I was an early adopter and i'm still using my Terra 4K I bought 8 years ago as my A cam. The image quality is gorgeous and being able to use 3rd party batteries, ssd's and monitors really was a selling point for me. Red's ultra proprietary ecosystem was really what stopped me going that route. I'd rather use a poor man's Alexa than a rich man's Red ✌️
I've never been a fan of being too locked into an ecosystem. I think RED has come a long way from the early days but I do still get a not official media warning on my Komodo when using angelbird cards which are exactly the same as the official ones and on the approved list. But I agree with you I think non of us should be beholden to any brand. You just use what works best for you.
@@thatcameranerd I was already opposed to Red on principle, but after Linus Tech Tips did a tear down of a redmag a few years back and discovered that they're using off the shelf chinese ssds inside their housings and the only difference between an $80 ssd and a $800 redmag was a tiny bit of proprietary firmware they install on theirs to make them work with the camera, that was the final nail for me. I hope Nikon really shakes them up. For a company that started as a disruptor to shake up the established old guard in cinema, they went from the hero to the villian for me
love your video, larger sensor is something that change the feel of images so much, some people say nothing change, but for me... yes, the subject just pop out of the images :D
Thank you. I really loved the open gate and using the full sensor. I could definitely see myself shooting that aspect a lot more if I had the camera. I really wanted to try the full frame anamorphic I had but it wouldn’t work with the lens mount. I’m hoping to try to the new pocket cinema camera full frame and see how that compares
@@thatcameranerd i'm excited about new bmpcff too, but the rolling shutter still bother me so much, the images from bmpc is great, but i'm not usually use that cam just becuz of rolling shutter is too much for me :D
The price point for cinecameras is incredible - image quality vs price is just getting better and better, it’ll be amazing to see where we are in 10 years time!
I'm strongly hesitating at the moment between buying this camera or a used ARRI AMIRA, the Komodo X, or the new URSA Cine 12k. But my first choice was the ARRI AMIRA, I shot with it during a project (documentary) and I felt in love with this camera! it was so easy to operate and the image is just stunning!
The Arri cameras are really nice to operate and use, I think for me it’s just the size and price. With all the options available today it’s a tuff choice. I like the look of the canon c400 looks interesting
@@thatcameranerd You can get an ARRI AMIRA for $13-15k with low hours and a 4K license. It's almost the same price as an FX9 or a fully rigged Komodo X. However, I also prefer the size and weight of the KX ;-) On the other hand, upon reflection, It didn’t really bother me; it was heavy for sure (AMIRA), but in a good way. I remember having to run once with the camera on my shoulder, and the shot looked great! I think, it depends on our style of shooting and the type of projects we do. Personally I mostly do shoulder and handheld shots, but if you prefer gimbals, that's a no-go for sure. From my side, I mainly shoot commercials in a documentary style, music videos, and sports events. Currently, I'm preparing for my first true feature-length documentary (I've already filmed for other documentary directors as a dp, but this time I'm the director). I also have some short film projects in progress. I tested the Komodo and was thoroughly impressed. I particularly like the global shutter, which suits my shooting style, and the Red RAW capabilities. Moreover, it offers more discretion and can be easily used on gimbals when needed. I have an FX3 and FX6 right now; so I don't think I really need the C400 to be honest. When I do bigger projects, I rent cameras (mostly ARRI or RED), and I was thinking of getting one because, after a while, it starts to get pricey, when I think about the number of days I've already rented these cameras.
@JeanSebastienLEGER yea that makes sense if that’s the camera you’re renting. I think you also have the pick the camera that gets you excited to use it. I would love to own an Alexa mini. I used to rent that camera a lot but not so much these days. I think every DP dreams of owning an Alexa one day 😂
Lovely footage man! I’m a Komodo owner too and have only recently discovered this gem of a camera too, think I might need to test one out too 😅 How did you find processing the footage? The full-frame to me is a massive draw, and just gives a certain look I do love!
