Beautiful shooting! The dynamic range and colors are staggering on this thing! That lighthouse/cliffs/sunset shot really stretched it to the limit, but wow was that beautiful.
The images out of the Komodo are simply red :) Great quality images - especially the flesh tones. There's a definite cinematic quality to the images and very nice looking dynamic range across all of the shots. Of course the RED RAW codec offers amazing degrees of post tweaking heaven ! The Komodo is an incredibly hyped camera which seems to deliver on all of that hype ? The images do not disappoint.
Thanks for the video. Please compare R5 Raw, the A7sIII raw (if already possible), BMPCC 4&6K Braw to the Komodo. Is it fair the price diference between those, comparing the image quality?
Might not make sense to compare until Sony have updated the firmware to include WB and ISO metadata over HDMI. This is what cripples the Sony cameras so you can’t change those things in post.
Not sure if we can call "fair" the price difference in one way or another since it does not boil down to only the RAW files. (some cameras are made in the USA, Japan or China, BRAW is part-processed in camera, recording externally from the Sony A7SIII implies converting the 16 bit lenear RAW data to 12 Bit Log [at least for now], sensor sizes, sensor resolutions, pixel pitch, I/O and so on... There are so much variables that JUST how the RAW is handle isn't enough one way or another IMO)
I watched the Red Solitary series yesterday and the guy mentioned ProRes downsamples the 6k which is pretty interesting. So you get the full sensor width at 4k 60fps but no raw advantages still a nice option to have vs the raw crop
21:20 - Komodo uses exFAT not FAT32 as far as I am aware. And idea w/ 2GB per file is to save your footage from loosing battery power, not limitation of exFAT (as is the case with FAT32). BTW - Great video as always! Thanks.
@@mineralsoundin one of over 20+ hours of videos I watched Jarred talk about Komodo over the past few months... Can't remember which. But also on my own CFast 2.0 card out of Komodo - it shows exFAT format.
What do you think of the Zeiss Otus lenses for this camera ?? Are they really worth that much money ? I have the white ST edition and considering those lenses . But I also have irix 45, irix 150mm macro , sigma 18-35 cine lenses among others.
We absolutely love the Otus lenses, they are some of the best primes you can get for sub 5K. They are very close to the image you will get with the Supreme's just without the mechanics/feature set. Jake
I can see a very striking jello effect in the very first shot @ 0:36 in the clouds on the top right. How can this be as the camera is supposed to have a global shutter? Does it have a rolling shutter mode? Or was the footage stabilized with a tool that tries to correct for rolling shutter while there wasn't any in the first place, so in effect introducing jello instead of removing it?
I would definitely love a video going more in depth with RED Cine X. It isn't a part of my current R3D workflow basically due to lack of knowledge on the program. I would at least like to understand the program and then decide whether I should add it to my workflow. Cheers for the video!
At the graphic at 20:13 you can see the use of the sensor on the left then the resolution of the ProRes file on the right. So the crop factor will be the same as R3D when in the different sensor formats. Jake
@@CVPTV In the Helium 8K, I can shoot at 4k Prores HQ up to 60fps, setting the 8k Full Frame sensor resolution, I think probably in the komodo we can manage in a similar way, but now I have clear that. Thank you very much!
DSMC2 is a very different system to KOMODO. Depends on what’s important to you! I would suggest trying to get your hands on them both and seeing which one you prefer. If you have any more specific questions, let me know! Jake
Amazing overview! The only thing I'd ask is that when doing examples of software screen recordings, you reduce the resolution so text and elements are large enough to read. Premiere Pro text elements looked tiny in the examples.
Wow you guys have been working hard, I thought the Video was very informative and you have some beautiful Footage of Beachy Head and the Channel and south coast, One shot looked very like Rye, man I feel homesick and I'm not even English...ha ha ha. May I suggest Dungeness as your next day out, I 'd love to see some footage of that ;)
Haha yeah just a tad! Thanks, we actually nearly went to Dungeness but but it was a much longer drive than Beachy / Shoreham. Maybe the next camera review! Jake
I just came from the Ursa 12K video and I must say although I liked the image from the Ursa a lot I prefer the RED image. It just seems more organic somehow, I guess they have just perfected their colour science more than BM at this point.
At this price point all these cameras are capable of whatever you want. Put up some good lights and cinematography and you got a nice look. I think they both are capable of looking organic and/or filmic. One of my favorite Ursa test videos was from the 4.6k 4 years ago. ruclips.net/video/Y0dzPp1WBUU/видео.html
@@FinalGrade I agree 100% that they are both capable of achieving very similar looks. The RED has just a little bit better colour, colour separation and nicer contrast out of the box to my eyes.
@@RubenStuveling Yeah the color definitely is really good. Red Raw files are pretty awesome. It has been a struggle for me to decide between this or Ursa Pro haha.
@@FinalGrade I'm on the same boat. And now also thinking about the BMPCC 6K Pro. So much features for so little money. But I do still feel you are giving up some image quality. Although like you said, you can probably match them pretty well in post.
