No. Filming under water I really need RAW video (because colors under water are a real challenge) and Canon's RAW video implementation is not that great. Even though I don't like the company (because they are litigious with their patents on compressed RAW) a RED Komodo might be the best thing for now. Until their patent expires and we finally get proper ProRes RAW implementations. ProRes RAW files would be so much faster to edit with. 👍🏻
I'm a big user of the Arri cam's. But recently I've been shooting way more on the Sony Burano for run and gun shoots, the autofocus and the variable-ND is liberating. Sometimes I just don't wanna deal the technical side and just focus on the creativity. Whatever tool supports you the best in your creative vision or flow at this moment, is the best tool I guess. If the Komodo is working for you, just stick with the Komodo.
Well done, Damien. Thank you for posting. I shoot mainly with my Komodo for artistic, image centric projects and my old FS7 for interview and docs. That 10 year old camera is still great for that kind of work. But, I do agree with you about ND with RED. The fastest work around I’ve found is using magnetic NDs. I have several step up rings on my lenses so they all accept the mag NDs.
I honestly think it's wild that you'd even consider selling your RED kit for this camera. I shoot C70 + R5C, and pre-ordered the C400 literally the minute it went up. I'm extremely excited for this camera.. but even I don't think I'd have been excited enough to go through the hassle of switching systems for it. Now yes, RED and Canon cinema are kinda cousins since they're both based on the RF mount, so I'm sure there are a lot of things that will carry over... but there are a lot of things that won't, and to me, the C400 seems like it's only good enough to keep current Canon owners on board.. not quite spectacular enough to get anyone to go through all the hassle of jumping ship from anywhere else.
it really depends. As I said in a recent video I don't do much commercial work anymore. I do have a multi day shoot tomorrow for an old client though. If this is what I would keep doing I 100% switch to the C400.. The RED is just not made for this I feel. There are definitely reasons for it. But you're right. As of right now it might not be enough
@@damiencooper So to be sure: you think this C400 is more a run and gun documentary stile camera than the Red? Mostly because of ND and native RF lenses autofocus?
@@onnonugteren2935 no, not at all. I think shooting run and gun documentary with the RED is just fine with the new audio ports and how small and modular it is. But you do need more people and often more time with the RED. So it depends. I wouldn't want to shoot a 2 - 3 angle Interview with just REDS without having one person at every camera at all times. Files sizes are also massively bigger so that's something to keep in mind. But yeah, if small commercials, fast type content and documentaries are all I shot I would 100% prefer the Canon
@@damiencooper If it’s a matter of files size, wouldn’t choosing Prores 422 for certain projects be sufficient? And there is also the option to use DJI Lidar for moments when autofocus is needed as a solo shooter, or even for multicam interviews. Honestly, apart from the internal ND filters and the fact that the camera powers on instantly, I don’t really see the advantages that the C400 would have over the Komodo X. But maybe I’m wrong? Perhaps you should keep a Komodo X, sell one, and use a C70 for run"n"gun projects?
@@JS_Leger prores 422 is as big as RAW LT on the C400. The lidar is great but still fiddely, expensive, adds weight and gear to it is nowhere near the same experience as real autofocus
Great vid man! Question coming from the C70 is the image much better with the Komodo x? Considering on selling my c70. Thanks bro! Keep up the good work
Missed you man. Glad to see you pop up in my feed again! I have a C300 MkIII that I rigged out based on your input. Love that camera but I'm intrigued by this new one. Maybe I'll make the switch.
Hi Damien! I'm a C70 shooter and heavily depended on the AutoFocus for Fashion shoots. I was on the fence to go for the Red Komodo X, because I like the look of RED, but I'm a bit scared of it's AF capabilities. Now, with the C400, and AF II, I should probably look into Canon again? What do you think? Glad you are back!
Nice that you are back Damien, your videos are always very informative and well articulated; you are very talented in this craft of explaining technical concepts and the filmmaking experience to people who are starting in this field and want to go to the next level. We have to wait to see how the image quality of the C400 stands against the RED Komodo X. My guess is that C400 will still have more of a 'video look' than the Komodo X, which we know is quite 'cinematic'. If that's the most important thing to you (image quality, the film look) I will stay with Komodo X. But maybe, instead of the lovely C400, you should consider the coming Blackmagic Ursa Cine 12K. This camera is probably going to be incredible in terms of image quality and color science (very filmic). It offers real-time downsampling in 8K/4K (from 12K, full width of the FF sensor), records in solid 12-bit compressed Braw (Blackmagic Color Science), offers very high frame rates, quite fast RS, a proper EVF, it comes with 8 TB of ultra-fast internal memory included with the camera, has solid internal NDs, BM claims 16 stops of dynamic range. If AF is important to you, you could also pair it with the new DJI Focus Pro to get pretty good AF with your manual cinema glass (more cinematic look than photo glass). Additionally, you would be able to use your best s35 lenses and record s35 crop at 5.9K resolution, so you are basically getting two cameras in one (a FF and a s35). Maybe size and weight would still be a concern to you: BM Cine 12K weights 2.5 Kg versus C400 at 1.5 Kg and Komodo-X at 1.2 Kg). Honestly, I don't know why this camera hasn't have the hype it deserves. It's price is $15K, near double the C400, but I have the perception that it would be a camera with an image quality and performance far superior than the C400, and one that will compete hand in hand with the big boys that costs several times more (V-Raptors, Buranos, Alexas, Venices). Interesting times in camera technology.
If it had 12 stops (usable) of DR or more you should pick it up. Maybe wait to see what else gets released this year though from other camera brands to see if that influences canon to add stuff via firmware or even cut the price.
I'm facing this exact dilemma at the moment. The C400 is very compelling. The internal NDs and all-round package make it a tough call. The KX does things it cannot, but I can cover the things the C400 has if I take the modular approach to the Komodo X. As you say, it's great for fast-paced situations, where RED cameras typically aren't. Maybe I just save more, keep the KX and have both.lol What are you leaning towards?