Hey man thanks! I shoot ProRes a lot even on the Komodo for work so it’s not a problem. I usually will drop the quality down a little if it’s lagging on my m2 MacBook Pro. But I’ve not had any issues editing it. I was never really that fussed about full frame until I used this camera and you’re right it just gives a really great look. From the time I had I’m a big fan of the camera
*ARE YOU NUTZ ?!!* Look, I also hold the Kinefinity line of cameras in very high esteem. The Kinefinity cameras produce a highly nuanced and Cinematic image, but for God's sake you can't be seriously trying to compare and possibly exchange, or sell off a RED Komodo 6K global shuttered Cinema camera with a 16 Bit Colour Science recording Codec for a 10 bit or 12 bit max compressed ProRes Codec (ONLY !) recording camera ??? Come on Sir ! There's simply no comparison to the image from the Komodo to the image from the Kinefinity cameras ! 16 bit colour science is a difference you can plainly see. Also, clients know and trust the image of RED and often demand it for their projects. If you show up with a Kinefinity camera (As excellent as they are), I can think of higher end clients who will become quite worried about that.
also, he's using a brand new MAVO and said that he already have glitching problem with the monitor. Doesn't seems you can trust this system in the long run in various weather conditions.
I have to be honest I get a better image from my s5 with a Ninja V in Prores RAW HQ, way cheaper and just looks more robust. I owned Red Epic Dragon, shot a feature with it, Just shot a pilot here in Hollywood with Blackmagic and some gret glass. I am getting ready for a feature with the s5. I have loved the idea of Kinefinity for a while , but now it's all mumbo jumbo since tech is moving so fast. Cheers.
I was an early adopter and i'm still using my Terra 4K I bought 8 years ago as my A cam. The image quality is gorgeous and being able to use 3rd party batteries, ssd's and monitors really was a selling point for me. Red's ultra proprietary ecosystem was really what stopped me going that route. I'd rather use a poor man's Alexa than a rich man's Red ✌️
I've never been a fan of being too locked into an ecosystem. I think RED has come a long way from the early days but I do still get a not official media warning on my Komodo when using angelbird cards which are exactly the same as the official ones and on the approved list. But I agree with you I think non of us should be beholden to any brand. You just use what works best for you.
@@thatcameranerd I was already opposed to Red on principle, but after Linus Tech Tips did a tear down of a redmag a few years back and discovered that they're using off the shelf chinese ssds inside their housings and the only difference between an $80 ssd and a $800 redmag was a tiny bit of proprietary firmware they install on theirs to make them work with the camera, that was the final nail for me. I hope Nikon really shakes them up. For a company that started as a disruptor to shake up the established old guard in cinema, they went from the hero to the villian for me
love your video, larger sensor is something that change the feel of images so much, some people say nothing change, but for me... yes, the subject just pop out of the images :D
Thank you. I really loved the open gate and using the full sensor. I could definitely see myself shooting that aspect a lot more if I had the camera. I really wanted to try the full frame anamorphic I had but it wouldn’t work with the lens mount. I’m hoping to try to the new pocket cinema camera full frame and see how that compares
@@thatcameranerd i'm excited about new bmpcff too, but the rolling shutter still bother me so much, the images from bmpc is great, but i'm not usually use that cam just becuz of rolling shutter is too much for me :D
The price point for cinecameras is incredible - image quality vs price is just getting better and better, it’ll be amazing to see where we are in 10 years time!
Kini cams produce my favorites image
Fantastic look of the video produced 👏🏻👏🏻 great camera
Thank you
Great video bud, its a really versatile camera isn't it. Great images too man!
Maybe they will give me a loner 😂
Great images, defo a camera to consider !
If I hadn’t already got the Red this would be on the list for sure
I'm strongly hesitating at the moment between buying this camera or a used ARRI AMIRA, the Komodo X, or the new URSA Cine 12k. But my first choice was the ARRI AMIRA, I shot with it during a project (documentary) and I felt in love with this camera! it was so easy to operate and the image is just stunning!
