Sony FX6 vs Red Komodo X - Can I Be Convinced To Go Back?!
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- Опубликовано: 3 окт 2024
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Gear In This Video
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Sony FX6 geni.us/HAOgkY
RED Komodo X geni.us/0okN9x8
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Jason's Channel @JasonMorrisphotocinema
Cam's Channel @cammackey
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Ive shot with the Komodo since it came out and the Komodo x as well as raptors, I'm sticking with the FX6 because it fits what I need better, super low light is a must and the built in ND I just cant live without. who knows maybe someday I will own both... Great video
One day soon :) ! I love mine
Thanks for having me on brother. All 6 of us switching is the entire internet ok 😂 well atleast that’s what I’ve been told
I’ll take the flattering “all the big RUclipsrs” being part of that conversation having like 50% or less than anyone’s following 😂
I will be completely sold out if Sony launches a mini Burano around the price range of Komodo X.
Maybe the FX9ii?!
@@KofiYeboah Not sure if Sony changes the form factor of the Fx series in mkii. But it would be awesome to see mini Burano in a box like form factor like Komodo X.
One thing on the Komodo X that people really overlook is the 4K ProRes 4444 XQ & 4444. If you don’t want a 6k deliverable but have basically all the colour bit depth you’d need, it’s a great option. So many Hollywood films are shot in this format and as a vfx artist I’ve noticed no discernible difference working with these files vs raw when working with them converted to EXRs in ACEScg colourspace. The files are still large, but I find it’s a great exercise in commitment to your image while still having that flexibility in post.
If you’re really changing the ISO, colour temp, and having to denoise that heavily in post; then you probably shot it wrong in the first place (unless it’s for creative reasons, in which case you’re good with 12-bit ProRes 4444 anyway).
It’s a great feature to have ! I’d say though for the most part, barring file size and computer capabilities to whomever is editing, my mind just goes to raw unless asked otherwise
Ironically I tried ProRes for a bit with a client and they asked for raw back lmao 😅
@@KofiYeboah ahahaha of course they did! I totally understand, as you buy a RED mostly FOR the R3D. I have the original Komodo, and I love it. Would def not pick prores 422 over the R3D on it for sure.
I do think it's very funny though that $20 mil movies shoot Alexa in Prores and are happy, but the cocktail bar down the road I shot an IG promo for for $150 insisted on raw😂
Any idea how the data rate on the Pro Res compares to the R3D?
When you shoot ProRes on the Komodo X, is that cropping in on the sensor into a 4K footage or is it using the full 6K sensor?
@@miknivek11 to my understanding, it’s the same as the Komodo where it downsamples the 6K to 4K, unless you go above the frame rates that only work for 6k - so above 80fps it would crop.
Is anyone here after the Red Comodo X 6K $3000 price drop???😅
Ahah might be just you , but I support it 🫡
🙈 here lol
You can reduce the amount of Audio Tracks in Divinci Resolve. Canon does the same thing with 4 tracks.
Yes
Being a FX6 filmmaker, I love how both cameras look. I too hope to own a Red KX soon however the FX6 fills my needs at the current moment since I film weddings 70% and corporate work 30% of the time while working an FT job at a university. Kofi, another great video! Keep it up!
Oh you’re safe then my guy! Enjoy it
Amen. You can make just as good a film with an FX 6 as a Red. People place way too much importance on gear.
Interesting point of view from an owner operator. From a rental perspective, we sold all the Reds and all the Canon C Series because they just sat on the Shelf. Everything has been Sony and Arri lately. Not to say that Red and Canon cameras aren't capable or good ... just the demand is not there for rentals in our market (Southwest). All Sony FX series cameras were rented the most this year.
That’s interesting, I live beside a rental shop, and their reds get rented all the time !!
Dear Sony, give us RAW 🥹 pretty please.
PLEASE
In DaVinci 18.5 there’s a new Sony raw control. Basically there’s enough info in the MXF files that resolve can color it as if it were actually raw footy. You can also transcode FX30 footage into mxf files on catalyst browse so there’s you a video Kofi hahaha
@@TolarRay that’s not how that works. It’s simply just using davincis standard color engine but through the raw tab. Which is still powerful.. it ain’t 16bit raw. You can do the same adjustments through davinci standard color profile and I bet it would look exactly the same. So again, it ain’t actual raw. Raw records everything to the sensor and leaves all the processing to the editor.. the fx3 is still baking the footage on to the sensor and still limits how much data you can play with in post. Not to mention it’s still 10bit.
