It is one of the best cameras :) no question. If you wont jump straight to an Old ARRI instead, then its one of the best cameras out there image wise. The biggest thing people forget is to get the right equiptment for the specifik job :) I have the C70, R5c and an R3 from Canon.. great cameras but not the best in the world.. but they all have autofocus for interviews with more than one cameras.. time code in.. and with the adaptor on the R5C both have NDs… and with the c70 speedbooster they are both “full frame” :) Then when its bigger stuff its all about renting more lights, more people different cameras 😅 but it depends on the clients budgets
Great points made in this! I think a simple hybrid camera can meet most people’s needs. But once you start working with teams and higher production value, the camera builds and image quality really start to shine.
I bought a RED Scarlet-W 7 years ago and I am not exaggerating at all when I say it has never once given me any problems. It starts up just a quickly as it did the day I bought it. I've filmed in 105º temp all the way down to single digit temps without a single issue. That thing is a beast!! Wait I take that back. The battery eject button came loose and my battery got suck on the camera but with some coercion I got it off and simply tightened a screw. It never gave me any trouble after that.
RED’s codec , color science , and highlight roll of is second to none in my opinion. R3D codec is the only files ive seem compatible with all NLE software including Final Cut which is my main Software.
Nicely narrated and some nice shots in this. It's true, out-of-the-box the RED footage looks kinda "Yeah it's beautiful, but so is a lot of other footage" -- but once you go deeper into manipulating the shots you've got, you can see the benefit of R3D. It enables so much more creativity after having been shot, it's amazing.
I love shooting on the Reds and it is mostly because of how modular and functional they are. The menus are so simple, sleek, every button makes sense lol. Also for me the biggest strength is their file format and how easy it is work and edit them. Also if people are doing heavier post work I feel like they outshine a lot but for most people it is just a very expensive camera that is just too expensive to own. Everything adds up including the drives and storage lol
Owning RED, Canon Cinema, and Sony Cinema cameras... I gotta say the Canon C500 Mark II is probably one of the best cameras I've ever used. Best bang for the buck, easy to use (if you understand cameras), looks just as good if not better than a RED or ARRI camera, oh and you can still use amazing autofocus+stabilization (or not). But what it really all boils down to is composition, lighting, and subject matter. So yeah, I agree with this video.
Having a Red Raven for the last 6 years, it still stands the test of time. It got a lot of hate but it was basically the "Komodo's" of the DSMC2 lineup. I stoped using Primere once I started using the Ursa Mini and The Red Raven. I switched to Resolve, and I have never had any issues importing or dragging and dropping. I don't know how Primere is for the actual raw footage but in Resolve it is very easy to edit the raw files in a non destructive way. I will say honestly the one thing that messed ith me even going from the BM Raw files to RED Raw was the Raven alwys seemed to have a greenish tint and that was my biggest issue, but I love my Raven and use my raven whenever I can. But if you think load up on the Komodo's are bad the Raven takes like 30 seconds or so and in my mind I also thought oh this could be a cool run and gun style but it's not at all lol. Great video though love the points and I like your style of presenting it feels natural and I dig it!
Better dynamic range, better options to push in post via RAW, simple card-in-Cam RAW recording, better reliability, assistant cams all know it (vs. weirdo brands) better OLPF that gives you that film-like creaminess that a Black Magic cam never even comes close to, zero CMOS jello, better color science. That's what you are paying for. Seems fair.
Sounds like my jump from canon/sony mirrorless to this camera sounded pretty similar 😅 You do definitely build it up in your head for sure, and as good as the footage is when you shoot with it, I totally agree it isn't as ground breaking as you always imagined it would be. I do think it's a case of camera tech these days catching up so fast that most camera now are more than capable, and the line is becoming very blurred. BUT the truth still stands with it relying more so on the hands that the camera is in 1000%. Wicked video man, subbed!
I felt the same way about it not looking better. My second shooter brought one to a wedding and I used it, got the footage back, and started playing with it. It was a little disappointing honestly. I mostly shoot on a C70, so now I feel way more justified in using that for years and years to come.
i respect feedback that's honest even if they are paid to sell it. We understand the RUclips HUSTLE! we just want to know the facts so we can invest properly. that's all... Good video man
I saw the FD lens and clicked. I've noticed that specific fd zoom struggles on the high resolution recording. The fd primes rock just that zoom struggles
Bro sick stuff. I got my first ever close 1.5 years ago and was a big learning curve, but now I'm loving it. On a side note, how did u get that shot @3:31?
