No questions. Just wanted to see the perspective. Currently I run Magic Lantern raw on my 5d3 for creative projects where I want more control. At the same time I've got my Sony for like run-of-the-mill content creation for my clients and myself. I like having the options
I own and use both quite a bit for very different reasons. FX3 is great for exactly what you mentioned and also a great b-camp to KX m. I use it for smaller budget jobs where the KX is not practical. But, when there’s budget, KX every time.
The best thing about the camera industry right now is the fact that there are tons of cameras for all types of needs. I sold my 2 RED Komodo's and switched back to FX6's and 3's and have not one regret. When agencies request specific cameras we just simply rent RED's, Arri's or Venices for the projects that request them.
+1 on everyone who said "read the specs next time." But hey here's some possible hacks if someone REALLY wanted to force the KX into that role: RF to EF (or PL) mount with VND solves the internal ND issue for most people. Stabilize in post, shoot in 6k. Autofocus with the new DJI Focus Pro and use it on better glass than AF photo lenses with IS, probably even better quality AF. Audio, just get a 32bit float capable mic system and synch audio after, takes like 5 mins, or stop doing el cheapo gigs where you can't hire a proper sound person which should be the case anyways.
Uh … do research on a camera before you buy it . RED cameras absolutely do not suit the way you shoot or your type of work. It’s like you needed a motorbike but you bought a Van.
I kinda went a similar route, but went from the OG Komodo to the Sony FX6. For me the setup made better sense and matched the workflow of others I generally work with. Still have always loved what I've gotten out of Red cameras.
@@adamjwelch definitely sounds like the right call! I haven’t shot on the fx6 at all but could see myself upgrading to the mkii when it comes out and having the fx3 as my bcam/ social media workhorse.
Dude, this video was spot on!! I shot a video on the Komodo yesterday and really liked it. It made me think, hmm what if i sell my FX3 and switched over. But then I thought about all the things I’d miss out on like, IBIS, AF, full frame, lowlight performance, and switching all my Sony native glass. Thanks for talking sense into me and the world. 😂 I think the Komodo has its place, but mostly in the narrative world where there’s more time to light and focus.
Hi! I’m an italian FX3 and FX6 owner… good choice! I bought that camera form your same reason: run & gun. I seen you use Polar Pro vnd filters, what do u think about it? Because I have it too but for me the colours become too warm… aren’t they?
The FX3 is just convenient! It does video REALLY well in any scenario. You can rig it up with a ninja v and now you’re shooting 12bit ProRes raw. You can rig it down and just be lens and body and be incognito. It’s reliable! It won’t overheat on your or glitch out. Rolling shutter is REALLY GOOD! It’s just a beast of a camera in a tiny package.
Would you reconsider - with the price drop? Coming from someone who has an FX3, who shoots a lot of doc work and RUclips / social work. Where an fx3 fits most of what I need, but feel like I need an upgrade for the bigger projects like the doc work. Good video!
Nope! It just makes me happy that I sold it in time. The workflow, form factor, autofocus, stabilization, file size, etc. still has me loving the FX3 over the KX. And if the client requires a RED, I can always rent one and put that into the budget.
My son just started college in film and production, he's asking for the Red Komodo X 6K, we're not sure he may need such an expensive equipment, I'm wondering if the Sony FX3 is recommended for a beginner. Thanks for the feedback in advance.
For someone starting out, an FX3 is more than sufficient. There was a Hollywood sci-fi film that was released last year called ‘The Creator’ that was shot entirely on the FX3, so it is by no means a bad camera. Plus the lens choices within the Sony ecosystem is very good and their attachments are also cheaper. If he is just starting out,I would recommend he get the FX3 and invest in some lights. If he can’t make his work looks cinematic with the FX3 then he might not being getting his full worth on that film course.
Boot-up time comments and confusion - I've never used RED or the KX, but I use the FX3 for personal use and $500,000+ scientific cameras at work. I'd wager the long boot-up time is likely due to the sensor employing a global shutter and doing some automatic sensor prepping. In the grand scheme of things, 30 seconds to perform these auto corrections is incredibly fast, so I'm not sure if this is exactly what it's doing, but just a guess. Global shutter sensors are pushing INCREDIBLE read-out speeds, and are thus INCREDIBLY sensitive to radiation (infrared radiation due to ambient temperature) and electronic thermals (resistors changing resistance with temperature, etc). Getting the best image quality possible from a global shutter sensor requires doing a "dark field" correction and a "light field" correction, which "deletes" or "corrects" or "calibrates" the sensor's "baseline" or "background" noise - which is being generated 1) in complete darkness due to the infrared radiation (heat) of the environment and camera body - when in complete darkness, all pixels should be true black, and 2) in complete sensor saturation - when totally saturated, all pixels should be true white. These microadjustments should be applied whenever the camera is in a different environment with different ambient temperatures. The camera also needs to warm up, in a sense, to ensure the corrections are being applied when the body internals are ready.
@@WakeUpMatt We'll call it.. research! All of our camera systems have global shutters. One of the ones we use is a Shimadzu Hyper Vision cam which can do 10 million frames/sec in black and white. Unfortunately, even with the price and all the tech there's a lot of corrections you have to do in post to ensure the images are perfect.
Thank you. If you had to choose between the c70 and the fx3 as far as image quality go and ease of gradient which camera would you choose if you could own only one?
What I really want to know is if the Sony A1 II performs better than the FX3 for video. I know the FX3 is primarily a video camera while the A1 II can do it all… either would be great choices for documentary work, among other things.
@ nice, sounds good! You can have 2 FX3s for not much more than the A1 II. That gives you a backup camera or the capability of having a 2 camera setup. That’s why I’m curious if the A1 II’s video capabilities are worth the price of giving up a 2 FX3 setup.