@@RubenStuveling I have a bunch of tabs open on my laptop with Red Komodo and Ursa 12k / 4.6K footage , trying to compare them, and I see the same thing as you , for some reason the red footage alway seem to be cleaner and some times richer, even tho it has a lot to do with the grading and that their are some clean Ursa footage out there , but it seems to be a common theme where the Ursa seem to have that brown tint to the like you are looking through a veil , it's har to explain. And the greens seem to look brownish , I have seen some clip where this if corrected for in the grade ... but I prefer the form factor of the Ursa with that built in XLR and NDs not to mention the integration with Davinci and the frame rates. I am still trying to decide , because like you said the RED footage looks Official 🔥🔥🔥!!! It' feels to me like , if you get the Komodo , that's it , you have arrived , now all you need if to work on your kraft , perfect your lighting , and you story telling, but now you need to mess with ND's and sink audio. Ursa seems like the better package for me at the stage stage that I am at.
1. Can you adapt canon EF (both FF and APSC) lenses to Komodo's native RF mount? 2. I have very little hope for this but still, can you adapt Sony E mount lenses to Komodo?
Hey Mithin, yes you can adapt EF to RF, we cover this in this video - ruclips.net/video/u10B82r2dew/видео.html E mount isn’t possible as RF has a greater flange distance than RF. Thanks, Jake
Great review my friend. I was really surprised by the motion cadence as well. It seems similar to the Alexa XT in that regard. Which seems to be missing on many Red cameras. Of course the XT colors and DR are another story. Did you find this the case as well? It seems to hold a decent cinematic value in motion alone. Cheers!
All graded since camera records flat, giving you the ability to tweak the image to your liking without ruining the look of your footage so easily. Edit: See 24:05
@@CVPTV Jake you said the in the real world the dynamic range of the Komodo is more like 13 stops , and in the Ursa 12k review you said that in the lab test you guys found that the Ursa 12K had 14 stops. Which one of the two would you said has more usable stops in the everyday filming ??? if that comparison is even possible ... thank you
It would be great to hear just one reviewer talk about colour space and the colour bit rate of this camera. I have looked everywhere and cannot find any I formation. Do you know what it is and if this changes between Prores and RAW? Thanks
This is something I want to test, we only had the Canon SB for a day so didn't have a chance to. However it should mount fine, the only issues may be communitcation but again need to test it! As soon as we do we will do a social/community post so keep an eye out! Jake
In premiere pro they say what u see before export is not what you see after you export as far as color goes and they say final cut is more exact . with final cut what you see is what you get after the exporting footage . what is your take on this ?
Yeah Premiere's colour pipeline isn't the best. We haven't used FCP too much as we are primarlily Windows users. We've found Resolve to have the best pipeline that we've used in our Studio. Jake
This overview was fantastic. I'm thoroughly looking into either this or the Canon C70 as my main camera. It concerns me that supposedly the Red company intended this Komoda as just a B cam. I'd love to know how the Komodo compares against the C70.
Absolutely amazing review, you will explode soon on subscribers, starting with mine :). I do wish this camera was 2X anamorphic sensor friendly without cropping the data on left and right side.
Looking at potentially purchasing this camera but cant until they can run RF mount natively. I don’t understand how you have a mount that you cant even use properly.
Yeah I'm hoping this is something they fix asap as some of the RF lenses are stellar! That and being able to use the Canon control rings on the adapter and lenses would be an awesome addition! Jake
It makes sense as the RF mount is full-frame compatible and very adaptable, but there are some great RF lenses out there and I agree it's very strange that it's not a hot mount.
Thanks for a professional overview, love your videos and presentation! I think a lot of people would love to see a comparison of KOMODO and c70, especially dynamic range and usability of slow-motion up to 50fps (point where KOMODO doesn't crop in that much and Canon still uses DGO). It would also be nice to know if Canon's newly introduced focal reducer (aka speedbooster) works on KOMODO. Cheers!
Thank you for the kind words! Yeah I totally get why people will be comparing them, both have pro's and con's, so really will come down to what the end user prioritses. Image wise I think the tones and colours of the Komodo look better but the C300 has better low light performance and slightly more DR. Yeah this is something I do want to test as it should work! Jake
@@CVPTV thank you for the good work :D I would choose DR over color because you can more or less grade the color to look nice yet it's impossible to bring back anything outside of the DR. Unfortunately over/under exposure scene and lights looks pretty different between KOMODO and C70 testing you did, but it looks like KOMODO does a bit better at +3 and considerably worse at -3, while being unusable (and much worse) below that. Might be quite an interesting test! Since you brought up C300 - to my understanding C300 has a bit more DR in RAW than in compressed formats, wondering if C70's footage is exactly the same as compressed on C300 or may be a bit closer to RAW DR performance. Wish they brought RAW recording (at least external over HDMI or dare I say USB-C) to C70. Would've made it a no-brainer for those of us wanting to go RF for video ... you might as well hint them (=
@@haroldlauhoyan I believe that requires support from the camera manufacturer, so ultimately that decision is on Canon. Yeah, that would be great but I would prefer ProRes RAW.
I too would love to see a Komodo/C70 comparison, as I think these two cameras are likely to be each other's closest competitors....maybe throw the A7Siii in there for good measure.