How sad ….
Nah, over rated
On the issue of internal ND's, look at the new RED RF to PL adapter with electronic ND. It is not only a super solid mount but being able to control your ND setting right from the Red screen is...well it's pretty good. You need to demo it at least.
I wish it wasn’t $3500 :(
@@KofiYeboah I have to say it was a hard pill to swallow but after using it with some Tokina Cinema lenses I was completely sold. The mount is completely solid and the ND's looked good. My only concern is the limited filters out now, but they work for the majority of things. I am really hoping that Red comes out with both more filters as well as some speciality filters. Not dealbreakers, just something nice.
One other way to look at this is the total cost of great ND filters, and the extra weight / hassle of external matte boxes. Small things really but it helps justify it.
For the issue with the audio tracks, when you import the FX6 footage, on the Media page select all of the clips, right click > Clip Attributes, go to the Audio tab, then assign which tracks you want to use and which channels to place them in. It's good practice to do that with any professionally recorded audio but most cameras just record stereo scratch audio so nobody thinks about (or needs to think about) assigning tracks. I do it all the time though -- useful for splitting stereo out to mono or working with field recorders where you might have a lav on one channel, a boom on another, a stereo mix on a couple other channels, etc. Only takes a few clicks. I do that and set my color spaces for non-raw clips on the Media page for a color managed workflow right at the beginning of the edit. Hope that helps!
thats dope!
Loved this video Kofi!!!! would really like to see an FX6 vs FX 3 vid
It’s already ther :)
I prefer a 4k native sensor. The data management is just easier. That said higher resolution sensors do look better as you can down sample and get more dynamic range and finer noise.
ARRI is the only company with the ability to do low resolution and high dynamic range, as they own the patent for their dual gain technology.
Canon is doing something similar with the C70 but it doesn't have the same color depth as ARRI which is a 14bit ADC readout and also dual gain.
That is why at this point I prefer high resolution in the affordable cameras. Once down sampled it simply looks better. The Raptor and Venice get close to ARRI level image with their 8k sensors. I just wish we didn't have to shoot 8k to get a ARRI like image in the first place. Time to get an Amira/Mini
Awesome review. Like the real world comparisons way more helpful than resolution charts etc.
I don’t know how to work charts so there’s that 😅
@@KofiYeboah 😅
Absolutely fantastic comparison- thank you! So helpful!
Glad it helped
Great content. You’ve saved my pocket
Exactly what I like hearing
As an original buyer of this camera, I have always been amazed they didnt create a small attachment for the top that replaces the top handle. It could have just been a small audio port add on, with an xlr and standard mic jack. So Strange, they could have sold that thing for $500 and made a killing. We all would have bought it to avoid having a top handle all the time and have good audio.
Same 💯
Great video Kofi 🔥🔥🔥
Thanks homie 👊🏾
14:45 you can actually remove all the unnecessary audio tracks in the clip-settings in resolve. I just select all of my clips after I‘ve imported them into Resolve, go to the settings and remove track 2 to 6. it takes 10 seconds in total and you don’t have to do it per track.
The more ya kno!!
I think FCPX solves your audio track problem with the FX6. It’s super efficient visually to expand collapse all audio tracks and keeps it neat and tidy.
For real. That would’ve been such a cheap thing to add.
I wish it was a simple thing in camera jheeze ahah
Lol love the term "camera purgotory"...I have both and I use the Sony FX for any corporate jobs and the KX for most of the narratives and some music video. They are built for different things...One thing is that although KX is so small but still it is hard to mount it on gimbal like RS3 Pro, and this makes me feel bad.
I just did an MV on the KX and you’re right it is kinda tough 😅
If time is money, Sony workflow is super fast from setup to post
You’re not wrong !
Also , with the sharpening thing , red doesn’t add sharpening in their cameras ..you have to do it in post 💯 so that could be another reason why the Sony was sharper ..unless Sony don’t either but I doubt it
Great video. Shooting RAW would be great but I'm really happy with the FX6. I shoot so much handheld that the tophandle is no issue for me. If I'm not shooting tophandle I'm shooting with the Rode Wireless Pro so I can slap one on top and one as a lav on talent if need be. I've got my workflow and it works for me. Glad you're happy with your switch though. Are you content with the Polar Pro or you still searching for the perfect ND system?
