I've used both cameras on long form projects. Simply put, I choose the FX6 for doc, corporate and social media commercial... the Komodo for narrative, music video and anything I want to shoot in RAW. I've never had an issue with dust on the sensor on the FX6.
@@RiceCubeTech they are not the same. The RED RAW is way cleaner. I was all rigged to shoot a feature on the FX6, had the Shogun mounted. We did side-by-side comparisons with the Komodo. There was no comparison. I'm sure with a little noise reduction it would have been fine, but the Komodo needed no noise reduction.
I thought I'd update this post regarding the above mentioned feature film I DP'd. We had a day when the Red Komodo overheated and we had to switch to the FX6. I've watched the film on the big screen several times. The audience notices no discernible difference between the FX6 and Komodo. But I can definitely see the difference between Full Frame and S35. The FX6 footage, after being graded by a colorist, fit in just fine with the Red footage. For me moving forward, it'll be all about how expansive I want my world to feel. The film won Jury Best Feature at the Beverly Hills Film Festival.
I feel the user level plays a big role in the final image. I've seen many a FX6 footage looking stellar and very recently Komodo footage looking less then mediocre.
Yeah, more brand fascination and made up fluff in our mind than actual real reasons. "Shooting with RED makes you passionate" lol. This is a crash cam for RED thats equal in quality to Prosumer cameras from Sony like FX3 and FX6. I used to convince myself of these things too but thanks to youtube its gone to another level. I do narrative work and Komodo + FX6 used to be my exact setup (I'm using Komodo and A1 now) and let me tell you Komodo is no more or no less suited for "higher end work" than FX6. Saying FX6 is for run and gun, documentary style work is such a youtube stereotype that doesn't have much bite in reality. Shooting Prores Raw or Prores HQ and using Phanton LUTs always gave me better base image than Komodo but I can also get Komodo to same results in grading. That's the bottomline for me, image quality wise they are on same level with FX6 being more convenient for faster use and low light. If you're gonna shoot everything internally and use Sony's sub par Rec 709 LUT or bake in S-Cinetone, themln of course Komodo image is gonna look good but that's not how you get the best out of FX6. I've been lucky to grt my hands on Venice 2 for a day for a commercial and image wise it looks almmost identical to FX6, may be 3/4th stop higher dynamic range but I cant tell apart my own shots after put together. And they shot Top Gun Maverick on Venice 2. Dune DOP is going to shoot an entire movie exclusively on FX3. So, fellow filmmakers, lets stop worrying about the comparisons and get to work with the amazing tools we have at amazing price points these days.
I have to disagree with you. I have an fx6 and a7s3 and have used an a1 as well. the red Komodo image quality is better. There is more information in the file and dynamic range. the color depth and sharpness of the red Komodo surpasses the fx6 by a good amount. noticeable to me at least. the fx6 has its pros ( internal nd and amazing auto focus) but for a true high quality image you can push and pull to your hearts conten, the Komodo wins. and thats coming from an fx6 shooter.
@@bryangarciafilms I respct that you've a take just like I do but I disagree as well. 1) Komodo is sharper. Yes, 6k footage will be sharper than 4k. If sharpness beyond 4k is valuable to you, you got your pick, Komodo is sharper. But A1 with 8k is sharper than Komodo. Also, Reds have always been sharper than Arris but that didn't even get them close. 2) Color depth. I've shot a lot of12 bit Prores RAW sampled from 16 bit linear RAW on FX3 and I also shoot 16 bit Redcode RAW on Komodo. And never have I ever come close to feel like there is lack of color depth in 12 bit footage. In fact, there is plenty than we can realistically make use of. If you can in fact eek out the performance of 16 bit over 12 bit sampled from 16 bit, then I concede my argument. A lot of great cgi hollywood movies didn't even shoot 16 bit. Dynamic Range. No, they all have same dynamic range. They have those stops allocated differently but by just knowing the cameras and shooting them at the settings that yield the best possible DR for the given scene, you get the same DR (Also assuming you're not shooting s-cinetone or using sony's rec709 lit or some other lut to grade that doesnt preserve DR. I use Phantom LUTs fot my base image and they are great) And its not just my experience but mathematically calculated as well. Checkout cined.com lab tests. In fact, Canon C70 has a stop more DR but at the expense of worse rolling shutter performance over Sony and RED. Never really enjoyed working with C70 personally. The one advantage I see Komodo has is it has slightly better rolloff when image is over exposed. But conversely, Sony has better rolloff when slightly underexposed. So, its just based on specific scenarios we find ourselves in. Komodo and A1 is my current setup. And i used to be that guy that convinced myself that RED is better and took pride in having that camera when i got it 2 years ago. So I relate to those kind of takes on youtube channels. But I've grown to be bluntly honest with myself and as much as I love my Komodo, the image doesn't look any better or worse unless if there is user error.