This one of the most Honest video I ever seen bro when u said I just don’t do that kinda work lol I felt that I’m Finna sell my 6k pro just because there is too much extra stuff I need to use this huge camera
The Komodo X is an incredible camera, but definitely not optimal for run'n'gun documentary. For that genre you in a best case scenario want a camera with internal NDs high multiple base ISOs, working auto focus and a multi functional grip you can change your ND filters on, start/stop recording, maybe even use power zoom on and change base ISOs or even ISO in general. Optimally you want an aperture ring without clicks too, so you can adjust your aperture mid shot, otherwise you must adjust your ISO using shockless gain mid shot or use variable NDs if your camera has one built into it (avoid using screw on VNDs - they are toys and not suited for professional use cases because they change how reflective things are without you actually wanting that). That basically sends you over to either Sonys FX6 or FX9 or Canons C80 or C400 on the full frame side - for Super 35 you'd want an FS7, FS5, C70 or C300 I, II or III although the latter dont have very good AF if you want to rely on that. Canons RF-Mount cameras will give you access to better and more flexible lenses compared to Sonys E-Mount lenses. Adapting EF lenses to either mount could also be an option though but you will be left with some limitations. This also only makes sense if you buy these lenses used. Used last gen Super 35 cameras are also very cheap and still hold up well IMO. Its not like they are suddenly bad. They are still all great cameras.
Red Raptor X and Canon R5C here. Next up an Alexa of which the Sony cannot touch. The Alexa is unreal in luminous depth, color and extreme dynamic range. It's what the Sony wants to grow up to be.
Venice 2 can touch it with its 8K sensor. There's a reason James Cameron chose to shoot the Avatar sequels with Sony, and not Arri. James Cameron, the director of the three most profitable movies of all time.
I have one and definitely could use it. That would be great for a bigger production. It just goes back to my point of convenience though. Rigging up the camera and creating a big setup for the majority of what I shoot just seemed counter-productive. Better for me to shoot small, light and quickly 🤙🏼
@@WakeUpMatt of course. Makes sense! I’m with you there, as my own productions have been equally fast, but I love the feel of shpuldercam. I’d use one more often if it had a full quick release system like the Letus Master Cinema Series. That system was well made. Thanks for sharing!
Hey Matt, I completely relate to your experience as a one-person content creator. I rely heavily on my Sony FX6 for all my filming, and it has become my go-to camera for its exceptional performance. I'm currently contemplating purchasing the FX3 to upgrade from my GH5 and GH4 cameras, or I might hold off to see what new offerings Lumix brings to the table in the future. Your video was fantastic, and I hope you thoroughly enjoy using the FX3.
Thanks so much! I was definitely looking at the FX6 as well. Amazing camera. Wish you the best on your next decision! Lumix is putting out some great cameras too. It makes everything so tough to decide haha
@@WakeUpMatt hey! A lot of fabrics like jeans, walls, buildings. It is very noticeable, I have a Bmpcc6k and a Fujifilm xh2s too and those cameras deal much better with Moire.
I sold my FX3 to buy a Red Dragon and then I sold the dragon when Red announced the KX, I agree with u that the FX3 is an amazing camera The real Cinema camera workflow isn't for everyone for sure the boot up time on my dragon was a whole minute so I dont mind much the KX boot up time ...but I do miss my FX3
Great video, Matt! I am curious what you think about the FX3 versus the new Sony NX800 camcorder? I'm a still photographer now doing more video. My work is more documentary in nature for commercial clients. The built-in ND filters are tempting with the NX800! But, I am curious if you feel there are any downsides to the NX800 when compared with the FX3. Thanks!
Thank you! I’m not too familiar with the NX800, so it could be a good option for you and your work. But for me, the FX3 gives me the ability to use different lenses for different projects and craft the look I want. It’ll also have better shallow depth of field with its full frame sensor, better low light capabilities and is more compact for gimbal work and vertical social content I shoot. Hope that helps!
@@WakeUpMatt Definitely helps. The points you listed make me want to go with the FX3. I am more interested in creativity and flexibility. I will just need to invest in a good ND filter system!
I'm actually surprised the Komodo isn't well suited to Low Light. I'm on a BRaw platform, and stepped into the Sony space with the ZVE1 as a gimbal cam. I find the low light on the Sony is nice but the shawdow areas in SLOG3 is just noisy and mushy with internal reocrding, even when I overexpose it by many stops. My BMPCC4k was not great in low light but I could pull an insane amount details out of BRaw after some noise reduction.
Understand the logic but going to the FX3 is a big downgrade in image IMO. I think Lumix would have been closer in color and DR to the Komodo. Maybe C80 or C400. But the Sony image is the most far removed from R3D,especially at the 100mb bit rate.
Hey just curious what you didn't like about the C70 that caused you to go a different direction? We're finding ourselves looking to step back away from Sony and get a new C400 when it comes out.
@@blackburst1 TBH there wasn’t too much I didn’t like in the c70. I wanted to switch over to Sony mainly because of my frustration with the R5 and to get the FX3. The only downsides with my c70 were lowlight capabilities, IBIS and the occasional autofocus issues. But I really enjoyed shooting on it. The c400 looks awesome!
Love your videos. I recently switched too. Hope are you liking the sigma 24-70? I’m torn between it or the Sony. The price tag sucks but I’m more concerned about the stabilization not working. It’s all I hear about. Thanks again
Thanks so much! I actually recently switched to the Sony 24-105. The stabilization wasn’t the best with sigma and since the 24-105 has IS, it works like a dream!
@@WakeUpMatt the 24-105 was my debate also. I prefer primes and mostly narrative work. I don’t really do anything that demands the price tag of the 24-70 but the stabilization. Last question if you don’t mind. Do you leave the stabilization on auto now that you have a Sony lens?
@@littletheatrefilms5825 sadly, the 24-70 doesn’t have stabilization, which is why I went with the 24-105. Got it used for fairly cheap. It’s great for all the doc/ run and gun work I do and then I’ll switch to primes for more narrative/commercial work. I have the stabilization on standard for pretty much everything and then for rare occasions I will use active if I’m doing something like a detail shot.