@@Thedudemannn If you like the look of the Speeds you should check out the Zeiss Contax stills lenses. The Media Division did a great video about them which you can check out here - ruclips.net/video/EUjUxKvXgpw/видео.html
I heard that there is a monitor that can control KOMODO wirelessly. It seems to be specially made for KOMODO. Does anyone know? Its brand seems to be called PORTKEYS, and its model seems to be BM5 WR. If you have used it, please introduce it. How does it feel to use it with KOMODO? I want to buy one and try it recently, thank you!
I see videos like this and am blown-away but the Komodo image, especially when I see some garbage out of it in less capable hands. I have a RED MX, Black Magic Pocket Cinema 4K and 6K and want to get with the Black Magic 12K or the Komodo and I'm soooooo back and forth. The BM12K has every single feature I want (internal NDs, downscaling resolution, stabilization, etc.) but the image, to me, so far doesn't look quite as good as the Komodo. The BM12K looks a bit video'ish to me still whereas the Komodo feels more organic. But, maybe it's the people using it, just like the early Komodo footage that looked terrible. Is there any chance you would be doing a Black Magic 12K video as well...? I would love to see a 1:1 comparison. I'm truly torn.
Hey! We are currently working on a 12K video and honestly they are VERY different cameras. Make sure to subscribe to catch it when we release it, should be out soon! Jake
@@CVPTV That's awesome, much appreciated. I'm literally losing sleep over it but I need to pick a lane on my next camera. I love the 12K's specs but I still haven't seen the "home run" shoot yet, where I'm convinced I could shoot a feature on it. I'm super curious, when you say "different,” which way you're leaning about it vs. the Komodo.
@@organismx Yeah, I really would love to see it. I'm still trying to talk myself into Komodo but the SDI issues and other firmware bugs are turning me off to it... and I'm not seeing hardly any BM12K videos that are the "ah ha" videos (even though I've gotten really, really great results out of my two BMPCCs paired with anamorphics). However... I don't know if it's breaking news but yesterday on Jarred Land's Instagram page where Zack Snyder was shooting a RED rig but I asked why the RED logo was blacked-out. And Jarred replied, saying basically it was a custom rig with something special under the hood, strongly hinting that it's next gen. I flat-out asked, "DSMC 3...!?" Others were like, wait, what? It was pretty interesting. I'm really hoping the new DSMC line will blow me away and then I'll make the big purchase again. The market is changing so quickly, it's amazing for filmmakers.
@@ronineditor9920 yes your right there are not a lot of good videos shot on the 12k , I head them talk about better colors with he new sensor , I wish someone could demonstrate that. The other think is that I would like to se a dynamic range comparison between these two. Jake said komodo real dynamic range is more like 13 but that they had mesure 14 with the ursa 12k . But how do they really compare in real life ? About the new dsmc line , I am sure they will be over $15,000, I am not sure that I can go above what a rigged komodo or an ursa 12k is going for now , considering I'll still need to get cine primes for whichever one I decide to with. The Ursa platform has everything I need, XLR ,NDs and manageable file sizes, good slow mo and nice image. I am just a bit worried for the Dynamic range .
''More natural motion of rolling shutter may be of benefit'' - The very science behind global shutter is to give it a more natural feel, to mimic human eyesight. Hence why top of the line cinema cameras like the Alexa and Venice have had this feature almost exclusively until the Komodo of course. That was a strange comment, great review though.
When he said that I was so confused. Lol I was trying to figure out if rolling shutter is more cinematic or something kind of like using 24 frames instead 30. Do you know if the Alexa mini has global shutter
@@chaceofspades4266 The Alexa mini of yesteryear had an extremely fast rolling shutter, basically almost a global shutter. They’ve since migrated to Global with the newer LF revision coming soon.
@@organismx Basically the whole point of the global shutter is to eliminate image bending when panning the camera. The image bending is due to the camera reading the image from top to bottom which is otherwise known as a rolling shutter. This is not how the human eye works. It sees everything all at once. If you move your head back and forth fast enough, you’ll notice things get blurry, but straight lines stay straight - which is what a global shutter mimics. Global shutters make handheld action footage look far more appealing. This is another reason why film also looks better than digital, mostly because of the way it treats light, but partly because all film cameras are considered a global shutter system.
@@retrofxmedia Thanks RFX , I am aware of the way global shutters scan the image and the straight lines , and the other thing that happens with flashing lights and everything .... the internet have bin talking all about it since the announcement of the Komodo , what I was under the impression that you were saying , is that the global shutter affected the motion cadence and that rolling shutter contributed to making the motion seems more natural and less digital , because I have seen others mention that but I never got a good explanation to why ... I am not even sure that is true ... people say all kind of things on youtube, I am just trying to learn and make the right choices for my movies.
01:30 you mean, if RED gave parts of their Ecosystem for cheaper, they get bought more often?! How unexpected :D /s Honestly, that was the whole point with Digital Cinema in the first place. People reacted to the Scarlet as if it was what young filmmakers / small companies desired all along - wasn't as cheap as most wanted it to be. Sadly. Still some amazing creators were able to pick one up (Corridor D. for an example). I feel Black Magic was successfully filling that nieche for some time now. So i hope they learn from the Comodo.
@@CVPTV Thank you for following up! OK .. soooo what lens would your recommend for this camera, and are there ANY videos that you know of which show this camera performing any zooming .... So far, I've not been able to find any at all. Thanks again, J.S.