@@CringePanda don’t get me wrong, C300iii and C70 are great piece of kit but full frame is where it’s at for me creatively and in a switch of a button you can go super 35 also. I wasn’t a big fan of the C70 form factor and monitor but then again you have the RF mount which can be a plus for some. Second hand C500ii prices are just too good now for what you get.
So glad to see you back bro one of my favorite YT in this field! Also as someone who was looking for a camera to pair with my c70..... i would get the c400 over the komodo X but if i owned the Komodo i wouldn't sell it for a c400 un less i was dying for af.
Hi Damien. Can you help me or someone else? I have kind of niche -question. I own the C70 and the R6ii and do TV run and gun work. The R6ii has great downsampled lowlight and a great looking but only 8bit 4k 50p. I got the R5ii now for the 4k 100p and better codecs but I shocked about the lowlight capabilities. If you had the C70 and R6ii and the chance to replace one of them - would you get the C400 for the C70 or the R5ii for the R6ii?
I probably walked past you at Cine Gear. Just saw the C400 @ Infomm. I agree with everything you said. Will your clients know a difference? If not, buy it for fun. Happier people work better with others. They also get more work.
Question for you if you dont mind. I noticed when you were using the C300mk3 you always used an external monitor, you also touched on that subject here. How were you able to do all your adjustments (iso, fs top etc etc etc) without using the Canon LCD? I realise you lose the tracking function but always wondered how you regain all the other info.
The canon cameras are amazing with all these custom buttons. It’s so fast and easy. Faster than using the screen. I even have a video on my channel about the exact button layout I used on the C70
@@damiencooper Thanks mate i'll look that up. 1 min after I wrote this I watched another vid explaining OSD, I was coming back to delete my noob comment. But maybe it may help someone else. I was more referring to seeing your adjustments rather than just a clean feed. But again I understand it's done via OSD
Ill say this, its a stacked sensor, now its still canon and they do magic but I think the reason the camera has triple iso instead of just dual iso is because of the draw backs of a stacked sensor in terms of dynamic range. Will see for sure
I mean as a filmer if one can’t achieve what they want to achieve with a RED then I don’t camera is the issue. Even though to most people the specs might be underwhelming compared to others, the camera will still will be a work horse cause honestly reliability is a very underrated feature which most ignore. CVP has an amazing video highlighting all the features especially the DR which is better than even the Raptor.
If your goals for the next few years are narrative projects with a crew I think you’d be be better off just sticking with what you got and investing in some passion projects. If you see yourself doing more projects with a limited crew or doc work then your decision is waaaay harder as the Red system really doesn’t excel in this area and the Canon does. For me, I work full time as a solo visual content producer creating branded content and doc’s. I’ll definitely add the C400 to my kit (currently on a C70 + R5) however I am going to wait till the new year. That way others can work out the kinks with it saving me finding out on an assignment that there is some issue with it.
Depends of the project... If you need autofocus a big YES! If you have the workflow and space for R3D RAW in every projects then Go for RED.. 3 differend native iso´s... doesent matter really.. just turn on the light.. :P If they had found a way to get good rolling shutter performance with a full frame DGO sensor that would have been the shit! The Canon C400 + the RF 24-105 f2.8 would be kind of brilliant.. but depends what the projects need and how big they are.
For my line of work, a RED camera wouldn’t work. Instead, I’m questioning myself if should wait for the C70Mark2 or get the C400 now. I wish this camera had the DGO tech.
They did a pretty good job trying to create a bit of an "everything" cam. There isn't some glaring OUCH spec or factor that makes big chunks of people run away. I think it could be very popular.
Lack of an EVF is not a minor thing for many serious filmmakers. Hope it can work with the Blackmagic EVF or another third party piece. A representative told me that Canon is not planning to come up with an EVF in the future. Sony also didn't provide one for the FX6 or Burano, and they took out the A7siii EVF from the FX3. It seems that these companies are listening too much to the mirrorless crowd ---mostly millennials who have never experienced an EVF and who have learnt photography and video by looking at screens on their phones. Fortunately Blackmagic understood the importance of an EVF.
@@damiencooper say Nikon using Z mount lenses plus some 3rd party lenses that are in use or specifically Cine type lenses that can be used on Mirrorless cameras.
But the C400 and keep both! They are both RF, so share lenses. Use the correct tool for the job. I’ve heard that match well together, too, for possible multi cam jobs.
If you already went through the process of selling all of your canon gear and went full onto Red etc.. Switching back for 1 Camera Body even if the C400 is great would be asinine. The only time you make a switch like that is.. if the gear you have now is unable to produce results that you need to achieve.. Or it atleast complicates and adds so much time to get the results you want. Since I'm currently still with Canon. I'm going to probably sell my R5 & R6 then buy two R5II & a C400. I want a 3 camera set up for video plus when I shoot photos for gigs I use two camera bodies. If the New bodies are up to snuff.. then that's the route I'll go. Saying that.. I do Loooooove the Red Komodo.. I almost went that route. I also almost went the Black Magic Route with the Pocket 6K & the Ursa Mini but was on the fence there
Great to see you again! And I look forward to your short and your other videos. Off topic about monitor; Portkeys or Small HD to control an R5C, any experience about this?
If you want FF, then switch. If you want to keep your lenses, then you could wait for the C70 MKII, most likely it will be like a 6K C400 but in 35mm. If you don't mind switching the external ND's, then stay with the RED. For me, I'll hope that a possible R5C MKII will offer internal ND, 15 steps DR, 3x base ISO, better battery, 8K 60 with a internal battery, ....then I would get the R5C MKII.
@@damiencooper If Canon wants a bestseller, then internal ND's would be a good argument in a R5C MKII. I guess I'll buy a R5 MKII, and if some months later Canon will announce a R5C MKII with internal ND's, this would be my reason to invest again. For me it would make no sense for Canon to produce a R5C MKII if it has no internal ND's. Without them, it would be to close to a R5 MKII, if you are right, then most likely there will be no R5C MKII. I guess most of the R5C users would upgrade to a new one if it has internal ND's, and it would make a lot of Sony and Nikon users to switch to Canon, not the professionals, but a lot of ordinary filmmakers.