Komodo X ND situation is a pain but simple and plain people it is not the best tool for videography…it is a set camera simple and plain..stop buying a camera that was meant to be a crash cam on huge sets and turn it into a run and gun..I thought we figured this out by now…
Hey Matt. Thank you for sharing! I too am rocking the Sony FX3 (the King of Lowlight). I’m still working on my build. What Kondor Blue Arm are you using? I gotta have that.
Always a struggle!! I sold the KX on Fbook marketplace and some other cameras and gear on Gear Focus. I’ve used eBay a bunch too, but that’s always a last resort since the fees are so high
3:12 Just a heads up, I do a lot of gripping and that boom setup is pretty sketchy Typically you want the weight to ALWAYS be armed out over the big leg, no exceptions Deviating from the big leg can cause the entire stand to lean and fall, I've seen it happen too many times Obviously ideally a sandbag on the big leg but I know that's not always possible And you want the knuckle to be on the right side (if standing behind the stand) this is so the weight will fall in the direction that tightens the knuckle, you have it on the left side, this is commonly referred to as a lefty knuckle which means as gravity pulls the weight down the arm will come loose and fall Again I've seen that happen too many times You want these practices to be second nature so I recommend practicing them all the time Rushing is no excuse for unsafe practices that can be so easily avoided Combining all of them makes for a super solid safe stand, but deviating from even one can make a stand unsafe Hope this helps
I see a lot of people switch to these cameras is because they're content creators. I keep looking at this from a film maker's point of view. But I see content creators are just looking for the best "cinema look" . I can tell because everything that's a deal breaker is all the automatic things. Just shooting as easy as you can
Thank you for such an INSIGHT opinion. I agree that I MUST KNOW what I NEED and TAKE TIME to research and test anything before buying it. I should NOT BELIEVE the HYPE. That will RESULT in a huge WASTE of TIME and MONEY. Also, just because something works for others does NOT MEAN it will work FOR ME. We need MORE RUclipsRS LIKE YOU.
@WakeUpMatt you have not unleashed the KX to its full potential. You could have gone with Tokina vista primes, canon simure or even Cooke lenses to do justice to that sensor. I see you’re mainly using stills lenses. Understood if quality isn’t as important. But the fx3 still looks like a mirrorless camera aesthetic. The DR isn’t nearly as good and is not a full production camera. imho wrong move besides all the caveats, time storage, convenience etc. However you could have kept both! A and B cam.
@@lizlana4200 very true points! I couldn’t afford to get both and it was more of the functionality that the FX3 offers and not the quality of the image for the KX I was really needed. It just didn’t fit the projects I usually shoot.
@@teovisuals368 thanks! I think that the KX has been seen by a lot of people as a run and gun cinema camera for solo filmmakers/ small productions, even if that’s not what it was intended to do.
Looking to get the KX but my biggest fear is I'll be disappointed with using it coming from the FX3. A bit like yourself we have a Canon C70 as well but I just really have never got on well with that camera. I've got an up coming project that would benefit from the RED name plus shooting raw however I can relate to all the concerns you've pointed out. I've found with the FX3 as long as you don't blow the highlights and avoid mixed colour casts on people the image you can get from it is amazing.
Yup!! I feel like the KX has incredible image quality but was just too much of a hassle for everything else so the FX3 fits in (almost) perfectly for what I need. And the image quality is pretty tough to beat for the price!
Yeah man, you don't stop the cam on cinema sets in between takes, In fact you don't stop it ever. It's always ready sitting on tripod head attached to a magliner or something, ready to be picked up by 2AC. While Komodo is small (relatively), but it's still aimed at cinema workflow. The simple truth is that the less stuff one has to assemble/carry etc - the better it is to work with on run and gun gigs. Cinema stuff is just crap to work with alone - it takes so much effort. It doesn't mean it's worse or better - it's just aimed at different style of jobs.
8 месяцев назад
I have both at work, i workhorse my fx3 but we use our Komodo for RUclips sit down videos.
When someone tells me they own a red camera I always kinda assume they lack experience or professionalism. I might be wrong, but most of the Red owners I've encountered are excited, fresh out of film school people, who just believe that's what's going to make them better. Yes, they're good cameras, but they lack so many features that Sony cameras have. I'm not against renting a Red camera if you have a decent crew and specific requirements, but for solo filmmakers/videographers, I don't see the point. It's not worth the investment.
Lenses are more important. I am using a cinema lens and it drastically improved my image (ARRI Signature Prime). I am using a Sony ZVe1 with it. Just incredible
A lot of people want to be film makers but dont have a budget…A Komodo is for Cinema, you have to know cinematography…it is a blunt object for simple jobs
All these comparison videos can be answered this simply. If you are an Uber driver, you don' t buy a Ferrari, you buy a Prius, or a minivan. If you can afford a Ferrari and you like to drive cars, well, buy the Ferrari.
It’s the YC Onion Pineta Peak tripod. I’d definitely recommend it. It’s been great. The only downside is the tripod head if you need to do a lot of smooth pans and tilts. It could be a bit better. Other than than, super sturdy, lightweight and fast to set up
Red is not for everyone. Its much more complicated and harder to use. People who just need a cam for social media and want af and easy use shouldn’t buy a RED cam.
People get caught in the trap of thinking the next tool will make their work better and its just not true. Any of these newer cams are more than capable and the end consumer, who isn't in the "business" doesn't notice the difference from one camera or the next. They are just tools
The C80 does look great, but I still stand by my decision. The C80 is still a bit more bulky than the FX3 which fits my needs. I do miss the internal ND, but I was able the get an FX3 and an a7RV for almost the same price as the C80.