I like it! I have r found the cast off putting or anything at all! I kinda have too many NDs lying around but using each one I’m half indifferent on 😅
Komodo does not have a "native ISO"?? Not sure what you mean by that. "Native ISO" means "0db" and every camera has at least one "0db". Some cameras have two "0db" values. (Like a "low" 0b preamped to 800 ISO and a "high" 0db of 2500 ISO.) Regardless, after every sensor's analog pre-amp stage, it has a "0db" digitized raw base. That "0db" can be analog preamped to any value a camera company wants....like 0db =100 ISO or 0db = 800 ISO...etc. But, every camera has at least one "0db" ISO value.
In raw , your iso value doesn’t change your image necessarily ( there’s a few videos on this including my own) if you pay attention to traffic lights , it’ll only change the viewing on a monitor, b it being able to move back and forth in post , it doesn’t change much, iris, shutter, light and ND will, but ISO in R3D is much like Cine ei, except you can change it in post, I suggest trying it !
It is true Red does not have a “native ISO” because of its RED CODE RAW compression. The sensor literally just absorbs light, and the file is written in such a way that you have lots of post flexibility in editing.
@@DarkSoulsfan111 - All sensors take in light (photons) and produce voltages measured in micro-volts. Those analog voltage readings are pre-amped to reach a nominal voltage that is encoded as 0db into the A/D converters. Now, we have a digital data stream to work with. This "0db" data stream is also known as "raw". Now,...those analog pre-amp values can be turned up to equal a higher base (raw) ISO rating or turned down to create a lower base (raw) ISO rating. This is why some cameras have maybe a 400 ISO base 0db and others could have an 800 ISO base 0db rating.
@@CLIFFLIX not all camera store the amount of data that red does. Red does not have Native ISO because the result is the same no matter what iso you set it to while recording when using RED CODE RAW. Meaning if I set 800 iso, my monitor will show 800, but the camera is recording all the exposures of ISO at once. Which is why I said it’s “absorbs all the light” other cameras that don’t film in 16 bit don’t maintain as much data as Red. Very few cameras do
@@DarkSoulsfan111 - The base 0db value is set at the sensor A/D conversion level. You can't change it. It's programmed into the camera firmware. Raw is literally 0db. Every ISO gain change that you do just adds +6db of gain for each stop. Example. If a camera's 0db is firmware set at 400 ISO, when you change it to 800 ISO, you just added +6db to the video...however, your raw file is still holding at it's base 0db value. In post, your +6db gain addition is added to the raw file on assembly (viewing). You can reverse that added +6db and knock that view back to 0db if you want. This is the beauty of raw. Raw has no gain above 0db burned into the file. Your ISO (aka gain) additions are just meta-data flags for whatever software is opening the raw file. In other words, all gain (ISO) is non-destructive because the raw file is always 0db.
You dont know my life! Let my eye wonder 🤣. Great video I still want to rent the RKX
😂😂😂 do it mannn
Great video as always bro. I’m a new FX6 owner and just learned that Davinci Resolve treats S-Log 3 as Sony RAW; pretty amazing especially since the files are smaller than actual RAW files. I’m not sure if the S-Log 3 from all Sony cameras are treated the same, but the FX6’s S-Log 3 is definitely treated as such. That was a nice surprise.
It’s not so much as “raw” but you can use the metadata to make changing the image way way easier :)
how so? what settings can you change in davinci that you couldn't change otherwise?
@@dny00001raw isn’t dictated by what options open in resolve, but it’s the actual codec itself ; it can only record XAVCS-I at the high end; Sonys raw is the XOCN which is only on the Venice and Burano , the options you get make the adjustments easier to understand and change using some of the backend data, but it’s not actual raw unfortunately
Where did you hear that? I've been editing in Resolve for almost 5 years now primarily S-Log3 and have never heard that from anyone or experienced anything to suggest that it did so. S-Log3 is just a really nice log format to work with in coloring which Resolve is exceptional at so maybe that's the misconception or translation error there. At the end of the day log is log my friend.
