Love this! I primarily use the G2 but have been looking at Komodo simply for client work asking for Red but no one has done a side by side. Would love to see more like this. Thank you for putting it together.
Thanks for the love! The G2 is a beast of a camera. We can do another side by side, perhaps comparing cameras to an Arri Alexa Mini and Amira as well. Would you be interested in a more "technical' test where we're shooting boards in a studio at different exposures, or a more practical test within a scene?
The only thing that makes me wanna upgrade to a Red Komodo in the future is the global shutter. Currently working with the Ursa G2. Its an amazing camera. I love to shoot handheld the most so i would really benefit from a global shutter. Till that time, im very happy with my ursa.
Thanks for the comment! We love the G2. Great take on upgrading. I'd also add to it and say, the Red Komodo's form factor is generally better. The Ursa can be a bit bulky or long. Especially for gimbal work. Might not be as revelvant if you're shooting a lot of handheld, but it's something we often get frustrated with. We couldn't get the Ursa to work with a Movi Pro or Ronin 2 because it was just too long...
@@oakvillestudios yeah I really wish BM would move to cube form. I almost expected it on the last announcement but we got the "studio cam" instead. some of the moves BM make are confusing at best. like the "selfie button" on pockets. huh? love my 6kpro and I squeeze everything out of it that I can but they need to up their form factor. nobody is holding the pocket cams like a snapshot camera.. move on with the industry
Very cool video. I love the thought you put into the shots you set up that really show a lot of characteristics of each camera. Personally I thought they were both beautiful images, with the ursa feeling more like I was watching a movie and the red feeling more like I was watching a high end commercial.
Interesting I thought the same thing but in the opposite order. I felt like the black magic look like a commercial. And the komodo seemed more film like.
Interesting enough, though, by the look of both bits of footage, for each example, both of these cameras could have been made to look the same by a good colorist with a brief.
Yeah, any colourist who knows what they are doing would be able to perfectly match the two images. That being said, we didn't try to match as we wanted to see the difference between the two camera sciences. It's definitely there but it's more subtle than some people may expect. What content would you like to see more of?
@@igormudryak7178 We use the Rec 709 luts for this one, very minor colour grading. We can deliver a more in depth colour grading video soon where we break down the process in resolve.
10/10 for the concept & acting. Felt an immediate sadness hit me ha ha. 1st time I've seen such end result from a SLR M adapter👍🏻. Would love to see you dig in deeper with it. (Have one laying in the closet. Never used it). The Komodo is some kind of marvel, isn't it? That said, the G2 is a real people pleaser. Though, both are grinding in low light, right?
Ayyy! Thanks for the love. Will definitely dig deeper and do more comparisons with gear. The Komodo is a beast of a camera. We should do a low light comparison!
We prefer the look of the G2 as well! But the Komodo can look better in certain situations. These shots just used the rec 709 lut. A good colourist can make both these cameras look amazing.
I'm interested in which SLR Magic Anamorphot you're using with your Sigma 30mm Art. I'm assuming you're using the Anamorphot 1.33x 50 and not the 1.33x 65, as the front lens on the Sigma is about 37mm with a filter size of 62mm. Which SLR Magic adapter do you have in your kit ? Best from Houston TX !
Hello! We have the SLR 1.33x 50. It screws directly into our 30mm Sigma with a 62mm filter thread. Since we've bought it a couple of years ago we've only used it once. So we thought we would use it here.
@@oakvillestudios Thanks ! I have a copy of the 30mm Sigma. I have a SLR 1.33x 65 which I occasionally use with my Meike cine lenses, 25,35, 50mm - that have a 77mm front thread. I was able to find a 1.33x 50 on eBay, as SLR Magic no longer makes that particular adapter. Decided to purchase it to use on my 30 and 50mm Sigma lens.
Selection of the best SLR Magic anamorphic adapter really depends upon the diameter of the front glass of the lens you're using, as well as the sensor size. SLR Magic suggests for their Anamorphot 50- 1.33x squeeze factor the following: S16 sensor - 17-85mm focal length; M43 sensor - 20-85mm focal length; S335 and APS-C sensors - 35-85mm focal length; Full Frame sensor - 40-85mm. The main lens should have a front lens filter size no greater than the back filter thread size of the Anamorphot - 62mm. If your camera or monitor has a desqueeze capability, this will allow you to see the post processing image with a aspect ratio of 2.35:1.
