I would love Shutter-Angle option as well as the usual shutter-speed, I also agree with you on the read-out speed - and would love the A7V to have a stacked sensor or even better a global shutter. And I hope the photo and video quality are awesome, as well as the usual fantastic auto-focus.
You switched from Sony to Canon over colors? Sony is a tad green but Canon has a magenta shift that is so ugly. If it was about color in the big three, everyone would go Nikon. Canon dumped tons of money into marketing to say they had great colors and pushed that talking point to YT for years... sadly it has worked.
I did not switch for colors, but the colors are a bonus. Like I said, the main thing I didn't like about Sony was the colors and the noise reduction in video, but I made the switch to Canon because I really enjoy the RF lenses. I had been building a collection of them while shooting on Komodo, so I decided to switch over my stills setup to Canon so I'd only have to load out one set of lenses to be used with both systems (Canon and RED). And yes, I enjoy Nikon color as well.
@loudandclearmedia i will give you that Canon has good glass. I am looking forward to Red using the Z mount. I have a weird set of cameras. Some Sony (RX0 and RX0 II) tons of F mount Nikon glass and bodies, Sigma FP, Panasonic S1H, blackmagic, and some EF glass and tons and tons of vintage glass. When Nikon makes red use the Z mount I will be heading that direction. I have converted two workshops I do work with to the Z8 and I guess that is why I haven't pulled the trigger on my own yet. I tell everyone that all the modern cameras can get stunning photos and video, it is all up to what you want to play with.
@@prokremelskidezolati1426 Yeah, that was a strange comment for sure...lol. You can throw shade at RF glass because of price and weight, but the quality is top-notch.
I’m heading to Florida for the first time ever next week to catch a NASA/SpaceX launch, and have been mulling over the idea of renting an R3, partly because of the praise you’ve heaped upon it. I’ll have the R5C for video, but the C200 is a little big to bring along, too. And I don’t know if the EOS R is up to the task of handling the 800/11 for photos. Actually, I do know. It’s not. haha Good to see you back!
Man, that sounds awesome. I'd love see a launch! Regarding cameras, for me it would depend a lot on how close I could get to the launch and/or which lenses I had available. Rockets are pretty serious, so I'd assume you'll be quite far away. R5C for that. I'll say it this way. As someone who owns both bodies, I grab the R5C for travel. The R3 is fantastic for my daily workflow because it's so fast and so stable while wirelessly tethering, but the increased resolution and cine operating system of the R5C IMO still makes it the most powerful hybrid available. Just be careful you don't outrun the buffer.
Great Video! can you please help me. I'm currently using a FX3 with a Laowa lens 15m 2.8 for real estate photos but I want to take better photos. What do you think of my current gear? should I go with an A7IV with a new lens such as sigma 14 - 24 2.8 or Sony 16-35mm f/4 Zeiss?
I am making the upgrade soon to a full frame after using the Canon R50 with a Nisi 9mm f/2.8 lens = 13.5mm full frame equivalent. The R50 has been a great camera for shooting real estate photos and video. But it's not without its issues. The photo distortion and video warping while panning are problems. Although my editor has corrected the distortion 95% of the time. But video warping cannot be corrected. So, it's time to upgrade since I have better clients where I'm at, and more importantly already have a major real estate brokerage as a client where my family and I are moving to soon. The Nisi 9mm is an RF mount lens and can be used on the R8, but will it be too wide even for real estate? Logically, I'm thinking it will be excellent for those shoebox listings and I just have to be closer for the rest of the shots. I'm interested to know your thoughts on this. Most say the 16mm is ideal for real estate, but I have shot and will continue to get shoots for shoebox listings. I think a 12mm or 14mm will be great on the R8.
