Ive got the same set up. Red picture is prettier, but Sony wins low light. Sony is like the Honda of cameras, it does it all, reliable, gets the job done
No one can tell, these cameras exceed expectations. De ant matter which on e you use. Unfortunately I do believe 12 bit in Black Magic cameras is better than those 10 bit cameras, but they all are so close that if you don’t side by side, the consumer will never know which camera you’re “not” using.
I judged the cameras right. Shooting in super low light is such a sony thing to do. And having the anamorphic footage not stretch the image to a 3:1 aspect ratio is definitely not a Sony thing. Also the RED had that green tint on the edges, where the image is sharp, which is a well known problem with their decompression LUT. The RED also showed itself in that shot at 1:23 because of the very high dynamic range showing clear texture on your subejts clothes and even ears vs hair has still contrast despite that Mist filter going on. The Komodo indeed has lots of dynamic range - I am not so sure if an FX3 or FX6 can do that. The slomo also gave the Sony away. Slomo is really one of Sonys strength, but if I'm not wrong RED is also doing well at slomo frame rate wise but they usually crop, Sony cameras generally dont need to crop for slomo. So basically its not the footage directly that gave it away, but the kind of footage you shoot with a Sony camera compared to what you would shoot with a RED.
@@contentm3893 No, its actually a well known problem with the decompression LUT. No other digital cinema camera from Sony, Canon, Arri or even DJI ect. ect. share this problem. And its really only, if you use REDs decrompression LUT specifically.
With a trained eye I could spot which was which but seeing them side-by-side like this is helpful for reference. Great-looking footage across the board, nice work! And thanks for sharing your knowledge.
I am just here to say that I thought your cinematography was excellent. Keep up the good work. And I applaud you for taking a chance using the overhead cam instead of a straight on talking head.
i own them both and i agree with everything. yes Red does have higher quality at 24fps. I have an fx3 and two reds. Komodo and Epic Dragon. Red slows your workflow down a bit, esspessially since it only shoots anamorphic in 6k, unless you desqueeze in the monitor. Red raw is fantastic but it isnt easy to work on with a laptop. Fx3 is cake. Full frame, smaller files super tiny, but can be called a cinema camer imo
Nice comparison. It's an interesting one for sure. We shot our talk show on a RED Dragon-X, RED Komodo, and Sony a7s III and they cut together pretty well. It's as much about how the camera is used and for what situation as it is a question of sensor and codec quality.
They match beautifully together. If you look at a lot of films and shows that use RED a lot of times they will use a sony along with it. I love to use both on projects.
Knew it immediately without even having used a red or sony ever. After seeing the first image, I was 100% sure cam A was the sony. And while the FX6 and FX3 didn't look bad you can just tell by the highlights. The look so much smoother on the red. Yet the image looks more crisp.
I edit the 6K red raw files on a MacBook pro M1 max and it cuts like butter. It does slow my computer down when im stacking a lot of clips on top of each other or doing intense color grades.
It was clear as day that the red was B. Sorry but doesn’t make you look professional by saying in the thumbnail “they look the same” because they don’t. To an eye that doesn’t have attention to details they might look the same. Usually a cinematographer should be able to tell …. If my mum can’t tell the difference she is excused.
You miss the point COMPLETELY. The point of Red is that it's true RAW. That allows you to grade with much, much more latitude, and save time on set not having to fiddle with ISO and white balance at all until the grade. It also allows such neat tricks as having two completely different ISOs stacked in DaVinci with tracked power windows. An Fx6 does not give you that. In a real pro shoot that is very very important. Not to mention a Red, even a Red Epic X from 2012, will give you better tonal definition of things like skin, more subtlety and complexity. This is indeed subtle but high end shoots want the best.
These are all very valid points. Internal RAW on RED is an incredible tool. However the majority of my clients ask for a Pro Res 422 over RAW when I turn in the footage. Also in my experience a lot of NFL and reality TV producers have asked specifically for the Sony FX6 or FX9. Sony's 10bit XAVC Codec is very robust and saves a lot of space especially for long format content.
@@Esaisaenz Fair enough. It depends on the gig. We produce, or at least are among the producers, at the very least are the DPs of record, so we can mandate a more "quality at any cost" pipeline and make the most of it.
Reliability? I have yet to meet a single person who had Reliability issues with their komodo. From image quality to any possibilities of overheating or physical damage. What happened to yours vs your sony / others?
Sorry but doesn’t make you look professional by saying in the thumbnail “they look the same” because they don’t. To an eye that doesn’t have attention to details they might look the same. Usually a cinematographer should be able to tell …. If my mum can’t tell the difference she is excused.
My goal with this video was to show that both cameras can produce cinematic images. The difference really comes into play with the cameras body style and workflow. Also I watched some your shorts they look great! Keep killin it!
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Ive got the same set up. Red picture is prettier, but Sony wins low light. Sony is like the Honda of cameras, it does it all, reliable, gets the job done
The Honda of cameras is such a good way to put it 😂
No one can tell, these cameras exceed expectations. De ant matter which on e you use.
Unfortunately I do believe 12 bit in Black Magic cameras is better than those 10 bit cameras, but they all are so close that if you don’t side by side, the consumer will never know which camera you’re “not” using.
I judged the cameras right.