It will… be “earth shattering” 🤯 to make any large upgrade regardless of brand (Sony CineAlta, RED, Arri etc.) if (emphasis on if) a DP has been fighting a cameras that have been causing that DP nonstop production and post-production problems prior to buying or renting a higher end camera body. When I tried a CineAlta Sony I was 🤯 and still am 🤯 as a CineAlta solves an insane number of post-production problems for me personally. Also, if I shoot the same scene with a CineAlta and some other lower tiered camera, the difference between the results is 🤯 comparing the two cameras. (I have to stress that when I say Sony CineAlta, I mean CineAlta, not a non-CineAlta badged Sony camera, because the difference between the two is 🤯 when I first saw it and I continue to be 🤯 when reviewing footage. A CineAlta can see what I see with my eyes. It’s a game changer for me. However, I can, and am willing to shoot with whatever camera body or brand I have access to. For context I shoot narrative work so lighting tends to be more controlled and intentional when I’m shooting. I don’t know if the benefits of a higher end camera would be as prominent in non-controlled lighting scenarios. A camera body that is amazing for narrative work and controlled environments might be terrible for documentary work or news gathering. If someone says “this camera is amazing” it is important to know what type of shooting environment they are referencing. Naturally, most people don’t want to take a 40 pound camera package on vacation so context is important when discussing camera performance. (99.9% of the time I use my phone for taking a photo and the results look bad because phones cannot see light very well, but I don’t care. I don’t want to use a big camera unless I’m “shooting” for a project. 👍
You changed the profile! I might thought should be a sun background! You know what I mean! 🤣🤣🤣 Anyways, Red is Sick! 🥰😍 Hi I'm Yusaku, your longer subscriber but new subscriber using this 2nd channel. 🤣 lol!
Bruh you forget to mention the most awesome feature for actually cinematic quality, that is absent on all hybrids: GLOBAL SHUTTER. It’s so awesome to have it, and especially for handheld and action shots. Most people really don’t even notice it but you wouldn’t see a feature film that has jelly shutter lag, especially if it was shot on film
@@SunnySixteen currently a 6k pro but I’ve been looking around and debating buying some lenses instead of a new body. Especially for the reason that if I’m on a project and need a red or Fx9 we can rent but having the lenses i like feels like a better bet.
I like the camera, but RED as a company has bad buisness practices. Proprietary SSDs that are marked up despite being rehoused ssds. And their patent on compressed RAW which is unfair to other camera manufacturers.
First of all, and lastly… Your shooting with a red camera and your editing in premiere??! I just have this great urge to insult you. Everybody everybody everybody who shoots on Red needs to be editing in Davinci Resolve. Premier sucks in every possible way compared to Davinci resolve. Resolve is in love with Red footage… What do you think you’re doing? This almost invalidate everything else you had to say.
Premiere is organized in a way that just makes more sense to long form and experienced editors. No issues editing any Red Raw in premiere, you just need a desktop and a reasonable CUDA card (Don't use a laptop). then you export to DaVinci - very easy, always works now and color grade there.
Is RED is sick or nah?
loved this video Niles! Great approach and perspective on REDs and just getting cameras in general as a filmmaker!
Is
So sick!!
It is one of the best cameras :) no question.
If you wont jump straight to an Old ARRI instead, then its one of the best cameras out there image wise.
The biggest thing people forget is to get the right equiptment for the specifik job :)
I have the C70, R5c and an R3 from Canon.. great cameras but not the best in the world.. but they all have autofocus for interviews with more than one cameras.. time code in.. and with the adaptor on the R5C both have NDs… and with the c70 speedbooster they are both “full frame” :)
Then when its bigger stuff its all about renting more lights, more people different cameras 😅 but it depends on the clients budgets
I love mine ❤
Great points made in this! I think a simple hybrid camera can meet most people’s needs. But once you start working with teams and higher production value, the camera builds and image quality really start to shine.
Couldn't agree more.
I bought a RED Scarlet-W 7 years ago and I am not exaggerating at all when I say it has never once given me any problems. It starts up just a quickly as it did the day I bought it. I've filmed in 105º temp all the way down to single digit temps without a single issue. That thing is a beast!!
Wait I take that back. The battery eject button came loose and my battery got suck on the camera but with some coercion I got it off and simply tightened a screw. It never gave me any trouble after that.
RED’s codec , color science , and highlight roll of is second to none in my opinion. R3D codec is the only files ive seem compatible with all NLE software including Final Cut which is my main Software.
Niles and Sunny 16 be truth tellin’ - That’s why I keep watchin’ 👍🏻
🤘
The komodo is all about the global shutter and the movement. Mirrorless cameras with rolling shutter and ibis just do weird wobbly things
I bought an OG Komodo this past spring and love it! For me, definitely worth it. But all your thoughts are spot on.
Nicely narrated and some nice shots in this. It's true, out-of-the-box the RED footage looks kinda "Yeah it's beautiful, but so is a lot of other footage" -- but once you go deeper into manipulating the shots you've got, you can see the benefit of R3D. It enables so much more creativity after having been shot, it's amazing.