Bro I don’t think u can just switch the sensor between rolling and global shutter on the fly I’m no expert so I could be wrong but I’m pretty sure dynamic range comes down to the physical sensor and can’t be changed in software
R3D files just give you more file detail to work with (original structure minus noise reduction). If you expose properly, while balance and light your scene correctly then no, you don’t need raw (blue/green screen)much easier to work with for fx with raw vs compressed though if you have a choice which usually you do not.
My favourite are zeiss 50mm milvus, canon 55 FD and the 58mm Helios 44. I use 16 35L for wide options all with and without .71 reducer. R3D HQ my fav file. Image is fantastic when exposed properly.
Thank you for the review! Well done! I was wondering if the Komodo can shoot stills as well to work in Lightroom or if there’s a post production workflow?
Hey Wisdom, thanks for watching. Yes you can, you can used RED CineXPro to export out an R3D frame which you can import into Photoshop and then save out as a PSD or 16bit TIFF and then import into Lightroom! Have a look on REDs RUclips as I think they have some videos talking about it! Jake
in my opinion, the only thing komodo is good in it is global shutter. this green tint higher ISO + less details in shadows is not so great. forget about higher framerate.
CVP and Gerald Undone has become the gold standards of Camera testing on youtube to me these last few months.
Filling the void of sensational & lazy video influencer content
i agree, this test was awesome
@@APOCRYPHAL I wouldn’t say there’s been a void...
+1
One of the most comprehensive, fact-based, reviews of any camera, anywhere. Thanks for that.
A Red CineX tutorial would be fantastic! Thanks for the content!
Beautiful shooting! The dynamic range and colors are staggering on this thing! That lighthouse/cliffs/sunset shot really stretched it to the limit, but wow was that beautiful.
The images out of the Komodo are simply red :) Great quality images - especially the flesh tones. There's a definite cinematic quality to the images and very nice looking dynamic range across all of the shots. Of course the RED RAW codec offers amazing degrees of post tweaking heaven ! The Komodo is an incredibly hyped camera which seems to deliver on all of that hype ? The images do not disappoint.
Damn that footage looks good. Well done CVP.
Amazing video and really helped me understand my Komodo even more. I'm curious of what lens you used for those sunset shots?
2:11 for that vibe on repeat
Thanks for the video.
Please compare R5 Raw, the A7sIII raw (if already possible), BMPCC 4&6K Braw to the Komodo. Is it fair the price diference between those, comparing the image quality?
Might not make sense to compare until Sony have updated the firmware to include WB and ISO metadata over HDMI. This is what cripples the Sony cameras so you can’t change those things in post.
Not sure if we can call "fair" the price difference in one way or another since it does not boil down to only the RAW files. (some cameras are made in the USA, Japan or China, BRAW is part-processed in camera, recording externally from the Sony A7SIII implies converting the 16 bit lenear RAW data to 12 Bit Log [at least for now], sensor sizes, sensor resolutions, pixel pitch, I/O and so on... There are so much variables that JUST how the RAW is handle isn't enough one way or another IMO)
best video on youtube for komodo info!!
this is the video I have been waiting for. Watching now
Even after black shading the LQ footage is extremely noise out of my Komodo. The exposure is correct. Do you have any solution for reducing the noise?
I watched the Red Solitary series yesterday and the guy mentioned ProRes downsamples the 6k which is pretty interesting. So you get the full sensor width at 4k 60fps but no raw advantages still a nice option to have vs the raw crop
Thanks for the video. It would be great if you guys created a video on the post-production process with Red cameras.
please compare komodo vs a7 siii, thank you it was a really really great video
21:20 - Komodo uses exFAT not FAT32 as far as I am aware. And idea w/ 2GB per file is to save your footage from loosing battery power, not limitation of exFAT (as is the case with FAT32). BTW - Great video as always! Thanks.
Oh interesting, I've heard from many sources it was FAT32 but this makes sense too. Where did you hear this?
@@mineralsoundin one of over 20+ hours of videos I watched Jarred talk about Komodo over the past few months... Can't remember which. But also on my own CFast 2.0 card out of Komodo - it shows exFAT format.
What do you think of the Zeiss Otus lenses for this camera ?? Are they really worth that much money ? I have the white ST edition and considering those lenses . But I also have irix 45, irix 150mm macro , sigma 18-35 cine lenses among others.
We absolutely love the Otus lenses, they are some of the best primes you can get for sub 5K. They are very close to the image you will get with the Supreme's just without the mechanics/feature set. Jake
Great video, I am thinking of buying one and got all the basic informations I needed.
Thank you for your good work !
Thanks for watching! Jake
I can see a very striking jello effect in the very first shot @ 0:36 in the clouds on the top right. How can this be as the camera is supposed to have a global shutter? Does it have a rolling shutter mode? Or was the footage stabilized with a tool that tries to correct for rolling shutter while there wasn't any in the first place, so in effect introducing jello instead of removing it?
It was a bad warp stabiliser pass we missed. Jake
I would definitely love a video going more in depth with RED Cine X. It isn't a part of my current R3D workflow basically due to lack of knowledge on the program. I would at least like to understand the program and then decide whether I should add it to my workflow. Cheers for the video!