Nice one bro. Just for future references, it's important to match frame rates when doing this, you can see like huge frame jumps in komodo shots. Kinda distracting!
We've got a bunch of commercial projects and narrative stuff coming up so probably not for a while... Might do a more practical comparison at some stage because both these cameras are great. Usually comes down to usability, production requirements, and ergonomics. Feel free to message me at any time if you want more information regarding this though... If you're tossing up between two cameras we would be happy to give you our opinion :)
I'm doing some (still photography) shots of churches at the moment (a break from video) - I'm therefore particularly accustomed to looking out for barrel distortion (this is present even with the best of lenses - and even correcting for converging parallels with shift movements is not the solution, believe you me) - anyway, the door frame (with either camera) in this video shows noticeable barrel distortion !! Barrel distortion (I'm speaking principally of wide angle lenses in this regard) afflicts some interior shots in the commercially successful movie "In Bruges" - probably audiences don't care - maybe other viewers of this helpful video don't care - the point, anyway, is that in still photography "barrel distortion" is something that rankles with many photographers - do cinematographers try to fix such things "in post" ?????
Hi mate! Very interesting question. I'm going to generalise here, but there are two camps. One which values optical sharpness and advocates a clean look, minimizing all distortion even in wide angles. Arri Signature Prime lenses are a great example of a lens that is at the top of the hierarchy, optically clean with almost no distortion, even in extremely wide focal lengths, with each of these lenses costing 30 - 40k. That being said, on the other hand, some cinematographers prefer a vintage look, choosing to use lenses with elements of distortion or vignettes which are part of its character. Finally, Cinematography is the art of visual storytelling, and DOP's aim to convey the message and emotions of a particular story, so depending on the story at hand, a vintage look with more distortion might serve the narrative better, and in some cases, the cleanest possible look might best serve the narrative. In our case, we assess the project and our cinematographer will select an equipment package which best suits, and this varies.
Interesting enough as a photographer as well I understand what you are saying. The funny thing is that in cinematography, we tend to do the exact opposite and different qualities are some times even boosted rather than corrected when emulating old school film and lens pairs. Defocus, flaring, distortion and even fringing that my hasselblad lenses have almost non of even with my wide lens are at the opposite of what some filmmakers want. Clinical and sterile modern lenses are great for archival client work but when working narrative materials it is often desirable to have character as part of the aesthetic of telling a story.
It's a beautiful camera, a lot of it comes down to the lenses and optics used too. I would suggest hiring one out for a day or for a job and having a look for yourself.
Thanks for the feedback! We didn't do any work with curves. Just used the clip's black level in resolve with 709 LUT. No grade if that makes sense. But great to hear your thoughts!
These videos don’t matter too much considering any camera that captures enough data can achieve the same look any other camera of similar capabilities can.
Love this! I primarily use the G2 but have been looking at Komodo simply for client work asking for Red but no one has done a side by side. Would love to see more like this. Thank you for putting it together.
Thanks for the love! The G2 is a beast of a camera. We can do another side by side, perhaps comparing cameras to an Arri Alexa Mini and Amira as well. Would you be interested in a more "technical' test where we're shooting boards in a studio at different exposures, or a more practical test within a scene?
Haha love this! All footage comparison vids should be more like this.
Thanks for the kind words! Let me know what content you would like to see more of.
Love that you have created a story around cameras comparaisons, broked the fourth wall and being really dramatic and poetic. Great job! New Sub!
Glad you enjoyed it!
A good indication is looking at the glass cabinet at the end.
G2 is so beautiful! They both work really well together
Yeah, the G2 is a great camera. I will do more content shot on the Ursa soon. Thanks for the comment.
The only thing that makes me wanna upgrade to a Red Komodo in the future is the global shutter.
Currently working with the Ursa G2. Its an amazing camera. I love to shoot handheld the most so i would really benefit from a global shutter.
Till that time, im very happy with my ursa.
Thanks for the comment! We love the G2. Great take on upgrading. I'd also add to it and say, the Red Komodo's form factor is generally better. The Ursa can be a bit bulky or long. Especially for gimbal work. Might not be as revelvant if you're shooting a lot of handheld, but it's something we often get frustrated with. We couldn't get the Ursa to work with a Movi Pro or Ronin 2 because it was just too long...