@@damiencooper Internal NDs on the R5C MK2 will be a game changer. 😎 But I guess you are right...sadly Canon won't implement that. We need a small form factor FF camera with internal NDs and 32-bit float audio recording. The Canon R5C MK2 has that potential. It can be the equivalent of the Panny GH7 in the FF world. The GH7 has added some amazing features, making it a true modern-day hybrid camera. Wish list for the Canon R5C MK2 (to be a true upgrade and a pro cine/hybrid cam): 1. Internal ND (the Blackmagic 6K Pro has done it years ago at an affordable price point, so I guess Canon can too, if they want). 2. 32-bit float audio recording (like the GH7). 3. Better audio PreAmps and physical audio dials. 4. Mini XLRs and a locking 3.5mm audio input mic jack. 5. Full-sized HDMI. 6. IBIS. 7. Canon Log2. 8. Canon RAW Light in 4K and 6K. Make Canon RAW Light as easy to edit as the RED R3D files. Canon needs to work on this. If they can manage to smoothen the post- production workflow of Canon RAW, then RED might have serious competition. 9. ProRes RAW and Arri RAW (like the GH7...but why would canon do that?). 10. 16-bit RAW. ✌🤞
As to the both cine zooms? That‘s the big question. There‘s more and more full frame zooms coming out. But they‘re not the same. For most projects I would likely use primes and for run and gun doc work I might just use AF lenses
@@damiencooper You might should have a look on the RF 24-105mm f2.8 L IS USM Z lens, and the upcoming RF 70-200mm f2.8 L IS USM Z. These lenses well be my go to fast zoom lenses for shooting video and well get some fast primes like the RF 50mm f1.2 L and the RF 85 f1.2 L for interviews, and the 10-20mm f4 L as for the ultra wide shoots when needed
If I were you, I wouldn't switch. The triple ISO is great for documentary or projects where you can't properly light the set, which usually isn't your case. Additionally, full-frame lenses are always more expensive, and apart from that, there's not much difference in image quality between the Canon and the Komodo.
When Canon figures out the "sauce" that makes an image quality look like an actual "CINEMA" camera then I may consider it. What I mean by that is that RED, ARRi an even BLACKMAGIC all share that sauce (in their own way). They have this organic, movie film texture-like image quality straight out-of-camera that makes them so appealing. Canon for some reason can't achieve that. Don't get me wrong, Canon has a beautiful image quiality as well, but on the "DIGITAL" side of things, not cinematic.Good for broadcasting and youtube. If that's the look you're aiming for, then I'd say the C400 sounds like a pretty good deal. Other than that, the Komodo is so much better if you want "CINEMAAA" quality. I understand that there are various other factors that make an image "cinematic" like lighting, grading, etc. and you can make cinematic images with the canon but there's always something missing, that sauce that I'm taking about.
I think that a skilled colorist will get the exact same look out of all of them. As a matter of fact, I shot a documentary with two canon cameras alongside multiple RED cameras and it was all graded by a professional post production house and I couldn't see the difference at all. And I watched in theatres
Disagree, my c70 plays along side Alexa Mini’s all the time - it’s all about how you use c log 2. The arri and canon color science is pretty closely matched, and while you can see the differences in the details, it’s not as obvious when just watching content. That look that you’re talking about is all about the color bit rate and post color work flow. 12 bit cineRAW light isn’t 16bit RED RAW, but should do fine with a little work. Also, I’ve noticed how much your lens choice matters in getting that look too. With a good cine lens or the right filters the c70 looks like a whole other camera.
I kind of agree. In some situations canon can work really well, but in most situations it just looks too "video." Fx6 has the same problem...very video like image. And it just isnt inspiring to color grade. So I just rent Komodo for projects that are more narrative and Canon for general talking heads.
"When Canon figures out the "sauce" that makes an image quality look like an actual "CINEMA" camera then I may consider it. What I mean by that is that RED, ARRi an even BLACKMAGIC all share that sauce (in their own way). They have this organic, movie film texture-like image quality straight out-of-camera that makes them so appealing. Canon for some reason can't achieve that. Don't get me wrong, Canon has a beautiful image quiality as well, but on the "DIGITAL" side of things, not cinematic." True.I have heard a Lot of DPs say that...Most agree that the Blackmagic Look - the image rendering- is the next best thing after the ARRI.
@patricioderito3722 Totally agree, you couldn't have express it better Patricio. I think there are people who just cannot perceive the difference; and those tend to be the ones who feel quite satisfied with the look of Sony (even Canon), that 'digital' look as you said. These people typically do work for corporate, commercial, broadcasting, and rarely narrative and cinema work. And maybe because of that they have developed a taste for the digital TV look. If you shoot and watch a lot of stuff of that kind (commercial, corporate, music videos, youtuber content) your eyes and brain adapt and you start considering it a good standard. That happened in Japan in fact, as they were the ones who manufacture the TV devices of the world since the late 1970s and later the broadcast cameras too (JVC, Sony...). This was a culture in which Standard Definition (480/520i) and a very bright and small color gamut was the norm for a long time, they got used to that 'quality'. So the Japanese culture (including the engineers) developed a taste for that so future developments (HD, rec709) somehow kept that kind of aesthetics as reference ---they, for example, love over sharpened images and 60p; there are studies that show that they prefer that look to 24p and softer images. And that's why, I think, it took so long for Sony to develop a reasonable 'filmic'. 'organic' color science, something that they only achieved recently with the Venice line of cameras (not even on the recent Burano). And because Japanese executives and engineers were kind of blind to what made an image cinematic and organic, they literally had to rely on western DPs, people like Claudio Miranda who had experience with analog film and was very knowledgeable on the workings of digital technology. Canon cinema line did it better in that respect because they never were a broadcasting company and borrowed their color science from the photo division of DSLR raw capable still cameras. In particular the C70 and C300 Mkiii with the DGO sensors look quite filmic indeed (not so the R5c). And ARRI did it well from the beginning because they developed film scanners before so they understood what made a digital image cinematic. Finally Blackmagic took their understanding of cinematic color science from the Davinci Suite ---and their teams of color scientists---, a company that they acquire several years ago precisely with that purpose. But don't worry Patricio if you meet filmmakers and friends who don't perceive the difference, who don't grasp the 'secret sauce' as you call it (Sony fanboys?); I think you will waist your time trying to explain something that is hard to point at and to which they are kind of blind, really. In the end, it's not them but their visual culture.