Shooting in super low light is such a sony thing to do. And having the anamorphic footage not stretch the image to a 3:1 aspect ratio is definitely not a Sony thing. Also the RED had that green tint on the edges, where the image is sharp, which is a well known problem with their decompression LUT. The RED also showed itself in that shot at 1:23 because of the very high dynamic range showing clear texture on your subejts clothes and even ears vs hair has still contrast despite that Mist filter going on. The Komodo indeed has lots of dynamic range - I am not so sure if an FX3 or FX6 can do that. The slomo also gave the Sony away. Slomo is really one of Sonys strength, but if I'm not wrong RED is also doing well at slomo frame rate wise but they usually crop, Sony cameras generally dont need to crop for slomo.
So basically its not the footage directly that gave it away, but the kind of footage you shoot with a Sony camera compared to what you would shoot with a RED.
@@disco.jellyfish you know your stuff! Yeah these are all very valid points. Good eye! 👏🏽
No green tint. You just are used to Sony colors.
@@contentm3893 No, its actually a well known problem with the decompression LUT. No other digital cinema camera from Sony, Canon, Arri or even DJI ect. ect. share this problem. And its really only, if you use REDs decrompression LUT specifically.
With a trained eye I could spot which was which but seeing them side-by-side like this is helpful for reference. Great-looking footage across the board, nice work! And thanks for sharing your knowledge.
No problem! I’m glad this video helped!
I am just here to say that I thought your cinematography was excellent. Keep up the good work. And I applaud you for taking a chance using the overhead cam instead of a straight on talking head.
Nice, best of luck for RUclips career.
i own them both and i agree with everything. yes Red does have higher quality at 24fps. I have an fx3 and two reds. Komodo and Epic Dragon. Red slows your workflow down a bit, esspessially since it only shoots anamorphic in 6k, unless you desqueeze in the monitor. Red raw is fantastic but it isnt easy to work on with a laptop. Fx3 is cake. Full frame, smaller files super tiny, but can be called a cinema camer imo
What codec did you record the Sony cameras with?
Also presuming .R3D for the Komodo?
XAVC-L on Sony and RED Raw LQ on the Komodo
Nice comparison. It's an interesting one for sure. We shot our talk show on a RED Dragon-X, RED Komodo, and Sony a7s III and they cut together pretty well. It's as much about how the camera is used and for what situation as it is a question of sensor and codec quality.
They match beautifully together. If you look at a lot of films and shows that use RED a lot of times they will use a sony along with it. I love to use both on projects.
By the Second Gentleman my guess would be A = RED. Low light shots kind of confirmed it for me but haven’t finished the video
nice comparison between he two......👍
the highlights alone told me B was RED. Sony has to many hot spots and the transition back into skin tones isn't as smooth.
Knew it immediately without even having used a red or sony ever.
After seeing the first image, I was 100% sure cam A was the sony. And while the FX6 and FX3 didn't look bad you can just tell by the highlights. The look so much smoother on the red. Yet the image looks more crisp.
Camera b red - that colour depth and highlights.
Don't compare RED Komodo to other Cameras but compare RED Dragon X with other camera ;)
B definitely looks better. hopefully it’s the RED
Does editing the RED footage tax your system more?
I edit the 6K red raw files on a MacBook pro M1 max and it cuts like butter. It does slow my computer down when im stacking a lot of clips on top of each other or doing intense color grades.
Only way I knew camera A was Sony was the tracking movements. Camera B had no movement haha
Haha yeah getting tracking shots with the RED is a lot harder than with the Sony. Sony’s auto focus is fantastic!
Dude if you can't see the difference between the RED and Sony you are blind. It's not about 6K or not.
It was clear as day that the red was B. Sorry but doesn’t make you look professional by saying in the thumbnail “they look the same” because they don’t. To an eye that doesn’t have attention to details they might look the same. Usually a cinematographer should be able to tell …. If my mum can’t tell the difference she is excused.
Komodo 6k has the same colors to me as Sony. Not my favorite, the Dragon X sensor is still their best.
I think A is canon and B is Blue
You miss the point COMPLETELY. The point of Red is that it's true RAW. That allows you to grade with much, much more latitude, and save time on set not having to fiddle with ISO and white balance at all until the grade. It also allows such neat tricks as having two completely different ISOs stacked in DaVinci with tracked power windows. An Fx6 does not give you that. In a real pro shoot that is very very important. Not to mention a Red, even a Red Epic X from 2012, will give you better tonal definition of things like skin, more subtlety and complexity. This is indeed subtle but high end shoots want the best.
These are all very valid points. Internal RAW on RED is an incredible tool. However the majority of my clients ask for a Pro Res 422 over RAW when I turn in the footage. Also in my experience a lot of NFL and reality TV producers have asked specifically for the Sony FX6 or FX9. Sony's 10bit XAVC Codec is very robust and saves a lot of space especially for long format content.
@@Esaisaenz Fair enough. It depends on the gig. We produce, or at least are among the producers, at the very least are the DPs of record, so we can mandate a more "quality at any cost" pipeline and make the most of it.
perharps you should not have included a slomo clip since the komodo cant do slomo in 6k. godo
The word cinematic is so over used
Images on all cameras can easily match in post. You pick a camera on function and reliability... red loses every time in reliability
Reliability? I have yet to meet a single person who had Reliability issues with their komodo. From image quality to any possibilities of overheating or physical damage. What happened to yours vs your sony / others?
Sorry but doesn’t make you look professional by saying in the thumbnail “they look the same” because they don’t. To an eye that doesn’t have attention to details they might look the same. Usually a cinematographer should be able to tell …. If my mum can’t tell the difference she is excused.
My goal with this video was to show that both cameras can produce cinematic images. The difference really comes into play with the cameras body style and workflow. Also I watched some your shorts they look great! Keep killin it!