Red and Arri cameras are truly great fiction cameras (like for shoots with actors). They are also pretty good doco cameras, but not the best. That said, an FX3 is far from the best fiction camera. It looks less good in a variety of ways big and small, and you have way less latitude in post. It all depends on what you are trying to do. No camera is the very best for everything.
For those who only bought Red to be more “professional” good luck! Nikon just slashed prices and made it “ProSumer” so people will just have to make GOOD MOVIES!!!
Please don’t listen to this and sell your Komodo X for an FX3. Used what you have and don’t go with the flow. Since the Creator movie came out everyone wants to get a FX3. Everyone is a NPC and followers. Nobody wants to learn about lighting, storytelling, camera angles, lens, camera movements, and other camera techniques and equipment. They all just want a quick fix.
As someone that still shoots with the Sony FS7, I think you could have saved money and gone with the FX30. Especially since you clearly were coming from two super 35 censors. I agree with you on file sizes. Red and Black Magic file sizes are atrocious.
Komodo X ND situation is a pain but simple and plain people it is not the best tool for videography…it is a set camera simple and plain..stop buying a camera that was meant to be a crash cam on huge sets and turn it into a run and gun..I thought we figured this out by now…because we dont use sony below burano on sets..once u start talkin 50,000 and up…people dont want to see the camera their little cousin shoots his rap videos with
Fx3 is superior in almost every single way. Komodo is a crash cam that can match the real red cine cams Fx3 does it all in a very small package. Makes me want an fx3 even more now, coming from c70 kits
People might say, well I guess you do t shoot anything big or have been on a set before. Yeah, and if you show up with a Komodo, you’ll get laughed at when the job is on an arri or dsmc2 or the new raptor. There would never be a reason to pick a Komodo over the fx3. Unless you’re trying to flex
![Overrated: Camera features that don't matter [ft Gerald Undone]](http://i.ytimg.com/vi/SlLbkeNH9to/mqdefault.jpg)
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/tr.png)
Thanks for watching!! Let me know if you have any questions about either cameras!🤙🏼
No questions. Just wanted to see the perspective. Currently I run Magic Lantern raw on my 5d3 for creative projects where I want more control. At the same time I've got my Sony for like run-of-the-mill content creation for my clients and myself. I like having the options
I subscribed
@@nickdual thanks so much!
Um, best video ever! 🧡🧡
@@sonycine couldn’t have done it without you!😄🤘🏼
I own and use both quite a bit for very different reasons. FX3 is great for exactly what you mentioned and also a great b-camp to KX m. I use it for smaller budget jobs where the KX is not practical. But, when there’s budget, KX every time.
+1, both are incredible
For sure!! Hopefully it came across that I still think the KX is an amazing camera. It just didn’t make sense for my workflow.
@@WakeUpMatt not at all! I think the fx3 is going to fit your needs really well, it's so insane hah
@@WakeUpMatt it didn’t at all! It simply came across as you found a better tool for you workflow 👍
I got the same setup and mindset as you. Glad I have clients that request for the KX.
The best thing about the camera industry right now is the fact that there are tons of cameras for all types of needs. I sold my 2 RED Komodo's and switched back to FX6's and 3's and have not one regret. When agencies request specific cameras we just simply rent RED's, Arri's or Venices for the projects that request them.
Couldn’t agree more!!
How is the image on the Fx3 / FX6? What else have you shot with? Does the FX3 compare well to the C70 or R3, image quality wise?
+1 on everyone who said "read the specs next time." But hey here's some possible hacks if someone REALLY wanted to force the KX into that role: RF to EF (or PL) mount with VND solves the internal ND issue for most people. Stabilize in post, shoot in 6k. Autofocus with the new DJI Focus Pro and use it on better glass than AF photo lenses with IS, probably even better quality AF. Audio, just get a 32bit float capable mic system and synch audio after, takes like 5 mins, or stop doing el cheapo gigs where you can't hire a proper sound person which should be the case anyways.
Uh … do research on a camera before you buy it . RED cameras absolutely do not suit the way you shoot or your type of work. It’s like you needed a motorbike but you bought a Van.
That pretty much sums it up analogy wise
I watched 2 vids and found that same case. Fx3 seems the pick in 2024
I kinda went a similar route, but went from the OG Komodo to the Sony FX6. For me the setup made better sense and matched the workflow of others I generally work with. Still have always loved what I've gotten out of Red cameras.
@@adamjwelch definitely sounds like the right call! I haven’t shot on the fx6 at all but could see myself upgrading to the mkii when it comes out and having the fx3 as my bcam/ social media workhorse.
Dude, this video was spot on!! I shot a video on the Komodo yesterday and really liked it. It made me think, hmm what if i sell my FX3 and switched over.
But then I thought about all the things I’d miss out on like, IBIS, AF, full frame, lowlight performance, and switching all my Sony native glass.
Thanks for talking sense into me and the world. 😂
I think the Komodo has its place, but mostly in the narrative world where there’s more time to light and focus.
Oh yeah, boot up time was BRUTAL! Like what the heck? I almost missed some shots cause of that…..
😂 glad I could help! The fx3 is just such a convenient, powerful camera. And yeah, I definitely missed a few shots from the boot up time haha
Good on you for finding tools that make sense for your work ! 😊
Thanks dude! Took waaaaay too long to figure it out haha
Hey man it’s a journey !
Just sold my Komodo for a fx3! Pairs effortlessly with my Venice. Don't miss red at all haha.
Hi! I’m an italian FX3 and FX6 owner… good choice! I bought that camera form your same reason: run & gun. I seen you use Polar Pro vnd filters, what do u think about it? Because I have it too but for me the colours become too warm… aren’t they?
Niiice! I haven’t noticed a big color/ temperature shift for me. I’ve also been using the Tilta Mirage VND Matte Box which has been great.