Alright, I'm sold on you making a surfing doc with the RED. Gotta see it.
down
I love shooting on the Reds and it is mostly because of how modular and functional they are. The menus are so simple, sleek, every button makes sense lol. Also for me the biggest strength is their file format and how easy it is work and edit them. Also if people are doing heavier post work I feel like they outshine a lot but for most people it is just a very expensive camera that is just too expensive to own. Everything adds up including the drives and storage lol
ya it gets chunky. files played back perfectly though on my computer. Didn't bring that up tho as its very dependent on your machine
Owning RED, Canon Cinema, and Sony Cinema cameras... I gotta say the Canon C500 Mark II is probably one of the best cameras I've ever used. Best bang for the buck, easy to use (if you understand cameras), looks just as good if not better than a RED or ARRI camera, oh and you can still use amazing autofocus+stabilization (or not). But what it really all boils down to is composition, lighting, and subject matter. So yeah, I agree with this video.
Having a Red Raven for the last 6 years, it still stands the test of time. It got a lot of hate but it was basically the "Komodo's" of the DSMC2 lineup. I stoped using Primere once I started using the Ursa Mini and The Red Raven. I switched to Resolve, and I have never had any issues importing or dragging and dropping. I don't know how Primere is for the actual raw footage but in Resolve it is very easy to edit the raw files in a non destructive way. I will say honestly the one thing that messed ith me even going from the BM Raw files to RED Raw was the Raven alwys seemed to have a greenish tint and that was my biggest issue, but I love my Raven and use my raven whenever I can. But if you think load up on the Komodo's are bad the Raven takes like 30 seconds or so and in my mind I also thought oh this could be a cool run and gun style but it's not at all lol.
Great video though love the points and I like your style of presenting it feels natural and I dig it!
great video! Glad to see some Canon FD lens footage. Bought a set recently, great lenses
Better dynamic range, better options to push in post via RAW, simple card-in-Cam RAW recording, better reliability, assistant cams all know it (vs. weirdo brands) better OLPF that gives you that film-like creaminess that a Black Magic cam never even comes close to, zero CMOS jello, better color science. That's what you are paying for. Seems fair.
Sounds like my jump from canon/sony mirrorless to this camera sounded pretty similar 😅 You do definitely build it up in your head for sure, and as good as the footage is when you shoot with it, I totally agree it isn't as ground breaking as you always imagined it would be. I do think it's a case of camera tech these days catching up so fast that most camera now are more than capable, and the line is becoming very blurred. BUT the truth still stands with it relying more so on the hands that the camera is in 1000%. Wicked video man, subbed!
It is pricey, but you can now buy used Red Komodo 6k for $4,000 and get up and runing for another 2k or so in third pary accesories.
I felt the same way about it not looking better. My second shooter brought one to a wedding and I used it, got the footage back, and started playing with it. It was a little disappointing honestly. I mostly shoot on a C70, so now I feel way more justified in using that for years and years to come.
I think its expectations.
I respect you being honest about how it isn't a "fix all"
🤘
Love it. What kind of dog is that? It looks close to a Samoyed but not quite…
Finally found a RUclipsr that said it like it really is about camera gear! Haha 😂 Great job Niles great video man 👍🏻
lol
Thanks for this. You touched on a lot of great points just from a your everyday filmmaker
came for the content, stayed for the doggo. A+ video really enjoyed it!
shot out to Jason on backgrounds TV with his motorcycle trips.
wow. great eye
@@SunnySixteenstill bad makes me bad photographer
Yeah but you can get way more out of the komodo x when using Resolve instead of premier pro.
Here for the Swiss Shepard content!!
i respect feedback that's honest even if they are paid to sell it. We understand the RUclips HUSTLE! we just want to know the facts so we can invest properly. that's all... Good video man
wasn't paid.
It’s incredible. The Porsche of cameras. Is a simple 911 worth $180k? Yeah but that’s also crazy money. Same with Red.
Been curious about this for a long time! Thx bruuu
yewwwwww
I saw the FD lens and clicked. I've noticed that specific fd zoom struggles on the high resolution recording. The fd primes rock just that zoom struggles
Bro sick stuff. I got my first ever close 1.5 years ago and was a big learning curve, but now I'm loving it. On a side note, how did u get that shot @3:31?
this video was a vibe and im here for it. beautiful footage dude
thanks dude. watched your red vids before I got the camera lol
Flexibility in post looks pretty dope
its wild.
