Oh mate, REDs own luts are about as useful $10 RUclipsr luts. Can’t confirm but word on the web is it’s Phil Holland making them. They need a professional colorist.
The real selling point is RAW. This saves you a lot of time on set, as all you have to worry about is exposure. The rest is exactly the same if you change it on set as in post. This is also insurance, because if you screw up ISO choice or white balance choice - or if things simply change while you're filming - then no problem. Another big one is no CMOS skew - this makes ALL motion look better, and somehow more filmic
have an FX3 and an FX6, but sometimes I rent a Red camera for certain projects (mostly the KX), and I'm in love with this camera! However, it’s not for everyone... If you do weddings and low-budget corporate videos, I don’t think you need this camera at all! And the image quality is not, as you said, "almost identical to the Sony"; it’s definitely much, much better! I love my Sonys for run-and-gun projects, but the KX is something else entirely; it’s not even in the same league... And I’m not that bothered by the longer boot-up time because, even with my Sonys, I rarely turn them off during a shoot.
Does cinematch has the LUTs for Komodo-X and does to work irrespective of the type of footage (day, night). I will be using it for a narrative short. Thanks!
Great question! Yes it does work on day or night footage. Cinematch doesn't have any LUTs, but you can save out LUTs from it and apply to all your footage as you normally would. Just select the camera you shot the footage on and do a REC 709 conversion.
Thanks for the video. Do you think that if you had more time with the RED KOMODO X you would have the opportunity to see how different it can be to a Sony? Not just on-set, image quality, and in post workflow but also in flexibility?
Hi Carlos! I really enjoy your RED content and have seen many of your great videos in the past. As far as your question... Yes, I'm sure with more time I could have dialed in the KX to more align with my shooting style. The image quality was the best I have seen straight out of camera on the RED, which has been well documented by others. But the trade offs for me didn't make it worth buying one, especially since I could match my Sony so closely with it in image quality/color which is most important to me. I don't film with a crew ever, so the Sony just makes more sense with its conveniences.
That is a really fast boot up time compared to my old red dragon
yes the boot up time on DSMC3 is lightning fast compared to the DSMC1 and DSMC2 haha
Oh mate, REDs own luts are about as useful $10 RUclipsr luts. Can’t confirm but word on the web is it’s Phil Holland making them. They need a professional colorist.
I was really surprised how bad it looked and thought, for sure, I must be doing something wrong. Any recommendations for LUTs you like for RED?
@@mattcarlson12 Yes it’s called Kharma LUTS at ravengrade, developed by Jill Bogdanowicz Father.
I replied but thing there was Glitch in the matrix… get the Karmah LUTs from ravengrade developed by Jill Bogdanowicz father.
The real selling point is RAW. This saves you a lot of time on set, as all you have to worry about is exposure. The rest is exactly the same if you change it on set as in post. This is also insurance, because if you screw up ISO choice or white balance choice - or if things simply change while you're filming - then no problem. Another big one is no CMOS skew - this makes ALL motion look better, and somehow more filmic
I agree about RAW. It's why NIKON bought them in my opinion. RED sued them over RAW... "Ok we'll just buy your company thanks." 🤣
have an FX3 and an FX6, but sometimes I rent a Red camera for certain projects (mostly the KX), and I'm in love with this camera! However, it’s not for everyone... If you do weddings and low-budget corporate videos, I don’t think you need this camera at all! And the image quality is not, as you said, "almost identical to the Sony"; it’s definitely much, much better! I love my Sonys for run-and-gun projects, but the KX is something else entirely; it’s not even in the same league... And I’m not that bothered by the longer boot-up time because, even with my Sonys, I rarely turn them off during a shoot.
I actually said... "I can GET my Sony to match the image of the KX." Thanks for watching! :)
@@mattcarlson12 No, you can not.
Does cinematch has the LUTs for Komodo-X and does to work irrespective of the type of footage (day, night). I will be using it for a narrative short. Thanks!
Great question! Yes it does work on day or night footage. Cinematch doesn't have any LUTs, but you can save out LUTs from it and apply to all your footage as you normally would. Just select the camera you shot the footage on and do a REC 709 conversion.
Thanks for the video. Do you think that if you had more time with the RED KOMODO X you would have the opportunity to see how different it can be to a Sony? Not just on-set, image quality, and in post workflow but also in flexibility?
Hi Carlos! I really enjoy your RED content and have seen many of your great videos in the past. As far as your question... Yes, I'm sure with more time I could have dialed in the KX to more align with my shooting style. The image quality was the best I have seen straight out of camera on the RED, which has been well documented by others. But the trade offs for me didn't make it worth buying one, especially since I could match my Sony so closely with it in image quality/color which is most important to me. I don't film with a crew ever, so the Sony just makes more sense with its conveniences.