Those who took offense are guilty of the same deplorable actions. The immature have little to no character to grow from constructive criticism. I'm a 20-year tv vet who got into real estate photography after I lost my tv job due to cutbacks at CBN. Little did we veteran studio cam ops know is, we were training these recent Regent University grads to replace us since we were earning top wages. My jib like shots on a ped cam became static shots when the new ops took over the reins. Thought about moving to a better paying tv market but my wife's medical career took off in this area, so I decided it was my turn to accommodate her career for a change. While I greatly enjoy this work, here in the Hampton Roads area of Virginia, it's been horrible. Not just RE photography, but the horrible quality of life in this area. My wife and I knew we had to move for the sake of our children and us at some point and that's happening soon, thank God. I have treated every client with the upmost respect, customer service driven, do everything I can to make sure they get everything they need with competitive rates, always on time, excellent results from my editor in Asia, etc. And all I ever get out of these people is trying to lowball me, expecting me to travel to the same house multiple times for various reasons on my own dime, never caring that I have gas, tolls and wear and tear expenses, and to deal with thee most horrific traffic and imbecilic drivers in the country. And it's not just the young realtor, it's everyone in this area. They all have a nice demeanor when you first meet, but after that first or second shoot, it's a totally different person. I have grown to hate VA and greatly looking forward to returning to where people have character and aren't nearly as selfish.
I agree with your video comment. I own two Blackmagic cameras and shoot stock video . This month I hit 5 figures licensing my clips. All were BMCC 6 K Pro Clips.. In addition I’m a commercial model (BMW, Google, Facebook etc) and by coincidence a busy commercial producer said to me last month while on a job that everyone is using Blackmagic now over the Komodo’s particularly and people have been caught holding that bag., Roll on Pyxis! 💪🏿👍🏿..
RED got purchased by Nikon. This would mean that RED now will have access to R&D budgets levels higher than the previous RED + BlackMagic R&D budgets combined and then multiply that amount by 2. I predict RED will go back to how the hardware was developed during the DSMC1 era where when RED was arguably more proprietary however the quality control was the highest it ever was.
While everything you said is true, the counter point to that is that RED is now controlled by accountants, not artists and engineers. Do they have a bigger R&D budget?...sure. Will Nikon green-light into production something as crazy and expensive as a Raptor-X successor would have to be?...who knows. In the meantime, a LARGE portion of current RED users I know are proceeding very cautiously until Nikon's intentions with RED are clearer.
@@loudandclearmedia to be honest RED has always been a start-up minded company, but after their DSMC2 line RED started declining. RED really needed more structure and rigidity to their approach to the market. Back when RED first started their goal was to change the perception of digital and RED wanted to bring the digital revolution to cinema, which they did back in the late 2000’s and and into the mid 2010’s. Back in those days they only real digital competition RED really had was ARRI. RED might have ushered in the digital motion picture revolution but ARRI is King and has never been dethroned by RED no matter how many bumps of specs and resolution RED improved. This is because ARRI protects its line, doesn’t cannibalize its own sales, waits a while to test before implementing improvements, and keeps 3rd party mods to a minimum. The problem with RED is that they were looked at as leaders within their industry but their company lifestyle represented the raw start-up mentality which is good in the beginning but at some point in order to continue of being a leader you have to scale, thrive, lead, and grow year after year. Out of these 4 things the only thing RED has been able to do is scale with the introduction of their DSMC3 to a wider user base with the introduction of their crash cam / box cam the Komodo.. but let’s be real the Komodo is barely even a cinema cam, it is so stripped down and barley even usable without first adding almost half of it’s price into purchasing other modules to get it to shoot. The Komodo was a disappointment, and a success at the same time. When it came out it was already the beginning of the end for RED because while RED was busy trying to be cool artists Sony and BlackMagic engineers stepped up and almost nullified all that made RED better than all other cameras besides ARRI. Right now the only thing RED has over everyone is Dynamic Range and their R3D RAW format. Besides that even cameras below $3k can almost do the same. I think RED saw the decline happening and in order to save the name of RED they’d rather sell it and keep it alive rather then to witness RED be surpassed by photography camera companies. Nikon can give REF the structure that should’ve been in place at the beginning of DSMC3. And RED could give Nikon a bit more attitude and artistry. If they can fuse these traits together they could probably finally surpass ARRI. Engineering wise Nikon has always had the superior Mount. From their F Mount to their Z Mount look at every lens manufacturer that makes lenses for Sony Canon Nikon… ever notice the Nikon version of day Zeiss rates at a higher level of revolving power and resolution compared to its Canon and Sony versions. It’s because Nikon’s main strength is hardware and glass manufacturing. They make the best Japanese glass and mounts probably because they are the OG Japanese camera manufacture. Nikon and RED is an interesting combination
Good day, will the X3's hot shoe damage the R3's connector pins if you press it forward against the multi function shoe or is it designed it such away that it will prevent the X3's shoe to bump the pins?