@damiencooper sorry I can understand that you thought compared to the FX6, however I'm saying I would rather a full frame like an updated FX3 or something 😉 ❤️
Canon Bluetooth and WiFi apps are notoriously unreliable and quirky it would be better to have a wired concetion option for the app I know it feats the wireless part but makes adjustment more easy
@@damiencooper RF FF Cinema Camera I meant. Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii . Anyway, I think Canon cinema users will love this camera. Sets the benchmark for FX9 iii,
@@nyambe "Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii". True that. Canon is late to the Party.
1) You already own RED and know what it can do. 2) Autofocus might improve on KX w/ Nikon engineers throwing money at it. 3) If you use lights then the ISO shouldn't really matter. 4) The dynamic range KX is more than C400 5) Canon's image has NEVER really been as good as RED. 6) Upgrade path from KX to Raptor VV is fire 7) R3D Code.... thats why you buy a red in the first place. 8) Autofocus won't ever work with PL Lenses, and you should be investing in PL mount glass to get the best image possible. 9) LIDAR on KX solves this problem.
The most offensive thing about the cam is the tiny low brightness screen. Literally every assistant on set and every Auntie on a wedding has a better screen in their pocket. 8k cam and cant source a decent Oled screen? Come on Canon it is not 2014 anymore.
GO BACK TO CANON... so a number of us can come back to your channel. Hell, a BUNCH of us. QUESTION? What happened to your "retirement" and change of occupation to professional card-shark? Midlife crisis? Glad you're back. Now please hurry and go get that Canon C400. Could you, would you re-get a Canon C70 as a backup for some uses?
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Would you sell the RED for the C400?
definitely! come back to the good side of life!
Hell no. Red image quality is levels above
Never ever. Nothing beats the RED Image!
No. Filming under water I really need RAW video (because colors under water are a real challenge) and Canon's RAW video implementation is not that great. Even though I don't like the company (because they are litigious with their patents on compressed RAW) a RED Komodo might be the best thing for now. Until their patent expires and we finally get proper ProRes RAW implementations. ProRes RAW files would be so much faster to edit with. 👍🏻
@@sebastianFZE Seeing how much Canon improved the C70 via firmware I wouldn't be surprised if the C400 gets compressed lossless RAW in the future.
I'm a big user of the Arri cam's. But recently I've been shooting way more on the Sony Burano for run and gun shoots, the autofocus and the variable-ND is liberating. Sometimes I just don't wanna deal the technical side and just focus on the creativity. Whatever tool supports you the best in your creative vision or flow at this moment, is the best tool I guess. If the Komodo is working for you, just stick with the Komodo.
I like you as a canon expert you are very good and get lots out of the system.
Well done, Damien. Thank you for posting. I shoot mainly with my Komodo for artistic, image centric projects and my old FS7 for interview and docs. That 10 year old camera is still great for that kind of work. But, I do agree with you about ND with RED. The fastest work around I’ve found is using magnetic NDs. I have several step up rings on my lenses so they all accept the mag NDs.
You were the reason why I bought into the C70. And you were content to help me great deal. I certainly hope you are able to get the C80 at the least
I honestly think it's wild that you'd even consider selling your RED kit for this camera.
I shoot C70 + R5C, and pre-ordered the C400 literally the minute it went up. I'm extremely excited for this camera.. but even I don't think I'd have been excited enough to go through the hassle of switching systems for it. Now yes, RED and Canon cinema are kinda cousins since they're both based on the RF mount, so I'm sure there are a lot of things that will carry over... but there are a lot of things that won't, and to me, the C400 seems like it's only good enough to keep current Canon owners on board.. not quite spectacular enough to get anyone to go through all the hassle of jumping ship from anywhere else.
it really depends. As I said in a recent video I don't do much commercial work anymore. I do have a multi day shoot tomorrow for an old client though. If this is what I would keep doing I 100% switch to the C400.. The RED is just not made for this I feel. There are definitely reasons for it. But you're right. As of right now it might not be enough
@@damiencooper So to be sure: you think this C400 is more a run and gun documentary stile camera than the Red? Mostly because of ND and native RF lenses autofocus?
@@onnonugteren2935 no, not at all. I think shooting run and gun documentary with the RED is just fine with the new audio ports and how small and modular it is.
But you do need more people and often more time with the RED. So it depends. I wouldn't want to shoot a 2 - 3 angle Interview with just REDS without having one person at every camera at all times.
Files sizes are also massively bigger so that's something to keep in mind.
But yeah, if small commercials, fast type content and documentaries are all I shot I would 100% prefer the Canon
@@damiencooper If it’s a matter of files size, wouldn’t choosing Prores 422 for certain projects be sufficient? And there is also the option to use DJI Lidar for moments when autofocus is needed as a solo shooter, or even for multicam interviews.
Honestly, apart from the internal ND filters and the fact that the camera powers on instantly, I don’t really see the advantages that the C400 would have over the Komodo X. But maybe I’m wrong?
Perhaps you should keep a Komodo X, sell one, and use a C70 for run"n"gun projects?
@@JS_Leger prores 422 is as big as RAW LT on the C400.
The lidar is great but still fiddely, expensive, adds weight and gear to it is nowhere near the same experience as real autofocus
It’s been foreverrrrr !!! Glad to see you back mate
Happy to be back :)
Great vid man! Question coming from the C70 is the image much better with the Komodo x? Considering on selling my c70. Thanks bro! Keep up the good work
Which camera has the best image quality and sharpness? C80, C400 or Sony FX6? I only care about the image quality. It’s for indoors studio shooting
C80 has the same image quality as C400, FX6 is 4 years old and has bad skin tones compared to Canon, C80 is the way to go!