Yeah.....I'm wondering where he got that from too. @@mike_s_media
Do you still own or use FX3? Or you switched to RED entirely? Man I didn't know you are in Canada. I moved from Vancouver to Dubai in September. Was in Toronto last Summer filming. I love your videos and the way you explain things. I am a new Sony shooter was using Canon before and your channel helps me a lot. If you ever visit Dubai let me know. Would love to meet.
I round robin pretty much everything ! I have an FX3/FX30 still 🙏🏾
Isn't that top handle and monitor pretty much just directly recycled from the FS5/7 line? That's one of the Sony downsides - keeping lower prices is generally due to efficient production.
Sorta! They’re not exactly the same but same idea
"if they made the Burano in the same form factor as the FX6" they're damn near the same size. I've seen a few comparison pics now that the Burano is in the hands a few people in Europe for workshops, and the difference is negligible. Talking with one of the guys online, apparently the Burano will fly on an RS3 Pro no problem, provided you're not using a giant V-mount and lens.
Tbf that’s fair to say, it hasn’t come out yet and it’s hard to tell without seeing in person , BUT stay tuned, that might change soon 😊
@@KofiYeboah briefly chatted with the guy running the Burano workshop in Germany and he was more shocked by the weight than form factor, which is saying something.
Do keep in mind, there is no sharpening on REDs. There is sharpening on Sonys. If you want sharp, add it. :) FX6 is a solid camera for sure.
Yup!! I tried to turn of thr NR in camera, but I will say that new 24-70 even still is RAZOR sharp
@@KofiYeboah You can’t disable all sharpening in Sonys. There is an amount in the settings and there is an amount baked in. They like the sharpness and many do. I can say I didn’t mind it at all. But, if you compare it to film, its way too sharp. I do find I add a little sharpening on RED a lot of times in nature stuff.But not for humans.
@@ScottBalkum you’re right 🥲 I wish you could take it down a touch , they’re both awesome either way you swing it !
@@KofiYeboah Yea, its hard to say either is better or worse overall. They are different. Always, right tool for the job.
On resolve raw tab one can lower fx6 sharpening to 0. Obviously it is blurring the image in post to make it softer but anyhow it gives nice look
19:54 what an amazing shot!
Haah jason don’t miss
Sony should have put at least an 1/8 inch stereo audio input on the body. The FX6 hand grip is a huge plus for ergonomics and would say the FX6 has better ergonomics out of the box from the KX. I’m looking forward to your Burano vs KX comparison coming out after the Burano hits the streets. 🤓
I heard from some of my friends at Sony it’s like a march ish release !
@@KofiYeboah bhphoto said if I pre-ordered on 10/25/23 I could expect the Burano to ship on 3/25/24 .
Another point, RED crops because its raw. You can’t resample 6K into 4K and keep it raw. You can do it with ProRes but, its not RAW. My “joke” has always been, If its not crop, its cr@p! ;) - but that is the reason you must always crop, add sharpening, noise reduction etc on REDs.
You’re correct ! I’m asking for a technologically impossible option 😂
@@KofiYeboah To quote Matthew McConaughey, “Be a lot cooler if you did!” ;)
Red looked way sharper in zoomed in shots, what are you guys talking about? And the color in the shadows in Red looked way more vibrant, when Sony's colors were flat and gone? Correct me if Im wrong tho, that is what I saw from that test
I think you might be part of the minority here 😅
I saw that
Great video, which Speed booster are you using on the komodo X? I have the Canon 0.71 and it does not fit on the komodo x and V-Raptor S35... when i try to attach the 0.71 adapter it pushes on the flare guard (not 100% sure that is what it is called) 😉
Right now, none ! But I’m looking at the PL from metabones !
@@KofiYeboah Then do not get the Canon speedbooster🤣 I used the Canon speedbooster on the OG Komodo all the time and it worked fine.... looking forward to the metabones review 😁
A better comparison would be the Canon C70 to the Komodo X. Half the cost. They both shoot raw, both are super 35 with RF mount, 180 shutter angle, both don’t have their audio stuck in the top handle. The built in ND is 10 stops not 6 (C70 vs. FX6;).
Hopefully someone makes it then cause I do t have one lol
I’m waiting for the Sony A7S4… hoping that will be my next camera.
I’ll hang tight for an fx3ii
i like the sony top handles. xlr is all that i need.
I handhelded so hard I rubbed the paint right off and wanted a metal one :( but no audio
good video my guy do you not use canon
I have used canon , but there’s so many out there I’m just one guy 😅
i'm still surprised how nobody made an adapter for XLR inputs to use with the FX6 when removing the top handle...could be an easy 329$ per piece...