When I hit pause, the exposure preview still shows for flash! Not ideal for ambient shot! I have to turn the trigger off completely to preview my ambient shot.
As a director/DP with over 8 feature films and few awards under my belt, you told no lies brethren. Since 1995, I've owned them all. From Sony line to Red line to Panasonic line to now Blackmagic line. You are 100% correct. I got rid of my Dragon and picked up the original Ursa (the tank) and I've never looked back. Today, I own 4 BMD cameras. Ursa original, Ursa mini, Ursa mini G2 and pocket 6K. Will definitely pick up the Pyxsis. I've shot over 4 films, countlese music videos, commercials and corporate gigs with those cameras. So, shout out to you. Keep up the good work. 👍🏾💯
Fantastic points especially the ENG recording. You see it at sporting events for post game interviews and also on Capital Hill. As budgets for TV get cut. Looking at used Red camera I’m amazed at DMC2 prices and still wouldn’t buy The Monstro which I see on EBay for $7995. It would be nice to own as a studio camera but not needed. With Jared gone and the used DMC3 coming on the market updated media along with 6K global shutter. Safer to wait. As budgets fall concentration on look will take preferential treatment over gear used.
I don’t think BMD has killed Red. I think Nikon has. Because many Red owner such as myself are now hesitant to invest in additional Red cameras because, as you rightly stated, we are uncertain how long-term support will be affected. That said, it is not silly to say that a mirrorless can capture images equivalent to a Red camera. I know my Sony A9III produces an image that compares very well to my Reds. Reasons to use a dedicated cinema camera are more focused on I/O and workflow. Honestly, the BMD cameras have bad rolling shutter, which has largely kept me away from them. If you are in the market for a C6K, you are better served with a Panasonic S5IIX. It’s a much better camera, and supports thing like AF and IBIS… while ironically better supporting anamorphic shooting. FYI: You can buy a Red Monstro 8K VV for $6K on eBay… ouch.
As a commercial cinematographer and often director, I used to run with the RED DSMC2. I saw the writing on the wall years ago and switched to Blackmagic. Now using the BMCC6KFF. I am serving clients who used to hire me with my 8K Helium. Literally no one has mentioned a thing. Not on set. Not about the deliverables. Not even at the client aquisition stage. RED or even Arri for that matter don't matter unless you are in the highest echelon of commercial space. The most common packages I see are either BM cameras, or Canon or Sony mirrorless (not even FX6 or C series, but the little mirrorless cams). The entire industry has shifted and I for one will not be left "holding the bag" as you mentioned. I will never again for the rest of my life make the stupid mistake of buying a camera north of say 5 to 10 grand. Probably will stick to lower end BM cams as the clients simply doesn't care. Oh, and there a hilarious new trend I have also noticed. I have heard on set a few young guys poking fun at "old boomer DP's" with giant cinema cameras. Nowadays simply showing up with a huge rig is literally a red flag to clients as someone who isn't in the know. It's a bit sad but also a bit refreshing depending on how you look at it. Good video mr Loud and Clear.
Just picked up a 6k pro and im getting ready to start selling my Canon cinema cameras. Just as people have flocked to Resolve, the move to these new cameras is haopening fast and it makes sense.
No matter how good iPhones get the basic user problems will still remain... most users don't understand camera moves, camera angles, setting up scenes, lighting, composition, color correction, color grading, video editing, delivery formats, audio capture, audio editing, and the list goes on. Having the best iPhone in the world means nothing for video if you don't have the skills during video capture and after video capture. I agree though, the RED future looks uncertain and I think everyone is on hold to see what happens with the Nikon acquisition. One thing most people are probably not thinking with the Pyxis, is that it will very likely be accepted by Netflix for their approved camera list. This alone will be very encouraging for young and upcoming cinematographers. The Pyxis is finally my gateway into the world of cinematography and I couldn't be more excited! My L-mount is on preorder and I'll be using it with NiSi Athena Prime lenses.