@@neomatrix888 Thank you! My only concern with canon is the Softness of the image
@@ebenezer357 Alex Jawfox was just complaining about the C400 being way too sharp in his latest video.
Missed you man. Glad to see you pop up in my feed again!
I have a C300 MkIII that I rigged out based on your input. Love that camera but I'm intrigued by this new one. Maybe I'll make the switch.
Welcome back! I'm weighing the same options. I love my KX but I'm also an original Canon shooter and the C400 looks amazing. I'll have to see more.
it's gonna be an interesting decision for sure
Hi Damien!
I'm a C70 shooter and heavily depended on the AutoFocus for Fashion shoots.
I was on the fence to go for the Red Komodo X, because I like the look of RED, but I'm a bit scared of it's AF capabilities.
Now, with the C400, and AF II, I should probably look into Canon again?
What do you think?
Glad you are back!
if you need AF, the RED will frustrate you :D
I thought you were retiring….
So glad you didnt!
Why does everyone think that? :D Did I really do such a poor job explaining it in my last video?
@@damiencooperI think you didn’t but not everyone really listens..
Nice that you are back Damien, your videos are always very informative and well articulated; you are very talented in this craft of explaining technical concepts and the filmmaking experience to people who are starting in this field and want to go to the next level.
We have to wait to see how the image quality of the C400 stands against the RED Komodo X. My guess is that C400 will still have more of a 'video look' than the Komodo X, which we know is quite 'cinematic'. If that's the most important thing to you (image quality, the film look) I will stay with Komodo X.
But maybe, instead of the lovely C400, you should consider the coming Blackmagic Ursa Cine 12K. This camera is probably going to be incredible in terms of image quality and color science (very filmic). It offers real-time downsampling in 8K/4K (from 12K, full width of the FF sensor), records in solid 12-bit compressed Braw (Blackmagic Color Science), offers very high frame rates, quite fast RS, a proper EVF, it comes with 8 TB of ultra-fast internal memory included with the camera, has solid internal NDs, BM claims 16 stops of dynamic range.
If AF is important to you, you could also pair it with the new DJI Focus Pro to get pretty good AF with your manual cinema glass (more cinematic look than photo glass). Additionally, you would be able to use your best s35 lenses and record s35 crop at 5.9K resolution, so you are basically getting two cameras in one (a FF and a s35). Maybe size and weight would still be a concern to you: BM Cine 12K weights 2.5 Kg versus C400 at 1.5 Kg and Komodo-X at 1.2 Kg).
Honestly, I don't know why this camera hasn't have the hype it deserves. It's price is $15K, near double the C400, but I have the perception that it would be a camera with an image quality and performance far superior than the C400, and one that will compete hand in hand with the big boys that costs several times more (V-Raptors, Buranos, Alexas, Venices). Interesting times in camera technology.
I thought the Komodo-x had rf mounts as well?
Don't sell it. Stay with the Nikon.
😂😂😂😂
Lmao
😂
It’s crazy how things have flipped. 😉
If it had 12 stops (usable) of DR or more you should pick it up. Maybe wait to see what else gets released this year though from other camera brands to see if that influences canon to add stuff via firmware or even cut the price.
I'm facing this exact dilemma at the moment. The C400 is very compelling. The internal NDs and all-round package make it a tough call. The KX does things it cannot, but I can cover the things the C400 has if I take the modular approach to the Komodo X.
As you say, it's great for fast-paced situations, where RED cameras typically aren't.
Maybe I just save more, keep the KX and have both.lol
What are you leaning towards?
Good point. I have actually no idea yet. But selling the RED doesn’t seem like it makes a lot of sense yet
Second hand C500 II is what makes the most financial sense IMO. I’ve trade my C300 III for a C500 II and couldn’t be any happier.
Really? Gerald Undone liked the C300 Mark III better out of both....but then again, he loved the C70 best out of the three...
@@CringePanda don’t get me wrong, C300iii and C70 are great piece of kit but full frame is where it’s at for me creatively and in a switch of a button you can go super 35 also. I wasn’t a big fan of the C70 form factor and monitor but then again you have the RF mount which can be a plus for some.
Second hand C500ii prices are just too good now for what you get.
i think you will go for it.. No need to think about it.. For me, i think this is it. This is the camera i want..
Honestly the c400 and potential R5II have me seriously considering selling all my Sony gear and going back to Canon
Then your heart has already decided for you.
So glad to see you back bro one of my favorite YT in this field! Also as someone who was looking for a camera to pair with my c70..... i would get the c400 over the komodo X but if i owned the Komodo i wouldn't sell it for a c400 un less i was dying for af.
Thanks so much man!
Yeah, that‘s a good point. I see it almost the same way
Hi Damien. Can you help me or someone else? I have kind of niche -question. I own the C70 and the R6ii and do TV run and gun work. The R6ii has great downsampled lowlight and a great looking but only 8bit 4k 50p. I got the R5ii now for the 4k 100p and better codecs but I shocked about the lowlight capabilities. If you had the C70 and R6ii and the chance to replace one of them - would you get the C400 for the C70 or the R5ii for the R6ii?
Welcome back! Good to see you again :)
Great to see you back! Hope to see you more frequently on here. Also, stick to the Komodo-X until we know what the official dynamic range of the C400.
good point
@@phrasalsyntax I had both. Sold the OG and kept the KX
glad to hear u r back to the channel
didnt u say you'd stop cam work and go full poker again?
i would still keep it or just get both nothing beats the RED image
I probably walked past you at Cine Gear. Just saw the C400 @ Infomm. I agree with everything you said. Will your clients know a difference? If not, buy it for fun. Happier people work better with others. They also get more work.
Switching cameras is a red herring. The true path is contemplating where true value lies and putting a plan together to shoot that.