The FX3 is just convenient! It does video REALLY well in any scenario. You can rig it up with a ninja v and now you’re shooting 12bit ProRes raw. You can rig it down and just be lens and body and be incognito. It’s reliable! It won’t overheat on your or glitch out. Rolling shutter is REALLY GOOD! It’s just a beast of a camera in a tiny package.
Would you reconsider - with the price drop? Coming from someone who has an FX3, who shoots a lot of doc work and RUclips / social work. Where an fx3 fits most of what I need, but feel like I need an upgrade for the bigger projects like the doc work. Good video!
Nope! It just makes me happy that I sold it in time. The workflow, form factor, autofocus, stabilization, file size, etc. still has me loving the FX3 over the KX. And if the client requires a RED, I can always rent one and put that into the budget.
100% agree with you. Still have my Komodo X but using a friends fx3 and find it a much better for most of my work.
My son just started college in film and production, he's asking for the Red Komodo X 6K, we're not sure he may need such an expensive equipment, I'm wondering if the Sony FX3 is recommended for a beginner. Thanks for the feedback in advance.
For someone starting out, an FX3 is more than sufficient. There was a Hollywood sci-fi film that was released last year called ‘The Creator’ that was shot entirely on the FX3, so it is by no means a bad camera. Plus the lens choices within the Sony ecosystem is very good and their attachments are also cheaper. If he is just starting out,I would recommend he get the FX3 and invest in some lights. If he can’t make his work looks cinematic with the FX3 then he might not being getting his full worth on that film course.
Couldn’t agree more with everything said here!🤙🏼
Boot-up time comments and confusion - I've never used RED or the KX, but I use the FX3 for personal use and $500,000+ scientific cameras at work. I'd wager the long boot-up time is likely due to the sensor employing a global shutter and doing some automatic sensor prepping. In the grand scheme of things, 30 seconds to perform these auto corrections is incredibly fast, so I'm not sure if this is exactly what it's doing, but just a guess.
Global shutter sensors are pushing INCREDIBLE read-out speeds, and are thus INCREDIBLY sensitive to radiation (infrared radiation due to ambient temperature) and electronic thermals (resistors changing resistance with temperature, etc). Getting the best image quality possible from a global shutter sensor requires doing a "dark field" correction and a "light field" correction, which "deletes" or "corrects" or "calibrates" the sensor's "baseline" or "background" noise - which is being generated 1) in complete darkness due to the infrared radiation (heat) of the environment and camera body - when in complete darkness, all pixels should be true black, and 2) in complete sensor saturation - when totally saturated, all pixels should be true white. These microadjustments should be applied whenever the camera is in a different environment with different ambient temperatures. The camera also needs to warm up, in a sense, to ensure the corrections are being applied when the body internals are ready.
That’s wild! Thanks for the info too! What kind of work do you do for a $500k camera?!
@@WakeUpMatt We'll call it.. research! All of our camera systems have global shutters. One of the ones we use is a Shimadzu Hyper Vision cam which can do 10 million frames/sec in black and white. Unfortunately, even with the price and all the tech there's a lot of corrections you have to do in post to ensure the images are perfect.
@@basic-decaf woah! Sounds incredible!
I have both for ease of use the FX3 for for everything else KOMODO X. The Komodo just offers something different with the global sensor.
Thank you. If you had to choose between the c70 and the fx3 as far as image quality go and ease of gradient which camera would you choose if you could own only one?
They are both amazing cameras and have pros and cons for each. You really have to look at each one individually and how it best suits your needs!
What I really want to know is if the Sony A1 II performs better than the FX3 for video. I know the FX3 is primarily a video camera while the A1 II can do it all… either would be great choices for documentary work, among other things.
@@vitogrimes6006 that is a great question! If I can ever test out the a1 II, I will make a video for sure!
@ nice, sounds good! You can have 2 FX3s for not much more than the A1 II. That gives you a backup camera or the capability of having a 2 camera setup. That’s why I’m curious if the A1 II’s video capabilities are worth the price of giving up a 2 FX3 setup.
This one of the most Honest video I ever seen bro when u said I just don’t do that kinda work lol I felt that I’m Finna sell my 6k pro just because there is too much extra stuff I need to use this huge camera
Thanks man, really appreciate it. Took too long to be honest with myself about it! Hope you can figure out the best gear for your situation too!🤙🏼
The Komodo X is an incredible camera, but definitely not optimal for run'n'gun documentary. For that genre you in a best case scenario want a camera with internal NDs high multiple base ISOs, working auto focus and a multi functional grip you can change your ND filters on, start/stop recording, maybe even use power zoom on and change base ISOs or even ISO in general. Optimally you want an aperture ring without clicks too, so you can adjust your aperture mid shot, otherwise you must adjust your ISO using shockless gain mid shot or use variable NDs if your camera has one built into it (avoid using screw on VNDs - they are toys and not suited for professional use cases because they change how reflective things are without you actually wanting that).
That basically sends you over to either Sonys FX6 or FX9 or Canons C80 or C400 on the full frame side - for Super 35 you'd want an FS7, FS5, C70 or C300 I, II or III although the latter dont have very good AF if you want to rely on that. Canons RF-Mount cameras will give you access to better and more flexible lenses compared to Sonys E-Mount lenses. Adapting EF lenses to either mount could also be an option though but you will be left with some limitations. This also only makes sense if you buy these lenses used. Used last gen Super 35 cameras are also very cheap and still hold up well IMO. Its not like they are suddenly bad. They are still all great cameras.
It’s literally made and marketed as a run and camera. That’s why reds have a small form factor.
Red Raptor X and Canon R5C here. Next up an Alexa of which the Sony cannot touch. The Alexa is unreal in luminous depth, color and extreme dynamic range. It's what the Sony wants to grow up to be.
A $100,000 camera better than a $3800 FX3 wow man who would have thought?!
Venice 2 can touch it with its 8K sensor. There's a reason James Cameron chose to shoot the Avatar sequels with Sony, and not Arri. James Cameron, the director of the three most profitable movies of all time.