I wish they did :/
Great comparison, BUT you forgot to mention how many times you've had to bring-in your Komodo X for service vs. the Sony. ;)
I forgot
I left the Komodo for the c70 based on how I shoot but the canon c70 shoots raw now too.
Use what works for ya!
The FX6 has everything.... the Red does not... so get the RED. 😂😂😂😂😂
👍🏾
I think an Atomos Ninja V+ with SDI adapter or splurge for a Shogun Ultra and a 12g SDI cable solve 99% of your FX6 issues. You get an audio solution without the top handle, better screen, 16bit saved as 12bit Prores RAW, different media to save on (There are loads of SSD -> card) adapters, Did I forget anything? On top of this, you get better face detection and auto focus, and the internal ND on the FX is pure gold. Check this video regarding making your FX6 footage look super close to Komodo X footage. ruclips.net/video/VEkJxqoiczY/видео.html
Oou i haven’t thought about that 👀👀
@@KofiYeboah It's the setup I have on my FX6. I wanted to record 4k @120p on the Ninja V+ straight to a harddrive in Prores RAW. I also wanted autofocus with good face detection, and to nix that top handle so I could put it on gimbal and "easy mode" it myself or put the solution in the hands of a novice and still get a good shot. It 100% works and the auto feature on the internal ND has saved my butt on days where I'm shooting outdoors and the sun keeps going behind the clouds. What else can I say? It's a run and gun workhorse.
Hope resolve starts to support gyro from fx6 like it's own cameras for stabilization and rolling shutter. That would be big benefit.
that would be nice 😊
Doesn't the Gyroflow plugin?
Great video! ❤
Glad you liked it!!😁😁
The Sony looks better in all of the clips and I’m not a Sony guy.
My two primary wants are the internal Red Raw and Global Shutter!!! At my level neither of which could be justified in the cost but I still want it! Hahahaha
Ahah that’s me wanting anything 😂
Sony image gets processed and sharpened in camera. Red is raw data from the sensor. So the sharpness is a negative from the Sony as you can’t take it back as easy as adding sharpness in
That’s also fair !
The internal ProRes really rounds out the Komodo-X for me. Raw is amazing in so many ways. There are those situations though where ProRes just works better and honestly I feel that it retains the look of the Komodo-X pretty well.
One other note. I do a lot of automotive work so I’m always using a CPL. Internal NDs on the FX6 don’t always play nicely with them so for my work, I actually like that the KX doesn’t have internal NDs. I may get the PL eND adapter though for those moments 🤔
I actually didn’t have a problem with the moment CIR Pl, what happens when you do auto stuff?
@@KofiYeboah Interesting! I used a tiffen CPL with it and it just made the colors super unpredictable. In some cases, it would shift magenta, and some it would shift green. I had to drop the internal NDs entirely to get rid of it. There’s a lot of technical bits to how those two filter type to work together, so I could see some working really well and some not.
not the same class of camera to these "cinema cameras", but I'd like to see the Z8/9 compared to both of these. IMHO, I am picking the Nikon over either.
I’m of the mind that any camera can be compared to any camera if it’s used to do the same thing. Only heard great things about Nikon !
I think Nikon was the most pleasing camera experience I’ve ever had in a mirrorless camera. If they made a cinema camera the world may go crazy.
@@MayerAd right? It's just a joy to shoot with.
I have the Z9 and it's incredible. Full frame, 8k 60p internal 12 bit raw, 4k 120p internal 12 bit raw, 4k Proress 422HQ, IBIS, waveforms, and dual native ISO. Plus the ability to take amazing pics. Its hard to beat for solo film makers
I am really doing my best to not buy one right now, and sell the rest of my Sony gear.@@davidbrytus2089
I see the FX6 as a broadcast Television camera with it's built-in ND, TC in and out and built in XLR, that can also do film work. I work mostly in TV. I'm running the FX6 on the RS3 Tilta Ring. I attach the SONY VF to the top of the Ring (nice long cord) and will likely place a Ninja V on the other side near the top handle. That will give me audio, a bigger VF and backup recording. Nice video.
Facts, there’s so many good things coming out of the FX6, rn everyone’s CRAZY over The Creator, and they use the same sensor, so really between the two, both are awesome.