Question for you if you dont mind. I noticed when you were using the C300mk3 you always used an external monitor, you also touched on that subject here. How were you able to do all your adjustments (iso, fs top etc etc etc) without using the Canon LCD? I realise you lose the tracking function but always wondered how you regain all the other info.
The canon cameras are amazing with all these custom buttons. It’s so fast and easy. Faster than using the screen. I even have a video on my channel about the exact button layout I used on the C70
@@damiencooper Thanks mate i'll look that up. 1 min after I wrote this I watched another vid explaining OSD, I was coming back to delete my noob comment. But maybe it may help someone else. I was more referring to seeing your adjustments rather than just a clean feed. But again I understand it's done via OSD
Ill say this, its a stacked sensor, now its still canon and they do magic but I think the reason the camera has triple iso instead of just dual iso is because of the draw backs of a stacked sensor in terms of dynamic range. Will see for sure
Switching gear has its pains. It seems like going Canon>Red>Canon would be a time and focus suck and a pain.
exactly. Not as much within the RF mount eco system though. But I agree
I mean as a filmer if one can’t achieve what they want to achieve with a RED then I don’t camera is the issue. Even though to most people the specs might be underwhelming compared to others, the camera will still will be a work horse cause honestly reliability is a very underrated feature which most ignore. CVP has an amazing video highlighting all the features especially the DR which is better than even the Raptor.
Schön dass du wieder am Start bist❤👍👌
If your goals for the next few years are narrative projects with a crew I think you’d be be better off just sticking with what you got and investing in some passion projects.
If you see yourself doing more projects with a limited crew or doc work then your decision is waaaay harder as the Red system really doesn’t excel in this area and the Canon does.
For me, I work full time as a solo visual content producer creating branded content and doc’s. I’ll definitely add the C400 to my kit (currently on a C70 + R5) however I am going to wait till the new year. That way others can work out the kinks with it saving me finding out on an assignment that there is some issue with it.
very good point. I haven't used the RED on anything run and gun yet. That would be interesting
Depends of the project... If you need autofocus a big YES!
If you have the workflow and space for R3D RAW in every projects then Go for RED..
3 differend native iso´s... doesent matter really.. just turn on the light.. :P
If they had found a way to get good rolling shutter performance with a full frame DGO sensor that would have been the shit!
The Canon C400 + the RF 24-105 f2.8 would be kind of brilliant.. but depends what the projects need and how big they are.
For my line of work, a RED camera wouldn’t work.
Instead, I’m questioning myself if should wait for the C70Mark2 or get the C400 now.
I wish this camera had the DGO tech.
What if you didn't own the Red Komodo X or the C400? You could only afford one camera. Which camera would you purchase and why?
They did a pretty good job trying to create a bit of an "everything" cam. There isn't some glaring OUCH spec or factor that makes big chunks of people run away. I think it could be very popular.
I bet it will be. Especially at that price point!
Lack of an EVF is not a minor thing for many serious filmmakers. Hope it can work with the Blackmagic EVF or another third party piece. A representative told me that Canon is not planning to come up with an EVF in the future. Sony also didn't provide one for the FX6 or Burano, and they took out the A7siii EVF from the FX3. It seems that these companies are listening too much to the mirrorless crowd ---mostly millennials who have never experienced an EVF and who have learnt photography and video by looking at screens on their phones. Fortunately Blackmagic understood the importance of an EVF.
Totally understand that you are already vested in another ecosystem, but if you were starting from scratch, would you go with the C400 over Red?
REALLY depends on what you're looking to shoot. Me? Right now? Not sure tbh
Keep the red as iopen up into the nikon system
Really curious what that will look like though. Can‘t really imagine right now
@@damiencooper say Nikon using Z mount lenses plus some 3rd party lenses that are in use or specifically Cine type lenses that can be used on Mirrorless cameras.
But the C400 and keep both! They are both RF, so share lenses. Use the correct tool for the job. I’ve heard that match well together, too, for possible multi cam jobs.
Well if I was still doing lots of commercial work I might.. But having multiple Cine cameras for youtube is a bit overkill :D
I ordered one the next day. Pumped for September!!! Done.
Nice.. can‘t wait to play with one either
If you already went through the process of selling all of your canon gear and went full onto Red etc..
Switching back for 1 Camera Body even if the C400 is great would be asinine.
The only time you make a switch like that is.. if the gear you have now is unable to produce results that you need to achieve..
Or it atleast complicates and adds so much time to get the results you want.
Since I'm currently still with Canon. I'm going to probably sell my R5 & R6 then buy two R5II & a C400. I want a 3 camera set up for video plus when I shoot photos for gigs I use two camera bodies.
If the New bodies are up to snuff.. then that's the route I'll go.
Saying that.. I do Loooooove the Red Komodo.. I almost went that route.
I also almost went the Black Magic Route with the Pocket 6K & the Ursa Mini but was on the fence there
Great to see you again! And I look forward to your short and your other videos.
Off topic about monitor; Portkeys or Small HD to control an R5C, any experience about this?
neither. Canon control sucks in my opinion and is not worth the extra cable
I feel like you do this every time a great camera, that you’re interested in, comes out. 😂
@@kaiservisuals don’t we all? 😂
@@damiencooper yes!
If you want FF, then switch. If you want to keep your lenses, then you could wait for the C70 MKII, most likely it will be like a 6K C400 but in 35mm. If you don't mind switching the external ND's, then stay with the RED. For me, I'll hope that a possible R5C MKII will offer internal ND, 15 steps DR, 3x base ISO, better battery, 8K 60 with a internal battery, ....then I would get the R5C MKII.
This is a Wishlist man. R5c is a once off. Also zero hint of a c70 mark 2
I doubt the R5C line will ever get internal NDs
@@damiencooper If Canon wants a bestseller, then internal ND's would be a good argument in a R5C MKII. I guess I'll buy a R5 MKII, and if some months later Canon will announce a R5C MKII with internal ND's, this would be my reason to invest again. For me it would make no sense for Canon to produce a R5C MKII if it has no internal ND's. Without them, it would be to close to a R5 MKII, if you are right, then most likely there will be no R5C MKII. I guess most of the R5C users would upgrade to a new one if it has internal ND's, and it would make a lot of Sony and Nikon users to switch to Canon, not the professionals, but a lot of ordinary filmmakers.