I understand that Sony's color science has improved a lot over the past 10 years (just look at the Venice), but I will never join the dark side! 😅
That’s what I said before too…😂
@@WakeUpMatt Noooooooo...! 😆
3:51 why not use a shoulder rig? I’m asking because it’s something I don’t see that often anymore. Is it not convenient?
I have one and definitely could use it. That would be great for a bigger production. It just goes back to my point of convenience though. Rigging up the camera and creating a big setup for the majority of what I shoot just seemed counter-productive. Better for me to shoot small, light and quickly 🤙🏼
@@WakeUpMatt of course. Makes sense! I’m with you there, as my own productions have been equally fast, but I love the feel of shpuldercam. I’d use one more often if it had a full quick release system like the Letus Master Cinema Series. That system was well made.
Thanks for sharing!
Hey Matt, I completely relate to your experience as a one-person content creator. I rely heavily on my Sony FX6 for all my filming, and it has become my go-to camera for its exceptional performance. I'm currently contemplating purchasing the FX3 to upgrade from my GH5 and GH4 cameras, or I might hold off to see what new offerings Lumix brings to the table in the future. Your video was fantastic, and I hope you thoroughly enjoy using the FX3.
Thanks so much! I was definitely looking at the FX6 as well. Amazing camera. Wish you the best on your next decision! Lumix is putting out some great cameras too. It makes everything so tough to decide haha
@@WakeUpMatt I know, right? Regardless of the brand we use, we are able to capture amazing footage.
S5 is amazing
Hey, Great video! I just got an Fx3 but I've been dealing with a lot of moire. Have you had this issue? Thanks!
@@JosePortillo thanks! I haven’t had that issue. Are there specific scenarios where that shows up?
@@WakeUpMatt hey! A lot of fabrics like jeans, walls, buildings. It is very noticeable, I have a Bmpcc6k and a Fujifilm xh2s too and those cameras deal much better with Moire.
I sold my FX3 to buy a Red Dragon and then I sold the dragon when Red announced the KX, I agree with u that the FX3 is an amazing camera The real Cinema camera workflow isn't for everyone for sure the boot up time on my dragon was a whole minute so I dont mind much the KX boot up time ...but I do miss my FX3
Great video, Matt! I am curious what you think about the FX3 versus the new Sony NX800 camcorder? I'm a still photographer now doing more video. My work is more documentary in nature for commercial clients. The built-in ND filters are tempting with the NX800! But, I am curious if you feel there are any downsides to the NX800 when compared with the FX3. Thanks!
Thank you! I’m not too familiar with the NX800, so it could be a good option for you and your work. But for me, the FX3 gives me the ability to use different lenses for different projects and craft the look I want. It’ll also have better shallow depth of field with its full frame sensor, better low light capabilities and is more compact for gimbal work and vertical social content I shoot. Hope that helps!
@@WakeUpMatt Definitely helps. The points you listed make me want to go with the FX3. I am more interested in creativity and flexibility. I will just need to invest in a good ND filter system!
I'm actually surprised the Komodo isn't well suited to Low Light. I'm on a BRaw platform, and stepped into the Sony space with the ZVE1 as a gimbal cam. I find the low light on the Sony is nice but the shawdow areas in SLOG3 is just noisy and mushy with internal reocrding, even when I overexpose it by many stops. My BMPCC4k was not great in low light but I could pull an insane amount details out of BRaw after some noise reduction.
Understand the logic but going to the FX3 is a big downgrade in image IMO. I think Lumix would have been closer in color and DR to the Komodo. Maybe C80 or C400. But the Sony image is the most far removed from R3D,especially at the 100mb bit rate.
maybe, but for the projects I'm doing and the way it's all viewed in the final export, it's hard to really see the difference.
what ND filter do you use? any need for an IR cut with the FX3?
I just use the polar pro PM VND 2-5 stop filter. I also just started using the Tilta Mirage VND matte box when shooting with cine lenses
Hey just curious what you didn't like about the C70 that caused you to go a different direction? We're finding ourselves looking to step back away from Sony and get a new C400 when it comes out.
@@blackburst1 TBH there wasn’t too much I didn’t like in the c70. I wanted to switch over to Sony mainly because of my frustration with the R5 and to get the FX3. The only downsides with my c70 were lowlight capabilities, IBIS and the occasional autofocus issues. But I really enjoyed shooting on it. The c400 looks awesome!
Love your videos. I recently switched too. Hope are you liking the sigma 24-70? I’m torn between it or the Sony. The price tag sucks but I’m more concerned about the stabilization not working. It’s all I hear about.
Thanks again
Thanks so much! I actually recently switched to the Sony 24-105. The stabilization wasn’t the best with sigma and since the 24-105 has IS, it works like a dream!
@@WakeUpMatt the 24-105 was my debate also. I prefer primes and mostly narrative work. I don’t really do anything that demands the price tag of the 24-70 but the stabilization.
Last question if you don’t mind. Do you leave the stabilization on auto now that you have a Sony lens?
@@littletheatrefilms5825 sadly, the 24-70 doesn’t have stabilization, which is why I went with the 24-105. Got it used for fairly cheap. It’s great for all the doc/ run and gun work I do and then I’ll switch to primes for more narrative/commercial work.
I have the stabilization on standard for pretty much everything and then for rare occasions I will use active if I’m doing something like a detail shot.
Yeah i've got a full blown brand new Komodo-X kit and tbh I wanna sell it and get an FX3 lmao. Where is good to sell a KX kit?
I was able to sell mine through Facebook marketplace. I’ve also sold gear through eBay and GearFocus 🤙🏼
@@WakeUpMatt Cool, thanks man. I'll give FB a try....really don't want to take an extra hit on ebay fees lol
@@pytnzpltr yeah, eBay is always my last resort. The fees are really bad! GearFocus has half the fees, I believe.