@@SunnySixteen Yup
AYO that trackclub Fisheye is kinda fire
feel that
It will… be “earth shattering” 🤯 to make any large upgrade regardless of brand (Sony CineAlta, RED, Arri etc.) if (emphasis on if) a DP has been fighting a cameras that have been causing that DP nonstop production and post-production problems prior to buying or renting a higher end camera body. When I tried a CineAlta Sony I was 🤯 and still am 🤯 as a CineAlta solves an insane number of post-production problems for me personally. Also, if I shoot the same scene with a CineAlta and some other lower tiered camera, the difference between the results is 🤯 comparing the two cameras. (I have to stress that when I say Sony CineAlta, I mean CineAlta, not a non-CineAlta badged Sony camera, because the difference between the two is 🤯 when I first saw it and I continue to be 🤯 when reviewing footage. A CineAlta can see what I see with my eyes. It’s a game changer for me. However, I can, and am willing to shoot with whatever camera body or brand I have access to. For context I shoot narrative work so lighting tends to be more controlled and intentional when I’m shooting. I don’t know if the benefits of a higher end camera would be as prominent in non-controlled lighting scenarios. A camera body that is amazing for narrative work and controlled environments might be terrible for documentary work or news gathering. If someone says “this camera is amazing” it is important to know what type of shooting environment they are referencing. Naturally, most people don’t want to take a 40 pound camera package on vacation so context is important when discussing camera performance. (99.9% of the time I use my phone for taking a photo and the results look bad because phones cannot see light very well, but I don’t care. I don’t want to use a big camera unless I’m “shooting” for a project. 👍
Please try the new Blackmagic 6K full frame camera and do a video just like this one you did with the RED
good review mate
Had a similar "green screen" issue recently where I must have been unknowingly pressing the tint adjust, making it all purply pin n' pretty.
You changed the profile! I might thought should be a sun background! You know what I mean! 🤣🤣🤣 Anyways, Red is Sick! 🥰😍 Hi I'm Yusaku, your longer subscriber but new subscriber using this 2nd channel. 🤣 lol!
The image quality is outstanding sir! What output color space do you use? Rec-709 A (Mac)?
Oh baby
I knowwwww
I don't need a Red because I'm not even a filmmaker, but damn it looks good (both physically and what it can do)
haha
I want one!
I don't have a Red (yet) but I have a Swiss Shepherd tho 🐺
Bruh you forget to mention the most awesome feature for actually cinematic quality, that is absent on all hybrids: GLOBAL SHUTTER. It’s so awesome to have it, and especially for handheld and action shots. Most people really don’t even notice it but you wouldn’t see a feature film that has jelly shutter lag, especially if it was shot on film
wow. yes so true. very nice to have
Komodo X owner/op here. If you need someone in Los Angeles hit me up
Algorithm was algorthming today. lol you've got a sub
I dont know what the means but "Al" rarely does us any favors
it means that I am glad that this video showed up on my feed, and you've got a new subscriber@@SunnySixteen
No side handle is savage lol
DUDE IM FROM SAN JUAN/ SAN CLEMENTE LFG!!!!!!!!!!!!!!!
wadduppppp!
Why haven’t you reacted to iPhone 15 😢
HOw did you adapt a Canon FD lens?
How work FD mount on Komodo? FD to RF or FD to EF to RF?
Am I missing something or does Track Club not do artist searches? Doesn't look like it's possible to seek out the specific artists you mentioned. 🤷🏻♂
whaaaaaaa. no idea.
what tripod is that at 6:08???
What camera was the opening sequence shot with?
What about black shading calibration? Can you really just turn on and go?
Yeah it’s way quicker than DSMC 2
Dig the take honestly I’d rather spend on glass tho
what camera body?
@@SunnySixteen currently a 6k pro but I’ve been looking around and debating buying some lenses instead of a new body. Especially for the reason that if I’m on a project and need a red or Fx9 we can rent but having the lenses i like feels like a better bet.
please, please tell me, why do you use that canon fd zoom? It’s so peculiar on that tipe of camera
its just what I had. I like the look
what's lens is that?!
compared to BMP6k pro?
never owned one. but my gut says you'd be hard pressed to really tell a difference based on footage
7:00 okay finally not so annoying.
I like the camera, but RED as a company has bad buisness practices. Proprietary SSDs that are marked up despite being rehoused ssds. And their patent on compressed RAW which is unfair to other camera manufacturers.
That's not your problem though. you pay X to get a kit. Is X worth it or not. Its' that simple. For us, it was.
or may be you should dump your wife and buy an Alexa mini LF 🥳
First of all, and lastly… Your shooting with a red camera and your editing in premiere??!
I just have this great urge to insult you. Everybody everybody everybody who shoots on Red needs to be editing in Davinci Resolve. Premier sucks in every possible way compared to Davinci resolve. Resolve is in love with Red footage… What do you think you’re doing?
This almost invalidate everything else you had to say.
LMAO
Premiere is organized in a way that just makes more sense to long form and experienced editors. No issues editing any Red Raw in premiere, you just need a desktop and a reasonable CUDA card (Don't use a laptop). then you export to DaVinci - very easy, always works now and color grade there.
Wow annoying by 8 seconds in.
45 seconds in, unbelievably annoying.