@@damiencooper Internal NDs on the R5C MK2 will be a game changer. 😎
But I guess you are right...sadly Canon won't implement that.
We need a small form factor FF camera with internal NDs and 32-bit float audio recording. The Canon R5C MK2 has that potential.
It can be the equivalent of the Panny GH7 in the FF world. The GH7 has added some amazing features, making it a true modern-day hybrid camera.
Wish list for the Canon R5C MK2 (to be a true upgrade and a pro cine/hybrid cam):
1. Internal ND (the Blackmagic 6K Pro has done it years ago at an affordable price point, so I guess Canon can too, if they want).
2. 32-bit float audio recording (like the GH7).
3. Better audio PreAmps and physical audio dials.
4. Mini XLRs and a locking 3.5mm audio input mic jack.
5. Full-sized HDMI.
6. IBIS.
7. Canon Log2.
8. Canon RAW Light in 4K and 6K. Make Canon RAW Light as easy to edit as the RED R3D files. Canon needs to work on this. If they can manage to smoothen the post-
production workflow of Canon RAW, then RED might have serious competition.
9. ProRes RAW and Arri RAW (like the GH7...but why would canon do that?).
10. 16-bit RAW.
✌🤞
I always look forward to your videos
Have you Damien or anybody else out there had a chance to work with the new DGI lidar focus pro creator package?
Is it any good?
it's great but also a bit of a hassle..
Ya I can understand that. Just wondering if the auto focus is as good as the cameras AF etc
Glad to see you back 🔥
What are your options for equivalent lenses in full frame ?
As to the both cine zooms? That‘s the big question. There‘s more and more full frame zooms coming out. But they‘re not the same. For most projects I would likely use primes and for run and gun doc work I might just use AF lenses
@@damiencooper
You might should have a look on the RF 24-105mm f2.8 L IS USM Z lens, and the upcoming RF 70-200mm f2.8 L IS USM Z.
These lenses well be my go to fast zoom lenses for shooting video and well get some fast primes like the RF 50mm f1.2 L and the RF 85 f1.2 L for interviews, and the 10-20mm f4 L as for the ultra wide shoots when needed
If I were you, I wouldn't switch. The triple ISO is great for documentary or projects where you can't properly light the set, which usually isn't your case. Additionally, full-frame lenses are always more expensive, and apart from that, there's not much difference in image quality between the Canon and the Komodo.
fantastic to have you back!
When Canon figures out the "sauce" that makes an image quality look like an actual "CINEMA" camera then I may consider it. What I mean by that is that RED, ARRi an even BLACKMAGIC all share that sauce (in their own way). They have this organic, movie film texture-like image quality straight out-of-camera that makes them so appealing. Canon for some reason can't achieve that. Don't get me wrong, Canon has a beautiful image quiality as well, but on the "DIGITAL" side of things, not cinematic.Good for broadcasting and youtube. If that's the look you're aiming for, then I'd say the C400 sounds like a pretty good deal. Other than that, the Komodo is so much better if you want "CINEMAAA" quality. I understand that there are various other factors that make an image "cinematic" like lighting, grading, etc. and you can make cinematic images with the canon but there's always something missing, that sauce that I'm taking about.
I think that a skilled colorist will get the exact same look out of all of them. As a matter of fact, I shot a documentary with two canon cameras alongside multiple RED cameras and it was all graded by a professional post production house and I couldn't see the difference at all. And I watched in theatres
Disagree, my c70 plays along side Alexa Mini’s all the time - it’s all about how you use c log 2. The arri and canon color science is pretty closely matched, and while you can see the differences in the details, it’s not as obvious when just watching content. That look that you’re talking about is all about the color bit rate and post color work flow. 12 bit cineRAW light isn’t 16bit RED RAW, but should do fine with a little work. Also, I’ve noticed how much your lens choice matters in getting that look too. With a good cine lens or the right filters the c70
looks like a whole other camera.
I kind of agree. In some situations canon can work really well, but in most situations it just looks too "video." Fx6 has the same problem...very video like image. And it just isnt inspiring to color grade. So I just rent Komodo for projects that are more narrative and Canon for general talking heads.
"When Canon figures out the "sauce" that makes an image quality look like an actual "CINEMA" camera then I may consider it. What I mean by that is that RED, ARRi an even BLACKMAGIC all share that sauce (in their own way). They have this organic, movie film texture-like image quality straight out-of-camera that makes them so appealing. Canon for some reason can't achieve that. Don't get me wrong, Canon has a beautiful image quiality as well, but on the "DIGITAL" side of things, not cinematic." True.I have heard a Lot of DPs say that...Most agree that the Blackmagic Look - the image rendering- is the next best thing after the ARRI.
@patricioderito3722 Totally agree, you couldn't have express it better Patricio. I think there are people who just cannot perceive the difference; and those tend to be the ones who feel quite satisfied with the look of Sony (even Canon), that 'digital' look as you said. These people typically do work for corporate, commercial, broadcasting, and rarely narrative and cinema work. And maybe because of that they have developed a taste for the digital TV look. If you shoot and watch a lot of stuff of that kind (commercial, corporate, music videos, youtuber content) your eyes and brain adapt and you start considering it a good standard.
That happened in Japan in fact, as they were the ones who manufacture the TV devices of the world since the late 1970s and later the broadcast cameras too (JVC, Sony...). This was a culture in which Standard Definition (480/520i) and a very bright and small color gamut was the norm for a long time, they got used to that 'quality'. So the Japanese culture (including the engineers) developed a taste for that so future developments (HD, rec709) somehow kept that kind of aesthetics as reference ---they, for example, love over sharpened images and 60p; there are studies that show that they prefer that look to 24p and softer images. And that's why, I think, it took so long for Sony to develop a reasonable 'filmic'. 'organic' color science, something that they only achieved recently with the Venice line of cameras (not even on the recent Burano). And because Japanese executives and engineers were kind of blind to what made an image cinematic and organic, they literally had to rely on western DPs, people like Claudio Miranda who had experience with analog film and was very knowledgeable on the workings of digital technology.