Komodo X ND situation is a pain but simple and plain people it is not the best tool for videography…it is a set camera simple and plain..stop buying a camera that was meant to be a crash cam on huge sets and turn it into a run and gun..I thought we figured this out by now…
Hey Matt. Thank you for sharing! I too am rocking the Sony FX3 (the King of Lowlight). I’m still working on my build. What Kondor Blue Arm are you using? I gotta have that.
Niiice! It’s the “CINE MAGIC ARM WITH 1/4" SCREWS”. Good luck with the build!🤘🏼
@@WakeUpMatt Thank you soooooooo much! Purchasing tonight!!!
Great video. how did you go about selling the equipment? That’s something I struggle with.
Always a struggle!! I sold the KX on Fbook marketplace and some other cameras and gear on Gear Focus. I’ve used eBay a bunch too, but that’s always a last resort since the fees are so high
@@WakeUpMatt anything tips for fb market? How did you figure out the listing price?
@@theroyalmob I usually try to price it similar to what’s used on Adorama or B&H and go just a bit under.
For Run n Gun, wouldn't you go with the Ronin 4D instead?
I looked a lot at it! Price wise and having a really small form factor, the FX3 made more sense for how/ what I shoot
3:12
Just a heads up, I do a lot of gripping and that boom setup is pretty sketchy
Typically you want the weight to ALWAYS be armed out over the big leg, no exceptions
Deviating from the big leg can cause the entire stand to lean and fall, I've seen it happen too many times
Obviously ideally a sandbag on the big leg but I know that's not always possible
And you want the knuckle to be on the right side (if standing behind the stand) this is so the weight will fall in the direction that tightens the knuckle, you have it on the left side, this is commonly referred to as a lefty knuckle which means as gravity pulls the weight down the arm will come loose and fall
Again I've seen that happen too many times
You want these practices to be second nature so I recommend practicing them all the time
Rushing is no excuse for unsafe practices that can be so easily avoided
Combining all of them makes for a super solid safe stand, but deviating from even one can make a stand unsafe
Hope this helps
Thanks for the tips! Really helpful. I appreciate it!🤙🏼
The biggest flaw for me on the fx3 is that super 35 is 1080p which limits your lens options a lot if you want 4k especially for cinema lenses.
If you rely on autofocus in any shape or form, RED, ARRI and Black Magic cameras are not for you.
I see a lot of people switch to these cameras is because they're content creators. I keep looking at this from a film maker's point of view. But I see content creators are just looking for the best "cinema look" . I can tell because everything that's a deal breaker is all the automatic things. Just shooting as easy as you can
@@SyvilMedia and for some, that’s what’s needed. It’s an amazing time to have so many different cameras to fit so many different needs.
Thank you for such an INSIGHT opinion. I agree that I MUST KNOW what I NEED and TAKE TIME to research and test anything before buying it. I should NOT BELIEVE the HYPE. That will RESULT in a huge WASTE of TIME and MONEY. Also, just because something works for others does NOT MEAN it will work FOR ME. We need MORE RUclipsRS LIKE YOU.
Thanks so much! That means a lot!
@WakeUpMatt you have not unleashed the KX to its full potential. You could have gone with Tokina vista primes, canon simure or even Cooke lenses to do justice to that sensor. I see you’re mainly using stills lenses. Understood if quality isn’t as important. But the fx3 still looks like a mirrorless camera aesthetic. The DR isn’t nearly as good and is not a full production camera. imho wrong move besides all the caveats, time storage, convenience etc. However you could have kept both! A and B cam.
@@lizlana4200 very true points! I couldn’t afford to get both and it was more of the functionality that the FX3 offers and not the quality of the image for the KX I was really needed. It just didn’t fit the projects I usually shoot.
nice channel but how is possible compare 2 different cameras where they position is in 2 different market.. ?
@@teovisuals368 thanks! I think that the KX has been seen by a lot of people as a run and gun cinema camera for solo filmmakers/ small productions, even if that’s not what it was intended to do.
The A7s3/FX3 (and the FX6) are a technological home-run. Yet to be surpassed IMO even by Sony's own new Burano.
Lots of camera have surpassed them but like this videos mentons it doesn''t mean you need those other camera
Looking to get the KX but my biggest fear is I'll be disappointed with using it coming from the FX3. A bit like yourself we have a Canon C70 as well but I just really have never got on well with that camera. I've got an up coming project that would benefit from the RED name plus shooting raw however I can relate to all the concerns you've pointed out.
I've found with the FX3 as long as you don't blow the highlights and avoid mixed colour casts on people the image you can get from it is amazing.
Yup!! I feel like the KX has incredible image quality but was just too much of a hassle for everything else so the FX3 fits in (almost) perfectly for what I need. And the image quality is pretty tough to beat for the price!
Yeah man, you don't stop the cam on cinema sets in between takes, In fact you don't stop it ever. It's always ready sitting on tripod head attached to a magliner or something, ready to be picked up by 2AC. While Komodo is small (relatively), but it's still aimed at cinema workflow. The simple truth is that the less stuff one has to assemble/carry etc - the better it is to work with on run and gun gigs. Cinema stuff is just crap to work with alone - it takes so much effort. It doesn't mean it's worse or better - it's just aimed at different style of jobs.
I have both at work, i workhorse my fx3 but we use our Komodo for RUclips sit down videos.
When someone tells me they own a red camera I always kinda assume they lack experience or professionalism. I might be wrong, but most of the Red owners I've encountered are excited, fresh out of film school people, who just believe that's what's going to make them better. Yes, they're good cameras, but they lack so many features that Sony cameras have. I'm not against renting a Red camera if you have a decent crew and specific requirements, but for solo filmmakers/videographers, I don't see the point. It's not worth the investment.
Lenses are more important. I am using a cinema lens and it drastically improved my image (ARRI Signature Prime). I am using a Sony ZVe1 with it. Just incredible
Where are you selling your Komodo x?