I agree with everything you said, with one big difference. While true that the layman iPhone users won't possess a skill set nearly as advanced as one of us, the tool will still give them the confidence to not hire us in the first place. Think of it as the "liquid courage" analogy. Drunks start fights with dudes bigger and tougher than themselves, but if they were sober and not under the influence of alcohol (or iPhones in this case), they'd likely make different decisions.
What do you think about the 14-35mm f4 lens? Is it suitable for filming real estate? Will it be a bit too dark? I'm wondering between it and the Sigma 14-24mm F2.8, which is very heavy... I wonder how difficult it will be to work with the gimbal.
Just ordered my first camera, the BMPCC 6K Pro, for years now I have been paid to shoot music vids on iphone. I'm equally excited and terrified for this next step, hoping the learning curve isn't too big.
The learning curve isn't too steep as long as you know basic exposure principles. The biggest difference in how BM cameras operate compared to most others has to do with the ISO limitations when working with BRAW in post. Basically, you need to choose whether it will be in low or high base ISO on the day, and then in post you'll be limited to specifying ISO values only within the range you've already chosen. Thats different from R3D, where ISO in post can be modified to whatever value. You'll get the hang of it.
I've been a Blackmagic user since getting my hands on the original BMPCC back in 2015 and have been extremely impressed with the image quality. I will support a company who is there for the people, BMD definitely excels in this regard whereas RED is purely in it for profit and don't give a damn about their customers.
I disagree about RED not being there for their customers. Let's remember that the cameras and systems RED traditionally competed against were WAY more expensive than anything RED had (remember 4K for $4K?) . Add to that, they've always been engaged with their user base. For instance, I have on a couple occasions communicated directly with Jarrod Land. Which Presidents of which other camera companies have you had the direct ear of? That's pretty darn unique, and I fear and suspect that's what RED has now lost on the other side of this Nikon deal.
As soon as you said the word “Pyxis“ (I’m sure I’m spelling that wrong), You lost all credibility. The camera looks beautiful but it sucks in every possible way. Bad Rolling shutter, horrible in low light… and that ridiculous monitor on the side. Need to go on. The Komodo X will blow it out of the water.
Champ, you sound just like a Red Komodo fan boy. Everything you said is nonsense. The camera is not even out yet, so how would you know? 2nd, Everything you mentioned is not a problem for professional DPs that are shooting high end indie films or commercials. Only RU-vid content creators and wedding shooters will say such amateur, uneducated things about a camera no one in the world have actually used in a film or commercials settings. Youmtold on yourself Komodo FAN BOY.
Well said. For me in a nutshell BM especially the BMFF are best bang for your buck. I do narrative filmmaking, everything from the p4k to bmff are an absolute perfect tool for my needs image and budget wise.
*For Me, I think the URSA Mini Pro 12K is an awesome camera. What gives me pause is the BRAW 12 Bit Codec. The RED uses what My eyes tell me is a superior 16 Bit Colour Science with a difference I can clearly see. I hope BM updates their codec from 12 to 16 Bit, then, I think there simply will be no visual difference between RedCode RAW and BRAW.*
@@markjob6354 My eyes tell me the same thing. With a stable, actively innovative California company at the helm, paying such prices for that look was tolerable. Also, I do think the BM image is frighteningly close for a camera that costs several times less. Seeing the two side by side will show the RED image superior. Aside from that though, seeing the BM image on its own just looks like a great image.
I recently shot a commercial project using an Alexa 35 LF with Arri Master Primes for my A-Cam and the BMCC FF with Sigma 24-70mm photo lens as my B-cam. When I put the two shots by side and graded to match, I’m just saying the images were almost indistinguishable in quality. It just is what it is. The game has changed now and the rest of the industry has caught up to manufacturers like RED and ARRI if you’re talking strictly about image from the sensor. And what differences are there are definitely nowhere near worth the added price you’d pay for the RED. It’s just true.
@@AdamSzarmack To be clear, I still prefer the RED image over Blackmagic, but what you’re saying is true. The juice IMO is no longer worth the squeeze.
Hey, I let it fly with thumbnails these days. The only thumbnail type I refuse to use is booty girls...mostly because I know how pissed off I am when after clicking on a booty girl thumbnail it's some hairy dude talking about cameras.