Canon cinema line did it better in that respect because they never were a broadcasting company and borrowed their color science from the photo division of DSLR raw capable still cameras. In particular the C70 and C300 Mkiii with the DGO sensors look quite filmic indeed (not so the R5c). And ARRI did it well from the beginning because they developed film scanners before so they understood what made a digital image cinematic. Finally Blackmagic took their understanding of cinematic color science from the Davinci Suite ---and their teams of color scientists---, a company that they acquire several years ago precisely with that purpose.
But don't worry Patricio if you meet filmmakers and friends who don't perceive the difference, who don't grasp the 'secret sauce' as you call it (Sony fanboys?); I think you will waist your time trying to explain something that is hard to point at and to which they are kind of blind, really. In the end, it's not them but their visual culture.
Working on Final Cut is so limiting in colorgrading
You can make any fcpx project look as good as Davinci. Final Cut is fast, reliable, and sufficient
Well They just dropped the price on the Komodo X by 3000. so if you did not sell it you took a big hit today.
how often do you use 16 bit raw?
everytime I shoot with the RED. But how often do I need it? Hardly ever
,,,in 90% of my work, I prefer super 35....but I ordered the C400 despite that...and I am shure, it produces fantastic images in super 35 as well...
One thing is you can have several camera bodies, A B C... for a decent price....
Cheers much 😊
For me, I think about weight, as well ❤
they're almost the same weight though
@damiencooper sorry I can understand that you thought compared to the FX6, however I'm saying I would rather a full frame like an updated FX3 or something 😉 ❤️
I suggest you to buy the Canon c400 but still keep the red komodo-x. This is exactly what we are going to do. Both are worth having.
yesssss come back to canon!
This video convinced me to stay with Canon. Was seriously considering jumping to Sony. Still have Canon cinema and a Ronin4d 8k.
yeah, the jump to Sony makes no sense anymore in my opinion
You're amazing. ❤
Ofcourse you should ;) u have been whaiting for this
I have.. but I'm not sure anymore :D
Canon Bluetooth and WiFi apps are notoriously unreliable and quirky it would be better to have a wired concetion option for the app I know it feats the wireless part but makes adjustment more easy
Why has Canon taken so long for a FF RF mount?
they haven't. I filmed this video on a FF RF mount camera ;)
@@damiencooper RED? lol Ironic, right?
@@nyambe no. The R5C.
@@damiencooper RF FF Cinema Camera I meant. Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii . Anyway, I think Canon cinema users will love this camera. Sets the benchmark for FX9 iii,
@@nyambe "Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii".
True that. Canon is late to the Party.
welcome back!
to youtube or Canon? :D
Welcome back Damien! You had a blast in Vegas?
It was a great time off filmmaking. But I miss it too much. Glad to be back
@@damiencooper Amazing, looking forward to finding out what you've worked on!
He’ll no… keep RED
Stick with the FS7. 😊
1) You already own RED and know what it can do.
2) Autofocus might improve on KX w/ Nikon engineers throwing money at it.
3) If you use lights then the ISO shouldn't really matter.
4) The dynamic range KX is more than C400
5) Canon's image has NEVER really been as good as RED.
6) Upgrade path from KX to Raptor VV is fire
7) R3D Code.... thats why you buy a red in the first place.
8) Autofocus won't ever work with PL Lenses, and you should be investing in PL mount glass to get the best image possible.
9) LIDAR on KX solves this problem.
Would most clients notice if you turned up with a Canon rather than a RED?
Absolutely not. But that‘s the thing. I hardly do client work anymore. If I was, I had two C400s in my shopping cart, no doubt
Yah i was thinking about you the other day!
uff, hopefully only good stuff :D
I thought you quit videography
I have not. I just quit COMMERCIAL client work. Corporate work etc
Sell it for the ursa cine 😅
the KX just doesn't seem as fun to use as a Canon cinema camera.
fun is a relative term :D
Bro don’t sell it why would you give up your global shutter?
Let’s Goooooo!!!
100p. C400 is a monster
I'd pair C70 with C400.
Great pairing. Don‘t have any C70s anymore though :D
.R3D - that is all
The most offensive thing about the cam is the tiny low brightness screen. Literally every assistant on set and every Auntie on a wedding has a better screen in their pocket. 8k cam and cant source a decent Oled screen? Come on Canon it is not 2014 anymore.
I’d sell my FX9 for C400.
People sold the FX9 for the FX6, so....yes.
@@CringePanda getting my C400 this week, got it sold
And now you got 3000$ price drop on RED KOMODO 😮
YOU SHOULD! AND THEN SELL ONE OF YOUR R5c(s) to me!!
Good❤
GO BACK TO CANON... so a number of us can come back to your channel. Hell, a BUNCH of us. QUESTION? What happened to your "retirement" and change of occupation to professional card-shark? Midlife crisis? Glad you're back. Now please hurry and go get that Canon C400. Could you, would you re-get a Canon C70 as a backup for some uses?
I never said that :D I just stopped doing client commercial work
Yes get the c400 !
Rent before you buy it always ...+ wait more is coming from Canon I'm not going to sell my Red V raptor vv and KomodoX
sell it, canon is newer and has autofocus, user friendly
I thought you went back to playing poker
I would sell the red. I hate the fact that it’s taking so long to start up.its ridiculous 🤣 canon c400 has got so many advantages compared to the Red.
We all know you a Canon man!
👏🏻👏🏻👏🏻
Red is 10 time better
Why do you RUclipsrs always have to be so fake extreme lol. You don’t have to sell anything they use the same mount.
Because I’m not made out of money 😂
My advice is not to sell your red and buy no means never never never sell lenses sell cameras yes upgrade cameras yes always hang onto to your lenses
good point. I just don't have the right lenses yet
😭😭😭