The glass looks amazing. Can you please list the lens(es) you used for the test footage?
It was a mix of our Zeiss Otus Set, Milvus 100mm macro, Sigma 18-35 and Sigma 70-200 sport. Jake
Nice Review as always! One question please, what are the crop factors when you change to Prores 422 HQ or 442 in the Komodo? Regards!
At the graphic at 20:13 you can see the use of the sensor on the left then the resolution of the ProRes file on the right. So the crop factor will be the same as R3D when in the different sensor formats. Jake
@@CVPTV In the Helium 8K, I can shoot at 4k Prores HQ up to 60fps, setting the 8k Full Frame sensor resolution, I think probably in the komodo we can manage in a similar way, but now I have clear that. Thank you very much!
Yeah that's what I meant in the last message, sorry if it wasn't very clear! Jake
@@CVPTV ]
How does the Komodo compare to the Scarlet-W? There's so little information on these two head to head, but they seem like quite close compatitors.
DSMC2 is a very different system to KOMODO. Depends on what’s important to you! I would suggest trying to get your hands on them both and seeing which one you prefer. If you have any more specific questions, let me know! Jake
Amazing overview! The only thing I'd ask is that when doing examples of software screen recordings, you reduce the resolution so text and elements are large enough to read. Premiere Pro text elements looked tiny in the examples.
It would be great to have the option to watch this video without the RUclips compression, simply because there is so much comparisons.
Wow you guys have been working hard, I thought the Video was very informative and you have some beautiful Footage of Beachy Head and the Channel and south coast, One shot looked very like Rye, man I feel homesick and I'm not even English...ha ha ha. May I suggest Dungeness as your next day out, I 'd love to see some footage of that ;)
Haha yeah just a tad! Thanks, we actually nearly went to Dungeness but but it was a much longer drive than Beachy / Shoreham. Maybe the next camera review! Jake
thorough, excellent review. great work
Glad you liked it! Jake
I just came from the Ursa 12K video and I must say although I liked the image from the Ursa a lot I prefer the RED image. It just seems more organic somehow, I guess they have just perfected their colour science more than BM at this point.
At this price point all these cameras are capable of whatever you want. Put up some good lights and cinematography and you got a nice look. I think they both are capable of looking organic and/or filmic. One of my favorite Ursa test videos was from the 4.6k 4 years ago. ruclips.net/video/Y0dzPp1WBUU/видео.html
@@FinalGrade I agree 100% that they are both capable of achieving very similar looks. The RED has just a little bit better colour, colour separation and nicer contrast out of the box to my eyes.
@@RubenStuveling Yeah the color definitely is really good. Red Raw files are pretty awesome. It has been a struggle for me to decide between this or Ursa Pro haha.
@@FinalGrade I'm on the same boat. And now also thinking about the BMPCC 6K Pro. So much features for so little money. But I do still feel you are giving up some image quality. Although like you said, you can probably match them pretty well in post.
@@RubenStuveling I have a bunch of tabs open on my laptop with Red Komodo and Ursa 12k / 4.6K footage , trying to compare them, and I see the same thing as you , for some reason the red footage alway seem to be cleaner and some times richer, even tho it has a lot to do with the grading and that their are some clean Ursa footage out there , but it seems to be a common theme where the Ursa seem to have that brown tint to the like you are looking through a veil , it's har to explain. And the greens seem to look brownish , I have seen some clip where this if corrected for in the grade ... but I prefer the form factor of the Ursa with that built in XLR and NDs not to mention the integration with Davinci and the frame rates. I am still trying to decide , because like you said the RED footage looks Official 🔥🔥🔥!!! It' feels to me like , if you get the Komodo , that's it , you have arrived , now all you need if to work on your kraft , perfect your lighting , and you story telling, but now you need to mess with ND's and sink audio. Ursa seems like the better package for me at the stage stage that I am at.
1. Can you adapt canon EF (both FF and APSC) lenses to Komodo's native RF mount?
2. I have very little hope for this but still, can you adapt Sony E mount lenses to Komodo?
Hey Mithin, yes you can adapt EF to RF, we cover this in this video - ruclips.net/video/u10B82r2dew/видео.html E mount isn’t possible as RF has a greater flange distance than RF. Thanks, Jake
@@CVPTV again thank you Jake.
AMAZING
In my opinion, CVP
is the best and most specialized channel for reviewing cinema gears
Thanks you Nathan & thanks for watching! Jake
Great review my friend. I was really surprised by the motion cadence as well. It seems similar to the Alexa XT in that regard. Which seems to be missing on many Red cameras. Of course the XT colors and DR are another story. Did you find this the case as well? It seems to hold a decent cinematic value in motion alone. Cheers!
Hi, may I ask you if you did any color grading or it is straight out from the camera shots?
🤣
All graded since camera records flat, giving you the ability to tweak the image to your liking without ruining the look of your footage so easily.
Edit: See 24:05
c70 vs Komodo would be really interesting
quick question, were all of those amazing looking outside shots at 800 iso???
Thanks. Great review. I would like watch comparison with Canon C70 :)
Does this camera capture 16-bit raw internally? Or is it compressed to 12 bits? Please let me know
The camera records at 16 bit internally and the raw files have the same bit depth.