The Arri cameras are really nice to operate and use, I think for me it’s just the size and price. With all the options available today it’s a tuff choice. I like the look of the canon c400 looks interesting
@@thatcameranerd You can get an ARRI AMIRA for $13-15k with low hours and a 4K license. It's almost the same price as an FX9 or a fully rigged Komodo X. However, I also prefer the size and weight of the KX ;-)
On the other hand, upon reflection, It didn’t really bother me; it was heavy for sure (AMIRA), but in a good way. I remember having to run once with the camera on my shoulder, and the shot looked great! I think, it depends on our style of shooting and the type of projects we do. Personally I mostly do shoulder and handheld shots, but if you prefer gimbals, that's a no-go for sure. From my side, I mainly shoot commercials in a documentary style, music videos, and sports events. Currently, I'm preparing for my first true feature-length documentary (I've already filmed for other documentary directors as a dp, but this time I'm the director). I also have some short film projects in progress.
I tested the Komodo and was thoroughly impressed. I particularly like the global shutter, which suits my shooting style, and the Red RAW capabilities. Moreover, it offers more discretion and can be easily used on gimbals when needed.
I have an FX3 and FX6 right now; so I don't think I really need the C400 to be honest. When I do bigger projects, I rent cameras (mostly ARRI or RED), and I was thinking of getting one because, after a while, it starts to get pricey, when I think about the number of days I've already rented these cameras.
@JeanSebastienLEGER yea that makes sense if that’s the camera you’re renting. I think you also have the pick the camera that gets you excited to use it. I would love to own an Alexa mini. I used to rent that camera a lot but not so much these days. I think every DP dreams of owning an Alexa one day 😂
Such a sick camera !
It’s a great camera.
Amazing video! What lens was giving those amazing lens flares??
Those were the new DZO Vespid Retro lenses I made a video about them ruclips.net/video/1bjIsJt6iEE/видео.htmlsi=TxfSMjeOK4uBaEF_
Lovely footage man! I’m a Komodo owner too and have only recently discovered this gem of a camera too, think I might need to test one out too 😅 How did you find processing the footage? The full-frame to me is a massive draw, and just gives a certain look I do love!
Hey man thanks! I shoot ProRes a lot even on the Komodo for work so it’s not a problem. I usually will drop the quality down a little if it’s lagging on my m2 MacBook Pro. But I’ve not had any issues editing it. I was never really that fussed about full frame until I used this camera and you’re right it just gives a really great look. From the time I had I’m a big fan of the camera
blue speckled dots? Sounds like focus peaking...
*ARE YOU NUTZ ?!!* Look, I also hold the Kinefinity line of cameras in very high esteem. The Kinefinity cameras produce a highly nuanced and Cinematic image, but for God's sake you can't be seriously trying to compare and possibly exchange, or sell off a RED Komodo 6K global shuttered Cinema camera with a 16 Bit Colour Science recording Codec for a 10 bit or 12 bit max compressed ProRes Codec (ONLY !) recording camera ??? Come on Sir ! There's simply no comparison to the image from the Komodo to the image from the Kinefinity cameras ! 16 bit colour science is a difference you can plainly see. Also, clients know and trust the image of RED and often demand it for their projects. If you show up with a Kinefinity camera (As excellent as they are), I can think of higher end clients who will become quite worried about that.
also, he's using a brand new MAVO and said that he already have glitching problem with the monitor. Doesn't seems you can trust this system in the long run in various weather conditions.
I have to be honest I get a better image from my s5 with a Ninja V in Prores RAW HQ, way cheaper and just looks more robust. I owned Red Epic Dragon, shot a feature with it, Just shot a pilot here in Hollywood with Blackmagic and some gret glass. I am getting ready for a feature with the s5. I have loved the idea of Kinefinity for a while , but now it's all mumbo jumbo since tech is moving so fast. Cheers.