@@justinavila1320imo, it’s literally just the 8k. I had an a7siii (same sensor as the fx3) and now an A1. Since the fx3 doesn’t have full size xlr and Internsl NDS, it’s not a huge leap in convenience like the fx6 would be over the a1. So you still have to use a bunch of rigging materials anyways. Once rigged out the A1 has one distinct advantage which is the ability to shoot 8k. That’s mostly the big advantage.
@@RiceCubeTech Better dynamic range, more detail (not sharpness, detail), super35 mode that samples from 6k & slightly better colors when grading than a7siii.
With the price difference, you can buy an external recorder. It’s a 1000 dollar difference and a shogun is like 900 bucks. That should give you the raw and imo narrows the gap significantly to the point where the image argument is almost strictly do you need 6k. You already need to rig out the Komodo significantly more and that only adds to the fx6s strength. For the price to make the Komodo even remotely as convenient (adding high quality NDs, full size XLR, handles, etc.) you’ve already spent an extra couple grand more. With the base price difference you have an external recorder on the fx6, multiple lenses, and may even have room for lighting which imo is the biggest factor in making narrative and documentary work look better.
Both shoot RAW. Just need the recorder for the sony and you get all the benefitis of IS,AF,ND’s, Full Frame, less crop and arguably the best low light camera made that comes with it.
It depends. If you want to spend another $3-4k getting the camera practical then sure, Komodo. But at the price point, Fx6 is it especially if you good enough to get the best image out of it (more pre-post skills)
I have both. FX6 is definitely easier to operate, especially once your hands learn the controls. The Komodo though....the Komodo's the f'in business. It's worth the extra effort because when it's all said and done the RED image walks all over the Sony image.
you're right, the FX6 is superior in low light than the Komodo. Although I must say, once using these two cameras, the budget of the project should be high enough to get a proper lighting team.
You might be surprised how good the Komodo is in low light. A couple things to consider. Shooting in 6K for a 4K delivery lets you descale noise, which instantly cleans up a couple stops. Add to that, any noise you are left with looks...nice. Like film grain, not like that nasty blotchy chroma noise the Sony's have (yes, I own both REDs and Sonys).
@@ayansinghhuh internal NDs, timecode, easier rigging, the color science and dynamic range is slightly better even though it’s the same sensor, built in xlr, shutter angle, etc. there’s lots of features the fx6 offers that a normal mirrorless can’t.
REDCODE RAW slaughters Sony's internal codec; Komodo colors are much more pleasing than the FX6; the RED Control app is super-convenient; Komodo noise looks like film grain; the Komodo's got more dynamic range than the Sony. Komodo for the win!
@@gerthenriksen8818 The Komodo has already been used on countless feature films, documentaries and streaming network shows, something no other camera at its price point can boast of, so it’s no problem.
@@JonPais "countless feature films" mostly as a crash cam, which is how it is intended. For context, even the original 1080p blackmagic pocket camera has been used in Marvel movies, as a crash cam. And Komodo technically has same dynamic range and slightly more on latitude than FX6 although, it isn't a huge difference. You can find Cined's lab tests on these. Interestingly, FX3 has more dynamic range than FX6 and Komodo but thats because of its internally applied noise reduction yuelding better signal go noise ratio but FX6 is more organic. For eye test though, FX6 and Konodo got same dynamic range. These two cameras were my exact setup although I swapped FX6 to A1 now.
it feels plastic but is well built. It's also ok for narrative work. But like I mentioned at the end. I don't feel there is too much of a big difference between sony a7s3 image quality wise. Only handling wise more convenient.
I've been following your channel for a while now, Please do a review of the Crane 3s after your long term use. I would love to know your experience after years of your use. Thank you for today's video.
Hi Sun Tondo, the one I used was a Laowa 9mm zero distortion lens. It's S35 NOT FULL FRAME, but works great with Komodo and turns it into a cine level GoPro configuration.
hi Joaquin, I covered this in particular in a previous video. And in this case in comparison to FX6, def. the FX6's AF is way better. If you'd ask my experience with Komodo's AF. I'd say it's not usable for professional shoots. Only usable for quick simple work arounds.