Just locally on FB marketplace
A lot of people want to be film makers but dont have a budget…A Komodo is for Cinema, you have to know cinematography…it is a blunt object for simple jobs
All these comparison videos can be answered this simply. If you are an Uber driver, you don' t buy a Ferrari, you buy a Prius, or a minivan. If you can afford a Ferrari and you like to drive cars, well, buy the Ferrari.
This is a really great video. You gained a sub. Thanks
Thanks so much!!
Does anyone know what tripod that is in the bts footage?
It’s the YC Onion Pineta Peak tripod. I’d definitely recommend it. It’s been great. The only downside is the tripod head if you need to do a lot of smooth pans and tilts. It could be a bit better. Other than than, super sturdy, lightweight and fast to set up
Saw this coming and I respect it!
The raw workflow isn't great for fast turnaround projects. 8/10 bit 420/422 is more than enough.
If only you had written down what you wanted in the first place…
Nevermind.. hope the FX3 is treating you well dude
Yup! I let the hype win instead. FX3 has been great though!
Amazing video, thanks for letting us know!
Thank you! Appreciate the love 🤙🏼
I like your opinion very much. FX3 is my dream camera.
Much appreciated! It’s been a dream to shoot on it!
Red is not for everyone. Its much more complicated and harder to use. People who just need a cam for social media and want af and easy use shouldn’t buy a RED cam.
Just wanted to let you know that this video popped up on my homepage.
That’s amazing! Thanks for checking it out!😄🤘🏼
@@WakeUpMatt Sony Gang
Interesting! Thanks for sharing it ✌️
Thanks for watching!!🙏🏼
People get caught in the trap of thinking the next tool will make their work better and its just not true. Any of these newer cams are more than capable and the end consumer, who isn't in the "business" doesn't notice the difference from one camera or the next. They are just tools
Couldn’t agree more!🤙🏼
how come I never knew that this channel existed? :)
I’m about to sell my Komodo as well. I’m looking into the FX3
Matt, Do you regret your choice of transition, now that the Canon C80 has been announced? I'm sorry for you man
The C80 does look great, but I still stand by my decision. The C80 is still a bit more bulky than the FX3 which fits my needs. I do miss the internal ND, but I was able the get an FX3 and an a7RV for almost the same price as the C80.
Red and Arri cameras are truly great fiction cameras (like for shoots with actors). They are also pretty good doco cameras, but not the best. That said, an FX3 is far from the best fiction camera. It looks less good in a variety of ways big and small, and you have way less latitude in post. It all depends on what you are trying to do. No camera is the very best for everything.
For those who only bought Red to be more “professional” good luck! Nikon just slashed prices and made it “ProSumer” so people will just have to make GOOD MOVIES!!!
Least you were ahead of the price drop! hah
that's for sure! Sold it just in time!
I never saw you sleep man, always on wakeup mode
thanks! A nice big latte every morning helps 😂
just sold my Komodo for a canon r3
nab,,, u dodged a snip[er bullet bro
For sure!
Please don’t listen to this and sell your Komodo X for an FX3. Used what you have and don’t go with the flow. Since the Creator movie came out everyone wants to get a FX3. Everyone is a NPC and followers. Nobody wants to learn about lighting, storytelling, camera angles, lens, camera movements, and other camera techniques and equipment. They all just want a quick fix.
Definitely not telling anyone else to sell theirs for an FX3. The FX3 just made way more sense for me.
As for the menu… you will master that pretty soon… it’s ez
It definitely gets easier the more I use it!
I've been thinking about the Sony FX3. Don't you miss the global shutter?
That’s pretty much the only thing I miss haha
Have you considered the Panasonic? haha
I have for sure! I used to own the gh4 and the gh5. Sony’s autofocus, photo capabilities (I also bought the a7rv) and lens selection won me over.
@@WakeUpMatt ah. ok
**NEW SUBSCRIBER** 😎👊🏻📸✌🏻☀️🇨🇦
Thank you!!😄🤘🏼
As someone that still shoots with the Sony FS7, I think you could have saved money and gone with the FX30. Especially since you clearly were coming from two super 35 censors. I agree with you on file sizes. Red and Black Magic file sizes are atrocious.
r1 arriving
Stoked to see what it can do!
if you shoot the video with fx3 you get to much grain and that shouldnt happen
As long as it’s properly exposed, there shouldn’t be much grain. I’ll be coming out with a video on how to properly expose slog3 soon! :)
Yeh…. Nathan… it appears that you clearly don’t know what ur doing when it comes the fx line
Lems shoes!
Best shoes ever!!🤘🏼
@@WakeUpMatt I'm on my third pair.
well said😏
Komodo X ND situation is a pain but simple and plain people it is not the best tool for videography…it is a set camera simple and plain..stop buying a camera that was meant to be a crash cam on huge sets and turn it into a run and gun..I thought we figured this out by now…because we dont use sony below burano on sets..once u start talkin 50,000 and up…people dont want to see the camera their little cousin shoots his rap videos with
Shitching to Sony from Nikon is obvious :D
Videographers should stick to video cameras. Filmmakers to cinema cameras. You made the right choice.
❤❤🎉🎉🎉🎉😊
😄🤘🏼
Fx3 is superior in almost every single way. Komodo is a crash cam that can match the real red cine cams
Fx3 does it all in a very small package.
Makes me want an fx3 even more now, coming from c70 kits
People might say, well I guess you do t shoot anything big or have been on a set before. Yeah, and if you show up with a Komodo, you’ll get laughed at when the job is on an arri or dsmc2 or the new raptor.
There would never be a reason to pick a Komodo over the fx3. Unless you’re trying to flex
@@hhankx stop drinking dude. its clouding your judgement!
this is not the case at all, both camera's are great but not suited to everyone's line and style of work.
You have no clue what you're talking about. In no world is the statement true lol.