range at 800 was identical
Native iso is 800 so that could be
Why but that makes sense
I wish I knew the Komodo didn't work properly with RF zoom lenses. After a firmware update it is much better, but still not as solid as on Canon cameras. Never had these kinds of issues with a native mount before.
Good to know!! I’m mostly using EF or manual glass
OG Komodo user here! Just found your channel from RUclips suggestions and I love it! Love what you got going on! New subscriber indeed! Salute to you! On a side note, I too fell into the trap of pulling the trigger on the original Komodo right on the heels of the Komodo X and now I’m stuck with what I’m stuck with. Lol. Not that’s it’s a bad consolation prize but I really wanted the audio fix and 60fps at 6k. But oh well. My point is, I racked my brain for nearly a year searching for the right audio fix for the OG and I can tell you that the DXA-PRE from Beachtek can solve all your problems. It’s a nifty little box you can rig to your OG and it will provide phantom power for any mic you throw at it. I watch a review on the box you have from mid49 but when I realized it didn’t have phantom power I went the other way. Since you’re a documentarian you probably boom your mics anyway, so check out Beachtek. That is unless you have the budget you can always get a Mix Pre 3 or higher. Hope that’s helps. 🫡🎥
Hey! Thanks so much for subscribing and for the recommendation! I’ll definitely check it out - having phantom power would be awesome. It’s always good to know the other audio options on the market! 😎
I found this info useful, thanks for uploading, Peace
I am sure someone already mentioned these following tips, but here you go... For in-camera audio, look at one of the higher end powered on-camera mics. I use the Deity d3 pro and d4 pro... These allow you to raise the gain up on your mic and use lower preamp settings in the komodo. Option 2, which I prefer, is running audio into a Zoom F3, which is mounted to the camera. You can then run a 3.5mm back into the komodo to record scratch audio. The zoom offers phantom power and 32bit float recording... with two xlr inputs. Just my $0.02
hey bro, i’m having so much stress with audio on my komodo! really like your input here. thanks for taking the time. Also, so you just use your Deity shotguns into the 3.5mm jack on the Komodo? When you’re not using option 2 as you said you prefer
@@ianhtavares depends on the job..... but yes. On higher end jobs I'm using the zoom F3 on camera to record from an XLR mic running a 3.5 mm back into the Komodo for redundancy
that’s it’s an overpriced camera and you spend half for a great equivalent
You can definitely get a great camera for half the price. But nothing else near the komodo’s price has a global shutter & internal raw 🙂
Does the Mid49 breakout box split the audio into dual mono or are both channels squished together?
They are split!
Thank you@@RileyEndicott And I appreciate you taking the time to make the video and share your experiences with the Komodo.
Happy to help!
i think you should have more red footage in the video rather than shots of you using the red
Start your own RUclips channel you get to call the shots then.
@@tylerstooksbury3050 give me a red camera you asshole😂
I got the Komodo as “an indulgence” when I retired - I’m shooting a half hour documentary with it where the great picture quality (assuming I get all the “associated things” right) will suit the particular subject matter of the video very well. That said - for a lot of documentaries - I feel something like the Sony FX3 or Sony ZVE 1 would be a “better fit” in many people’s minds. I knew - buying the Komodo - that its two really big selling points were the Red Raw codec and the global shutter - and I’m totally happy with it - it’s just that - the “start up”/initialisation time - common to many “cinema cameras” - could prove frustrating to documentary film makers if capturing fast moving situations - sudden, difficult to anticipate events - is vital to one’s particular project.
Definitely agree with everything you said! Good luck on your shoot!
You may like the pre roll feature!
RED and ARRI are dead. Overkill. They film IMAX blockbusters with the FX3 now.
I appreciate the hot take lol. Thanks for stopping by! 🔥
Sorry not true. It all depends on the director
/ dp
My inexperienced friend, they filmed ONE movie on the fx3, and it is known to look pretty shoddy on the big screen lot of chroma noise. Arri and Red arent going anywhere bud, its night and day.
@@John-e4p1x exactly people get caught in the click bait titles not realizing there is more to it. Maybe in the future but for now still going to see Arris Reds and Sony Venices and Buranos