Sehr gut Marcel 😉 hab die FX6 jetzt seit etwas über einem Jahr und komme immer besser mit ihr klar 😀 habe auch mein erstes FX6 REEL dazu gemacht 👌 best cinematic greetings from germany
There is so much wrong advice in the beginning of this video. I don't know where to beging. You should be encouraging people. To rent out the finest system that they can afford to. Regardless of its intended application. This way the first time users as well as the moderate level experienced video producers. Will experience a lot of very positive experiences with it. Leaving them experiencing a lot of positive rewards.
I've used both cameras on long form projects. Simply put, I choose the FX6 for doc, corporate and social media commercial... the Komodo for narrative, music video and anything I want to shoot in RAW. I've never had an issue with dust on the sensor on the FX6.
But with the price difference after rigging you could easily buy an external recorder for the fx6 and also shoot raw.
@@RiceCubeTech they are not the same. The RED RAW is way cleaner. I was all rigged to shoot a feature on the FX6, had the Shogun mounted. We did side-by-side comparisons with the Komodo. There was no comparison. I'm sure with a little noise reduction it would have been fine, but the Komodo needed no noise reduction.
I thought I'd update this post regarding the above mentioned feature film I DP'd. We had a day when the Red Komodo overheated and we had to switch to the FX6. I've watched the film on the big screen several times. The audience notices no discernible difference between the FX6 and Komodo. But I can definitely see the difference between Full Frame and S35. The FX6 footage, after being graded by a colorist, fit in just fine with the Red footage. For me moving forward, it'll be all about how expansive I want my world to feel. The film won Jury Best Feature at the Beverly Hills Film Festival.
I feel the user level plays a big role in the final image. I've seen many a FX6 footage looking stellar and very recently Komodo footage looking less then mediocre.
where? link?
Send me the Link lol They Filmed half of Ambulance on the Komodo Dude
Yeah, more brand fascination and made up fluff in our mind than actual real reasons. "Shooting with RED makes you passionate" lol. This is a crash cam for RED thats equal in quality to Prosumer cameras from Sony like FX3 and FX6. I used to convince myself of these things too but thanks to youtube its gone to another level.
I do narrative work and Komodo + FX6 used to be my exact setup (I'm using Komodo and A1 now) and let me tell you Komodo is no more or no less suited for "higher end work" than FX6. Saying FX6 is for run and gun, documentary style work is such a youtube stereotype that doesn't have much bite in reality. Shooting Prores Raw or Prores HQ and using Phanton LUTs always gave me better base image than Komodo but I can also get Komodo to same results in grading. That's the bottomline for me, image quality wise they are on same level with FX6 being more convenient for faster use and low light.
If you're gonna shoot everything internally and use Sony's sub par Rec 709 LUT or bake in S-Cinetone, themln of course Komodo image is gonna look good but that's not how you get the best out of FX6.
I've been lucky to grt my hands on Venice 2 for a day for a commercial and image wise it looks almmost identical to FX6, may be 3/4th stop higher dynamic range but I cant tell apart my own shots after put together. And they shot Top Gun Maverick on Venice 2. Dune DOP is going to shoot an entire movie exclusively on FX3. So, fellow filmmakers, lets stop worrying about the comparisons and get to work with the amazing tools we have at amazing price points these days.
I have to disagree with you. I have an fx6 and a7s3 and have used an a1 as well. the red Komodo image quality is better. There is more information in the file and dynamic range. the color depth and sharpness of the red Komodo surpasses the fx6 by a good amount. noticeable to me at least. the fx6 has its pros ( internal nd and amazing auto focus) but for a true high quality image you can push and pull to your hearts conten, the Komodo wins. and thats coming from an fx6 shooter.
@@bryangarciafilms I respct that you've a take just like I do but I disagree as well.
1) Komodo is sharper. Yes, 6k footage will be sharper than 4k. If sharpness beyond 4k is valuable to you, you got your pick, Komodo is sharper. But A1 with 8k is sharper than Komodo. Also, Reds have always been sharper than Arris but that didn't even get them close.
2) Color depth. I've shot a lot of12 bit Prores RAW sampled from 16 bit linear RAW on FX3 and I also shoot 16 bit Redcode RAW on Komodo. And never have I ever come close to feel like there is lack of color depth in 12 bit footage. In fact, there is plenty than we can realistically make use of. If you can in fact eek out the performance of 16 bit over 12 bit sampled from 16 bit, then I concede my argument. A lot of great cgi hollywood movies didn't even shoot 16 bit.