@@jerchongkong5387 Thanks for the reply. However, one of the cinematographers told me that it captures in 16-bit but compresses it in 12-bit raw.
Fantastic breakdown. Thank you for all the hard work you surely put into these SUPER IN DEPTH reviews!!
Glad you liked it, thanks for watching! Jake
Nice work guys 👍🏼
It appears that the red Komodo Luts is not available for download when I click your link? Any help would be appreciated.
Hey Allen, Please try this link here - support.red.com/hc/en-us/articles/360041467533-RED-LUT-Downloads
Beautifully executed review with inspiring footage to match. Where did you source such a dreamy soundtrack?
Great review! I'd love to learn more about the post workflow. Soon to be a first time RED owner ;)
Would also love to see a summary of all of the best rigs, media, batteries, modules, etc. There are too many ways to rig this thing out lol
Thanks Peter, these are both things we want to explore in later videos so keep your eyes peeled! Jake
Where is the Ursa Mini 12k Review???! Thank you in advance.
Working on it!
@@CVPTV Jake you said the in the real world the dynamic range of the Komodo is more like 13 stops , and in the Ursa 12k review you said that in the lab test you guys found that the Ursa 12K had 14 stops. Which one of the two would you said has more usable stops in the everyday filming ??? if that comparison is even possible ... thank you
It would be great to hear just one reviewer talk about colour space and the colour bit rate of this camera. I have looked everywhere and cannot find any I formation. Do you know what it is and if this changes between Prores and RAW? Thanks
I believe I did talk about the colour space options and bit depth. In R3D it is 16-bit and ProRes 422 HQ is limited to 10-bit. Jake
Awesome as always. Thank you!
what is the lighting setup during the dynamic range testing ? want to know it Thanks !
great work..
please compare komodo and c70
Great video! Nice work, send my best to Max too!
What about the new speedbooster made for canon c70? Is it gonna work on this?
This is something I want to test, we only had the Canon SB for a day so didn't have a chance to. However it should mount fine, the only issues may be communitcation but again need to test it! As soon as we do we will do a social/community post so keep an eye out! Jake
In premiere pro they say what u see before export is not what you see after you export as far as color goes and they say final cut is more exact . with final cut what you see is what you get after the exporting footage . what is your take on this ?
Yeah Premiere's colour pipeline isn't the best. We haven't used FCP too much as we are primarlily Windows users. We've found Resolve to have the best pipeline that we've used in our Studio. Jake
@@CVPTV to eliminate this I can edit in premiere then export and color grade in resolve then export out of resolve for final product or no ?
Great review. Wish you did similar landscape shots on the c70. Hard to compare each camera now.
This overview was fantastic. I'm thoroughly looking into either this or the Canon C70 as my main camera. It concerns me that supposedly the Red company intended this Komoda as just a B cam. I'd love to know how the Komodo compares against the C70.
Can you make komodo vs canon c70 detailed review.
Absolutely amazing review, you will explode soon on subscribers, starting with mine :). I do wish this camera was 2X anamorphic sensor friendly without cropping the data on left and right side.
What happened to the sky top right corner at 0:38?
Bad warp stabiliser pass. Jake
Really great video!
whattttttttttttttttttttttttttttttttttttttttttttt??????????????????????
I would love to see you guys do a Komodo test against the Pocket 6K. Cheers!
Need a color grading tutorial on these footages!
Great footage!
Awesome review !!!
Glad you enjoyed it! Jake
Looking at potentially purchasing this camera but cant until they can run RF mount natively. I don’t understand how you have a mount that you cant even use properly.
Yeah I'm hoping this is something they fix asap as some of the RF lenses are stellar! That and being able to use the Canon control rings on the adapter and lenses would be an awesome addition! Jake
It makes sense as the RF mount is full-frame compatible and very adaptable, but there are some great RF lenses out there and I agree it's very strange that it's not a hot mount.
Thanks for a professional overview, love your videos and presentation! I think a lot of people would love to see a comparison of KOMODO and c70, especially dynamic range and usability of slow-motion up to 50fps (point where KOMODO doesn't crop in that much and Canon still uses DGO). It would also be nice to know if Canon's newly introduced focal reducer (aka speedbooster) works on KOMODO. Cheers!
Thank you for the kind words! Yeah I totally get why people will be comparing them, both have pro's and con's, so really will come down to what the end user prioritses. Image wise I think the tones and colours of the Komodo look better but the C300 has better low light performance and slightly more DR. Yeah this is something I do want to test as it should work! Jake
@@CVPTV thank you for the good work :D I would choose DR over color because you can more or less grade the color to look nice yet it's impossible to bring back anything outside of the DR. Unfortunately over/under exposure scene and lights looks pretty different between KOMODO and C70 testing you did, but it looks like KOMODO does a bit better at +3 and considerably worse at -3, while being unusable (and much worse) below that. Might be quite an interesting test!
Since you brought up C300 - to my understanding C300 has a bit more DR in RAW than in compressed formats, wondering if C70's footage is exactly the same as compressed on C300 or may be a bit closer to RAW DR performance. Wish they brought RAW recording (at least external over HDMI or dare I say USB-C) to C70. Would've made it a no-brainer for those of us wanting to go RF for video ... you might as well hint them (=
@@Stanlyok it would be interesting if blackmagic brought braw to c70 like they did for the old c300
@@haroldlauhoyan I believe that requires support from the camera manufacturer, so ultimately that decision is on Canon. Yeah, that would be great but I would prefer ProRes RAW.