Don't want raw for fx6. I really like how xavc is tuned and breathing comp etc. but please implement 12bit color for xavc somehow 😅
That would be good too!
They added some kind of raw with fx 6 on divci resolve
It’s not raw, just the meta data controls, raw is data coming off the sensor, which DaVinci can’t unlock from the fx6 unless the fx6 records that data to your card, thanks to red, they can’t do that haha
Could you tell more about it?
If you shoot a blockbuster sci fi movie 🍿 in lowlight on a beach on a cloudy moonlit night choose Sony. If you LoVE ❤️ Red skin tone color science and got the budget and clients . Choose red
They look the same. One costs the double, the other has ND filters, autofocus, and overall flexibility. Sorry but this is self evident which camera is better. I don't own either camera
Okie
Autofocus/ ND from Sony vs image quality from RED.
🙌🏾🙌🏾
I just want an fx6ii with a 6K global shutter and raw
The fx6 is more than fine !
appreciate👋
👍🏾👍🏾
So is there xlr inputs on the Komodo body?
Nope , Lemo to external xlr
Hay I have a question! Do you sell luts? And if so will they work with. Sony A73 and if so what picture profile should I use to get the best out of them? And I also have an A74 would they be the same? Sorry for my inexperience as I’m new the game.
Thank you
It’s in my description 👍🏾
@@KofiYeboah thank you 🙏🏽
I like this video. for real. good shit
Thanks ! I appreciate it !
The thing is tho….i swear they must be a fx6ii around the corner? Either way fx6 or KX you’re winning either way!
No idea haha , no one knows, the fx6 was only readily available 10 months ago
I just noticed that you are using av pro Se card not the Red original one, is it working? Because i have some left from r5c and was wondering if card will work on komodo x?
Angelbird makes the RED cards, it works great!
I wonder how the c70 image stacks up to the Komodo x
They’re all dope dnd if the day
wow, I didn't realize that the Komodo was that small or do you have huge hands.
I have tennis rackets for hands .
@@KofiYeboah 😂😂 oh cause we were like was the KX always that small and we didn't notice....😂😂😂
Red komodo x is the best for vfx
👍🏾👍🏾
Soo... We not talking about the multiple window masks with no feather at 8:48 ? or the redo at 11:18 ? Ok cool, just checking. Chalk this comment up to feeding the algorithm engagement
I rushed the feather. But yes, if I make the same mask around both highlight areas and bring them down, it’ll tell you how much is there when it is… 😅
Buy a panasonic
I’ve had an S5ii on me since July, it hasn’t changed my mind much 😅
@@KofiYeboah 😄 s5iix … i love that boy for the money
the Komodo looks like every RUclipsr's videos for some reason. The fx6 just looks better to me
Awesome!
Send me one bro I'm selling my car to pay my pawn shop loans right now Im so broke@@KofiYeboah
Who cares what Hollywood uses? Red only takes Red accessories and unless you are shooting a big budget film or are an established DP, you don't make money with the Red. The FX 6 gives the best of both worlds so you can actually make money while waiting for Scorsese to call you. It does not necessarily make you more marketable because yu spend thousands of dollars on a name.
Let me ask ya, have you had one before? Because though I don’t think many people NEED a red, I’ll be the first to tell you that, to deny that it has positive benefits being an owner operator isn’t really fair either, or true for that matter
you compare a 6000 euros with 19.446, really?
Call the police
Are you crazy? You going back and forward every 2 weeks 😂
a) you didn’t watch the video lol b) two weeks ? I sold my FX6 in July it’s almost November ahah
Anything else: 😐😑😐
RED: 😍🥰🤯🤤🤤🤤
- 90% of DC/Baltimore clients & producers.
They better have RED money then 😂
@@KofiYeboah spoiler... they do not.
Is that the guy from kill or be killed 15:32?!
Yup , I’ve been working with BlueStar for 2 years now 😊
that's fire! @@KofiYeboah
helpful very helpful
Glad to hear that!
Burano enters the chat 😅
Not at 25,000 it doesn’t 😂😂😂😂
If only Sony would allow us to record BRaw externally🥹
I wish !!
23:00 brand, recognition?! Just say it. Everyone knows Sony is for social media gimbal content creators and RUclips review channels. 🫣🤓😜
#smgcc
Iunno what that means 😅