Dynamic Range. No, they all have same dynamic range. They have those stops allocated differently but by just knowing the cameras and shooting them at the settings that yield the best possible DR for the given scene, you get the same DR (Also assuming you're not shooting s-cinetone or using sony's rec709 lit or some other lut to grade that doesnt preserve DR. I use Phantom LUTs fot my base image and they are great)
And its not just my experience but mathematically calculated as well. Checkout cined.com lab tests. In fact, Canon C70 has a stop more DR but at the expense of worse rolling shutter performance over Sony and RED. Never really enjoyed working with C70 personally.
The one advantage I see Komodo has is it has slightly better rolloff when image is over exposed. But conversely, Sony has better rolloff when slightly underexposed. So, its just based on specific scenarios we find ourselves in.
Komodo and A1 is my current setup. And i used to be that guy that convinced myself that RED is better and took pride in having that camera when i got it 2 years ago. So I relate to those kind of takes on youtube channels. But I've grown to be bluntly honest with myself and as much as I love my Komodo, the image doesn't look any better or worse unless if there is user error.
@@BalaKrishna-bq5iz What made the jump from the FX3 to A1 and how do you feel they compare/contrast for video?
@@justinavila1320imo, it’s literally just the 8k. I had an a7siii (same sensor as the fx3) and now an A1. Since the fx3 doesn’t have full size xlr and Internsl NDS, it’s not a huge leap in convenience like the fx6 would be over the a1. So you still have to use a bunch of rigging materials anyways.
Once rigged out the A1 has one distinct advantage which is the ability to shoot 8k. That’s mostly the big advantage.
@@RiceCubeTech Better dynamic range, more detail (not sharpness, detail), super35 mode that samples from 6k & slightly better colors when grading than a7siii.
When you took the lens of the fx6 it was giving me anxiety!
The fx6 is better for everything than the komodo network, film, documentary, low budget, high budget, commercials, youtube, etc.
With the price difference, you can buy an external recorder. It’s a 1000 dollar difference and a shogun is like 900 bucks.
That should give you the raw and imo narrows the gap significantly to the point where the image argument is almost strictly do you need 6k.
You already need to rig out the Komodo significantly more and that only adds to the fx6s strength. For the price to make the Komodo even remotely as convenient (adding high quality NDs, full size XLR, handles, etc.) you’ve already spent an extra couple grand more.
With the base price difference you have an external recorder on the fx6, multiple lenses, and may even have room for lighting which imo is the biggest factor in making narrative and documentary work look better.
Both shoot RAW. Just need the recorder for the sony and you get all the benefitis of IS,AF,ND’s, Full Frame, less crop and arguably the best low light camera made that comes with it.
This is a great video with all very valid points! Well done! I agree, Red Komodo is a beast and in my opinion much more worth it over the fx6!
thank you
It depends. If you want to spend another $3-4k getting the camera practical then sure, Komodo. But at the price point, Fx6 is it especially if you good enough to get the best image out of it (more pre-post skills)
Coming from Blackmagic, RAW is such a huge safety net. Braw or Red Raw light is manageable sizes.
Very helpful comprehensive breakdown of the two cameras from a usability perspective. Thank you.
I have both. FX6 is definitely easier to operate, especially once your hands learn the controls. The Komodo though....the Komodo's the f'in business. It's worth the extra effort because when it's all said and done the RED image walks all over the Sony image.
Lol. No.
@@parkercreative_au why do you say no?
Just missing comparing the two in low light, Sony is a beast in low light, while RED has a maximum iso of 12800.
you're right, the FX6 is superior in low light than the Komodo. Although I must say, once using these two cameras, the budget of the project should be high enough to get a proper lighting team.
You might be surprised how good the Komodo is in low light. A couple things to consider. Shooting in 6K for a 4K delivery lets you descale noise, which instantly cleans up a couple stops. Add to that, any noise you are left with looks...nice. Like film grain, not like that nasty blotchy chroma noise the Sony's have (yes, I own both REDs and Sonys).
I own a7siii which can also go upto 12800 with no noise then whats the purpose of fx6?
@@ayansinghhuh internal NDs, timecode, easier rigging, the color science and dynamic range is slightly better even though it’s the same sensor, built in xlr, shutter angle, etc. there’s lots of features the fx6 offers that a normal mirrorless can’t.
REDCODE RAW slaughters Sony's internal codec; Komodo colors are much more pleasing than the FX6; the RED Control app is super-convenient; Komodo noise looks like film grain; the Komodo's got more dynamic range than the Sony. Komodo for the win!
Jon Pais: and sound? ND filers?
@@gerthenriksen8818 The Komodo has already been used on countless feature films, documentaries and streaming network shows, something no other camera at its price point can boast of, so it’s no problem.