Same here, global shutter is the way for the movement camera
@@oakvillestudios yeah I really wish BM would move to cube form. I almost expected it on the last announcement but we got the "studio cam" instead. some of the moves BM make are confusing at best. like the "selfie button" on pockets. huh? love my 6kpro and I squeeze everything out of it that I can but they need to up their form factor. nobody is holding the pocket cams like a snapshot camera.. move on with the industry
Very cool video. I love the thought you put into the shots you set up that really show a lot of characteristics of each camera. Personally I thought they were both beautiful images, with the ursa feeling more like I was watching a movie and the red feeling more like I was watching a high end commercial.
Interesting I thought the same thing but in the opposite order. I felt like the black magic look like a commercial. And the komodo seemed more film like.
Interesting enough, though, by the look of both bits of footage, for each example, both of these cameras could have been made to look the same by a good colorist with a brief.
Wow, it is too good. The general audience would never get it man :) High five!
Haha thanks for the comment! Our content is really for a specific type of audience hey 🤣
Wow, that combo works really well.
Yeah, any colourist who knows what they are doing would be able to perfectly match the two images. That being said, we didn't try to match as we wanted to see the difference between the two camera sciences. It's definitely there but it's more subtle than some people may expect. What content would you like to see more of?
@@oakvillestudios Did you use any LUTS? What was your color grade process?
@@igormudryak7178 We use the Rec 709 luts for this one, very minor colour grading.
We can deliver a more in depth colour grading video soon where we break down the process in resolve.
10/10 for the concept & acting. Felt an immediate sadness hit me ha ha. 1st time I've seen such end result from a SLR M adapter👍🏻. Would love to see you dig in deeper with it. (Have one laying in the closet. Never used it). The Komodo is some kind of marvel, isn't it? That said, the G2 is a real people pleaser. Though, both are grinding in low light, right?
Ayyy! Thanks for the love. Will definitely dig deeper and do more comparisons with gear. The Komodo is a beast of a camera.
We should do a low light comparison!
G2 looks the best to me
We prefer the look of the G2 as well! But the Komodo can look better in certain situations. These shots just used the rec 709 lut. A good colourist can make both these cameras look amazing.
Love the approach nicely done
Great images! Love it!
Thanks for the love!!
I'm interested in which SLR Magic Anamorphot you're using with your Sigma 30mm Art. I'm assuming you're using the Anamorphot 1.33x 50 and not the 1.33x 65, as the front lens on the Sigma is about 37mm with a filter size of 62mm. Which SLR Magic adapter do you have in your kit ? Best from Houston TX !
Hello! We have the SLR 1.33x 50. It screws directly into our 30mm Sigma with a 62mm filter thread. Since we've bought it a couple of years ago we've only used it once. So we thought we would use it here.
@@oakvillestudios Thanks ! I have a copy of the 30mm Sigma. I have a SLR 1.33x 65 which I occasionally use with my Meike cine lenses, 25,35, 50mm - that have a 77mm front thread. I was able to find a 1.33x 50 on eBay, as SLR Magic no longer makes that particular adapter. Decided to purchase it to use on my 30 and 50mm Sigma lens.
@@oakvillestudios which slr magic anamorphic adapter can I use with a 24 mm sigma and a 35mm sigma ?
Also did you use anamorphic mode on red komodo ? I have the red komodo
Selection of the best SLR Magic anamorphic adapter really depends upon the diameter of the front glass of the lens you're using, as well as the sensor size. SLR Magic suggests for their Anamorphot 50- 1.33x squeeze factor the following: S16 sensor - 17-85mm focal length; M43 sensor - 20-85mm focal length; S335 and APS-C sensors - 35-85mm focal length; Full Frame sensor - 40-85mm. The main lens should have a front lens filter size no greater than the back filter thread size of the Anamorphot - 62mm. If your camera or monitor has a desqueeze capability, this will allow you to see the post processing image with a aspect ratio of 2.35:1.
These cameras didn't record in the same frame rate, right? 🤔 The scenes are sometimes fragmented.
Nice one bro. Just for future references, it's important to match frame rates when doing this, you can see like huge frame jumps in komodo shots. Kinda distracting!