I currently have 4 Blackmagic cameras and never felt I needed a full frame. That $1500 sale was too tempting to ignore and it changed by attitude about "not needing" a full frame. I often shoot in small spaces where the crop limited my lens choices. Those limits vanished on day one. After a few weeks, I also started to realize how the L mount opened a whole world of modern lenses. If nothing else, that $1500 sale gave everyone an inexpensive taste of why all their new high end models are full frame.
Right there with you brother. I shoot a LOT of interiors work (Real Estate, Hospitality, Builders) and having a full frame opens up a whole nother world of lensing. Having said that, there aren't a whole lot of native L mount wides that are also well corrected. Certainly not compared to the Sony and Canon mounts. I find myself adapting EF most often.
@@loudandclearmedia I'm not impressed by the choice of L mount lenses either. They're overpriced and uninspiring, but I've been shooting EF for ages and have about 20-30 lenses. The key difference here is when I grab a 24, it's a 24, what I was surprised by is how many other lenses are easily adapted to L vs EF. In a nutshell, you get all the EF lenses, plus all the lenses that can be adapted to EF, plus all the newer mirrorless full frame and pre-digital lenses that otherwise couldn't be adapted to EF because of the spacing. Then when you factor in the new framing and cropping options and I'm understanding why so many platforms are going full frame. The key difference, as you pointed out, is I have four Blackmagic cameras that cost me less than the price of one high end Red.
Spoken like someone who knows very little about the laggy sensor in the Pyxis. I just dumped two BMCC cameras because the low light performance is garbage and because for a lot of commercial work you have to transcode every take in order to deliver unedited footage-not to mention the limited frame rates and the poor rolling shutter performance. At the high end with the new 12k? It’s a huge camera requiring top shelf power delivery and it involves a brand new storage and file transfer infrastructure. What budget minded client is going to want that monster on set? Those folks will want an Alexa as those rental costs keep coming down. Where does any of this leave Red? Primarily with an uncertain user base which will be a lot more likely to lean into an RF mount C400 with triple native ISOs and an $8k price tag rather than L-mount wannabe cameras or going down the 12k rabbit hole. Nikon has its hands full with the acquisition of Red and I still struggle to understand the motivations behind the purchase, but if Red goes under it’s not very likely BM will be the one to take them there. And in the mean time I expect to see Red camera list prices dropping quite a bit as they struggle to overcome consumer uncertainty and the interruptive pricing of the C400.
@@2424rocket If BM could bring that 16-stop sensor into the $6000 range with dual CFExpress and a body design about the same size and weight as the C400 with comparable I/O and built as an 8k design with limited 12k frame rates…maybe??? they could carve out a decent sized portion of the mid-cine market. But I’m not holding my breath. I don’t think BM knows how to make cameras that don’t in some significant way look and feel like toys. Even the 12k Cine looks like something cobbled together by basement tinkerers rather than something built for high durability professional use.
My career was in VFX editing using Discreet Logic aka Autodesk Flame. We enjoyed decades of high 'barrier to entry' pricing, keeping Adobe and Avid out of our competitive space. I now use DaVinci Resolve at 1/200 of the initial hardware/software investment. And this platform, in many ways, outperforms. Our former business model no longer exists ($800/hr post production suites). What has replaced it is fascinating. The very talented editors and colorists are still making a living doing high-end work for commercials and features, but without the overhead of expensive real-estate, client services, scheduling, etc. Blackmagic played a significant role in disrupting our part of the industry as well. There were other factors, but the ability for talent to go it alone using very affordable tools without a measurable difference to deliverables was a significant contributor.
Excellent job presenting "fightin' words" in a thoughtful way. I'm a long time Nikon user and curious to see what they do with Red. The only thing I disagree with in your video is that Red has "lost" the battle. In my opinion, nothing in technology is over until it's over. The competition should hopefully mean great things for creatives!
I think we're all hopeful about the future of RED...I know I am anyway. Until there is clear direction though, the uncertainty is pretty unsettling, I mean, we're not talking about $100 widgets after all.
Tech prices can sometimes go down instead of up as reproduction of parts advance over the years. A 55" tv 10 years ago was $1200. Now you can get a 65" for $299.