I too would love to see a Komodo/C70 comparison, as I think these two cameras are likely to be each other's closest competitors....maybe throw the A7Siii in there for good measure.
what optics did you use to shoot on Red?
Was a mix of Sigma 18-35 & 70-200 sport, Zeiss Otus 28 & 55 & a Mamiya Sekor-C 45mm. Jake
Great job guys! What lenses were used with the Komodo?
Thank you! Was a mix of Sigma 18-35 & 70-200 sport, Zeiss Otus 28 & 55 & a Mamiya Sekor-C 45mm. Jake
@@CVPTV Thanks Jake. Well done
how to do slow motion with the red Komodo and with what format (6K)
Please test Zcam f6,S6 vs Red komodo.
minus autofocus, minus red raw
What are some of the best cine lenses for the Komodo 6K in your opinion?
Lens recommendations are tough as it really depends on your personal preference, budget and production. What kind of look are you looking for? Jake
CVP A cinematic, Professional look. Like the cine high speeds used in the shining by Kubrick.
@@Thedudemannn If you like the look of the Speeds you should check out the Zeiss Contax stills lenses. The Media Division did a great video about them which you can check out here - ruclips.net/video/EUjUxKvXgpw/видео.html
Thank you CVP! TOP!
Hey, is there a way to get the RAW files of your exposure tests ?
I would love a more indepth walk through of red cinex pro
Am I right, the highlight rolloff looks a bit harsh, like there isnt very much DR in the highlights?
To me the roll off is really nice, theres only one shot that is super bright and thats because we exposed for the subject not the sun. Jake
I heard that there is a monitor that can control KOMODO wirelessly. It seems to be specially made for KOMODO. Does anyone know?
Its brand seems to be called PORTKEYS, and its model seems to be BM5 WR. If you have used it, please introduce it. How does it feel to use it with KOMODO?
I want to buy one and try it recently, thank you!
Great
0:39 This doesn't look like a global shutter. Is this because of the beta?
It's a bad warp stabiliser pass that we didn't notice!
what about the pl mount? is this available for komodo ?
A few different brands do RF to PL adapters such as Kippertie, Wooden Camera, Vocas & Metabones. Jake
I see videos like this and am blown-away but the Komodo image, especially when I see some garbage out of it in less capable hands. I have a RED MX, Black Magic Pocket Cinema 4K and 6K and want to get with the Black Magic 12K or the Komodo and I'm soooooo back and forth. The BM12K has every single feature I want (internal NDs, downscaling resolution, stabilization, etc.) but the image, to me, so far doesn't look quite as good as the Komodo. The BM12K looks a bit video'ish to me still whereas the Komodo feels more organic. But, maybe it's the people using it, just like the early Komodo footage that looked terrible. Is there any chance you would be doing a Black Magic 12K video as well...? I would love to see a 1:1 comparison. I'm truly torn.
Hey! We are currently working on a 12K video and honestly they are VERY different cameras. Make sure to subscribe to catch it when we release it, should be out soon! Jake
@@CVPTV That's awesome, much appreciated. I'm literally losing sleep over it but I need to pick a lane on my next camera. I love the 12K's specs but I still haven't seen the "home run" shoot yet, where I'm convinced I could shoot a feature on it. I'm super curious, when you say "different,” which way you're leaning about it vs. the Komodo.
@@ronineditor9920 and @CVP I think a comparison between Komodo and Ursa 12K is something the World really needs right now.
@@organismx Yeah, I really would love to see it.
I'm still trying to talk myself into Komodo but the SDI issues and other firmware bugs are turning me off to it... and I'm not seeing hardly any BM12K videos that are the "ah ha" videos (even though I've gotten really, really great results out of my two BMPCCs paired with anamorphics).
However... I don't know if it's breaking news but yesterday on Jarred Land's Instagram page where Zack Snyder was shooting a RED rig but I asked why the RED logo was blacked-out. And Jarred replied, saying basically it was a custom rig with something special under the hood, strongly hinting that it's next gen. I flat-out asked, "DSMC 3...!?" Others were like, wait, what? It was pretty interesting. I'm really hoping the new DSMC line will blow me away and then I'll make the big purchase again. The market is changing so quickly, it's amazing for filmmakers.
@@ronineditor9920 yes your right there are not a lot of good videos shot on the 12k , I head them talk about better colors with he new sensor , I wish someone could demonstrate that. The other think is that I would like to se a dynamic range comparison between these two. Jake said komodo real dynamic range is more like 13 but that they had mesure 14 with the ursa 12k . But how do they really compare in real life ?
About the new dsmc line , I am sure they will be over $15,000, I am not sure that I can go above what a rigged komodo or an ursa 12k is going for now , considering I'll still need to get cine primes for whichever one I decide to with. The Ursa platform has everything I need, XLR ,NDs and manageable file sizes, good slow mo and nice image. I am just a bit worried for the Dynamic range .
Wait it doesn't have variable frame rates???
lets get them reds everybody whattttttttttttttt??????????????