WOW....the ursa seems like a Arri Alexa sensor. MUCH BETTER THAN RED
Nice! Will you still be doing a proper comparison?
We've got a bunch of commercial projects and narrative stuff coming up so probably not for a while... Might do a more practical comparison at some stage because both these cameras are great. Usually comes down to usability, production requirements, and ergonomics. Feel free to message me at any time if you want more information regarding this though... If you're tossing up between two cameras we would be happy to give you our opinion :)
Def a whole different color science in Komodo
Beautiful composition,
Thanks for the love!!
Are you using a Dana Dolly?
Yes that's right!
"but its raining" hahahadfghjd mmmmmmmmmmmmmm after watching a lot of videos ill choose the komodo for this project
the colors and the blacks look so deeps tho
Amazing please 🙏 more ursa g2 videos
Thanks for the love, we have more Ursa G2 videos coming up. Do you have anything in particular or any lens pairings you would like to see?
Red is absurdly better in this side by side comparison.
Do anamorphic lenses have that kinda fish eye effect?
Different anamorphic lenses have different qualities, some of which is distortion. We used an adaptor which is quite low end.
thank for making me feel good about my recent G2 purchase haha
Thanks for the comment man! Yeah, the G2 is a beast of a camera, will treat you well.
Wes Anderson? I like it, I like it a lot
Thanks for the love!
What is the title of the music please?
Gnossienne No. 1 :)
Funny as fuck. Thank you.
Love it! Thanks for watching
I'm doing some (still photography) shots of churches at the moment (a break from video) - I'm therefore particularly accustomed to looking out for barrel distortion (this is present even with the best of lenses - and even correcting for converging parallels with shift movements is not the solution, believe you me) - anyway, the door frame (with either camera) in this video shows noticeable barrel distortion !! Barrel distortion (I'm speaking principally of wide angle lenses in this regard) afflicts some interior shots in the commercially successful movie "In Bruges" - probably audiences don't care - maybe other viewers of this helpful video don't care - the point, anyway, is that in still photography "barrel distortion" is something that rankles with many photographers - do cinematographers try to fix such things "in post" ?????
Hi mate! Very interesting question. I'm going to generalise here, but there are two camps. One which values optical sharpness and advocates a clean look, minimizing all distortion even in wide angles. Arri Signature Prime lenses are a great example of a lens that is at the top of the hierarchy, optically clean with almost no distortion, even in extremely wide focal lengths, with each of these lenses costing 30 - 40k. That being said, on the other hand, some cinematographers prefer a vintage look, choosing to use lenses with elements of distortion or vignettes which are part of its character.
Finally, Cinematography is the art of visual storytelling, and DOP's aim to convey the message and emotions of a particular story, so depending on the story at hand, a vintage look with more distortion might serve the narrative better, and in some cases, the cleanest possible look might best serve the narrative. In our case, we assess the project and our cinematographer will select an equipment package which best suits, and this varies.
Interesting enough as a photographer as well I understand what you are saying. The funny thing is that in cinematography, we tend to do the exact opposite and different qualities are some times even boosted rather than corrected when emulating old school film and lens pairs. Defocus, flaring, distortion and even fringing that my hasselblad lenses have almost non of even with my wide lens are at the opposite of what some filmmakers want. Clinical and sterile modern lenses are great for archival client work but when working narrative materials it is often desirable to have character as part of the aesthetic of telling a story.
black magic win
Thanks for the comment
you have dropp Frames by RED Comodo. not correctly Timelines FPS !!! or maybe you Shoot different FPS on Black Magic and RED 24to 25 fps for exemple.
G2 color is better....
g2
I love to upgrade to RED Komodo but those ugly green/magenta edges making me still thinking :(
It's a beautiful camera, a lot of it comes down to the lenses and optics used too. I would suggest hiring one out for a day or for a job and having a look for yourself.
That's all lens and grading choices. Poor colour choice and reliance on LUTs are what makes footage look the way it does.
you guys crushed the blacks too much in most of these shots...
Thanks for the feedback! We didn't do any work with curves. Just used the clip's black level in resolve with 709 LUT. No grade if that makes sense. But great to hear your thoughts!
These videos don’t matter too much considering any camera that captures enough data can achieve the same look any other camera of similar capabilities can.