@@JonPais Ok, thanks. Maybe not a problem on bigger productions or people with enough money.😀
@@gerthenriksen8818 Haha. True that. Even a cheap ND adapter and a handful of fixed drop-in ND filters can cost a mint.
@@JonPais "countless feature films" mostly as a crash cam, which is how it is intended. For context, even the original 1080p blackmagic pocket camera has been used in Marvel movies, as a crash cam. And Komodo technically has same dynamic range and slightly more on latitude than FX6 although, it isn't a huge difference. You can find Cined's lab tests on these. Interestingly, FX3 has more dynamic range than FX6 and Komodo but thats because of its internally applied noise reduction yuelding better signal go noise ratio but FX6 is more organic. For eye test though, FX6 and Konodo got same dynamic range.
These two cameras were my exact setup although I swapped FX6 to A1 now.
Thank you this was very helpful! Hey, appreciate the work
You had me at "Colour wise and quality, we dont need to say anything. Its just fucking nice" 🤣
Great info, thanks. So the Sony fx6 is plastic? And not good for narrative work, even when Sony put it in their cinema line?
it feels plastic but is well built. It's also ok for narrative work. But like I mentioned at the end. I don't feel there is too much of a big difference between sony a7s3 image quality wise. Only handling wise more convenient.
@@marcelbrandel9078 Ok, thanks
The FX6 is the better joice since it has XLR inputs and better autofocus.
The wait time to buy a new FX6 in the US is about 6 months where you can get a Komodo right now.
Wow!
Renting allows you to shoot with what ever your budget demands.
Is the FX6 better than EVA1, which is the one to buy?
every camera has it's strength and weaknesses, most important is if it suits your shooting style, I personally prefer the FX6 over the eva1
@@marcelbrandel9078 ok how does eva1 shine compare to Sony fx6
I've been following your channel for a while now, Please do a review of the Crane 3s after your long term use. I would love to know your experience after years of your use. Thank you for today's video.
okk, generally speaking pretty good, although there are now lighter and newer gimbals from Zhiyun and DJI that are even more convenient.
Hello brother ! thank you for give us this intro for red comodo 👍so, I want to know this small white lens used for this wideo?
Hi Sun Tondo, the one I used was a Laowa 9mm zero distortion lens. It's S35 NOT FULL FRAME, but works great with Komodo and turns it into a cine level GoPro configuration.
🙏🙏🙏🙏✌️✌️✌️✌️✌️👏👏👏
Amazing, honest review. Thanks a lot Marcel.
You think a7siii and fx3 same image quality? I think fx3 little better even when i sourch in youtube there is better videos with fx3. Pls help me
They have the same sensor
Wonderful comparison video. Thank you. Liked and sub’d.
mmm... v helpful... I think that the FX6 gets more 'News gathering' work... Is there no solution for the 'dust' thing?
unfortunately i haven't found a good way around it yet, just have to constantly check one more time when changing lenses
thank you for this video!
You didn’t touch on continuous autofocus capabilities on the red komodo… how good or bad they are…. Thanks.
hi Joaquin, I covered this in particular in a previous video. And in this case in comparison to FX6, def. the FX6's AF is way better. If you'd ask my experience with Komodo's AF. I'd say it's not usable for professional shoots. Only usable for quick simple work arounds.
Awesome comparison video!
thank you
Sehr gut Marcel 😉 hab die FX6 jetzt seit etwas über einem Jahr und komme immer besser mit ihr klar 😀 habe auch mein erstes FX6 REEL dazu gemacht 👌 best cinematic greetings from germany
hahha, greatt.
There is so much wrong advice in the beginning of this video. I don't know where to beging. You should be encouraging people. To rent out the finest system that they can afford to. Regardless of its intended application. This way the first time users as well as the moderate level experienced video producers. Will experience a lot of very positive experiences with it. Leaving them experiencing a lot of positive rewards.
fellw!good evening! stunning uploading,
thankssss
What external monitor is on that Komodo?
Looks like a portkeys bm5
Both.
My guy - did you really just take the lens off to expose the sensor in a windy wheat field and not even attempt to cover it?
Great video!
你说得对
1080hd video, serius?
Couldn’t afford the pay version of resolve w 4k output 😅
You don't know how to make videos the music is too loud and your narraration is too quiet I can't hear a word you're saying.
Check your device. Sounds fine to me. Maybe music is a bit intrusive during the VO but nothing to whine about.
Bruh .. rigging that camera to a gimbal..... you definitely didn't have it balanced. It was all over the place LOL