''More natural motion of rolling shutter may be of benefit'' - The very science behind global shutter is to give it a more natural feel, to mimic human eyesight. Hence why top of the line cinema cameras like the Alexa and Venice have had this feature almost exclusively until the Komodo of course. That was a strange comment, great review though.
When he said that I was so confused. Lol I was trying to figure out if rolling shutter is more cinematic or something kind of like using 24 frames instead 30. Do you know if the Alexa mini has global shutter
could you elaborate more ?
@@chaceofspades4266 The Alexa mini of yesteryear had an extremely fast rolling shutter, basically almost a global shutter. They’ve since migrated to Global with the newer LF revision coming soon.
@@organismx Basically the whole point of the global shutter is to eliminate image bending when panning the camera. The image bending is due to the camera reading the image from top to bottom which is otherwise known as a rolling shutter. This is not how the human eye works. It sees everything all at once. If you move your head back and forth fast enough, you’ll notice things get blurry, but straight lines stay straight - which is what a global shutter mimics.
Global shutters make handheld action footage look far more appealing.
This is another reason why film also looks better than digital, mostly because of the way it treats light, but partly because all film cameras are considered a global shutter system.
@@retrofxmedia Thanks RFX , I am aware of the way global shutters scan the image and the straight lines , and the other thing that happens with flashing lights and everything .... the internet have bin talking all about it since the announcement of the Komodo , what I was under the impression that you were saying , is that the global shutter affected the motion cadence and that rolling shutter contributed to making the motion seems more natural and less digital , because I have seen others mention that but I never got a good explanation to why ... I am not even sure that is true ... people say all kind of things on youtube, I am just trying to learn and make the right choices for my movies.
01:30 you mean, if RED gave parts of their Ecosystem for cheaper, they get bought more often?! How unexpected :D /s
Honestly, that was the whole point with Digital Cinema in the first place. People reacted to the Scarlet as if it was what young filmmakers / small companies desired all along - wasn't as cheap as most wanted it to be. Sadly. Still some amazing creators were able to pick one up (Corridor D. for an example).
I feel Black Magic was successfully filling that nieche for some time now. So i hope they learn from the Comodo.
Please Compare it to the zcam s6 !!!
Nice Video, but why are there no zoom shots?
We only had stills zooms on this shoot no cine stuff so zooms would have looked awful tbh. Jake
@@CVPTV Thank you for the response ... OK, so how would this camera be able to perform sweet zooms? Or is it just not possible yet? Thanks again :)
@@josephsardone8971 Smooth zooms aren't linked to the camera, they are lens dependent. Jake
@@CVPTV Thank you for following up! OK .. soooo what lens would your recommend for this camera, and are there ANY videos that you know of which show this camera performing any zooming .... So far, I've not been able to find any at all. Thanks again, J.S.
Pretty much any cinema zoom lens, alot of people seem to be enjoying the DZO Pictor Zooms with this camera so maybe those.
can we download some of thoose clip? thank you
Yeah will post on the Facebook thread & desciption in a bit mate! Jake
Thanks super useful
Bro I don’t think u can just switch the sensor between rolling and global shutter on the fly
I’m no expert so I could be wrong but I’m pretty sure dynamic range comes down to the physical sensor and can’t be changed in software
I thought the point of shooting in raw is you don't have to worry about exposure so much? But he says it's extra important on the komodo? why?
R3D files just give you more file detail to work with (original structure minus noise reduction). If you expose properly, while balance and light your scene correctly then no, you don’t need raw (blue/green screen)much easier to work with for fx with raw vs compressed though if you have a choice which usually you do not.
2:27 and 2:43 😍
Filmbias looks great
great!
What are your favorite lenses to use with the Red Komodo? What are your favorite matte box and filters.
My favourite are zeiss 50mm milvus, canon 55 FD and the 58mm Helios 44. I use 16 35L for wide options all with and without .71 reducer. R3D HQ my fav file. Image is fantastic when exposed properly.
@ Thank you very much.
13:32 good tip
I fucking need that 4k 120
Thanks bro
Beachy head has never looked so good
Thank you for the review! Well done! I was wondering if the Komodo can shoot stills as well to work in Lightroom or if there’s a post production workflow?
Hey Wisdom, thanks for watching. Yes you can, you can used RED CineXPro to export out an R3D frame which you can import into Photoshop and then save out as a PSD or 16bit TIFF and then import into Lightroom! Have a look on REDs RUclips as I think they have some videos talking about it! Jake
@@CVPTV wow you’re a champ! Thank you!
Does the Komodo still crop in at 120 frames/s in Prores?
Yes it does. Jake
You didn’t watch this video, did you?
Love the footage quality is it 8k?
No 6K capture, 4K delivery! Jake
Awesome footagd
Thanks 👍
Lord help you if you have to review that sad, crippled Panasonic Zcam clone :| Viva Le Komodo!
BMPCC6K or Komodo? 😬
Two very different budgets tbh! I would also check out the Z CAM S6 & F6 too! Jake
Ursa vs. Komodo is a better comparison, Komodo is 3x the price.
$$$ is one factor, not the only factor...
in my opinion, the only thing komodo is good in it is global shutter. this green tint higher ISO + less details in shadows is not so great. forget about higher framerate.