A team of young filmmakers looking to make great things, educate about filmmaking, and be a part of a great community! We usually upload twice a month and occasionally more, if we particularly have some extra things we just need you to see! If you'd like to contact us for any reason, email us at firefacefilms@gmail.com !
If you never been on a film production then you won't understand the difference in canon and red. there is a reason you don't see c70 as cash cams. I never see any one call something a arri killer. but the c80 have much more to offer so why dose this cost 5500 and the arri is 100-200k? you won't know until you on set and you see the image. that when you say oh I get it.
Well at this stage in the game, you could say it’s because the C80 is doing 80% of its job, but in a more awkward body…I think though, if you look at the trend of **most** of Canon’s cinema offerings, they make a big initial splash, but then fall off the map as they still end up not fully certain niches or needs.
@@FireFaceFilms Yes I agree with you on that last point but the improved autofocus and improved digital in camera stablization alone should get canon users more excited about the C400 then the reduced price of the Komodo X. Canon's sabatoge of the C80 with the lack of the CF express B card slot as well as the 30 fps limit on 6K is not going to convince a lot of C70 users to upgrade. The C500 mk ii has an amazing image and if the C400 comes anywhere near it, then we will have a canon camera that rivals the RED Komodo
Yeah totally agree with you. People really dont realise that not everything in the same price bracket is competing with each out. for most people they can pick up the c80 and fx6 can be totally fine with the work flow. both cams have internal nd, autofocus and are very much run and gun. but like you said the red komodo is a complete different kinda beast where the former has everything built into a small package the komodo was meant as a crash cam and primary obj is to get a good image. to use the komodo in the same way as you would use a c80 or fx6 is expensive if you are thinking about adding autofous, ND, audio IO and then the package it self isnt so small anymore. not to mention still talking about the run and gun natural of the c80 and fx6 it takes seconds for those cameras to turn on which im pretty sure i cant say for the komodo. so like u said c80 and fx6 more geared towards run and gun/ docu filmmaking while with the komodo is geared for controlled environments but can be run and gun with alot of time and money researching workflows and getting accessories
The C80 is built for videographers and owner operator small commercial DOPs. The Komodo is a crash-Cam intended for FPV and tight spaces in studio environments.
That may have been the design intention, but I’ll raise you the Alexa Mini, which was designed with the same purpose, and then people were like “oh wait, let’s rig this and use it as an A cam”. Some (very very few people) people are bold enough to use the Blackmagic Micro Cinema as a rigged out A cam. Never discount a camera’s use case based on its “intended design”!
You nailed it, and stopped the hype train. The Canon C80 is a run and gun and the Komodo is for a controlled lighting environment. Canon has however put Sony on notice regarding their next fx6 and will hopefully force them to drop the price by at least $500, which is wishful thinking.
Great video. Don’t listen to some of these guys, I’m kind of glad that you didn’t talk about image quality. It’s almost kind of pointless to talk about image quality, in this day and age. They are all excellent.
Right? I could get an S5IIX if I really wanted full frame 6K, but it doesn’t have timecode or a reliable video output (bad latency). So why would I settle for a tool that’s not meeting my needs just for a maybe better image??
At $5499 in Texas with no tax for Cinematographers and film makers the C80 indeed is a B cam, run and gun, doc, etc., Komodo killer. Get back with me next year when a complete Komodo kit drops a few more thousand. And the C80 doesn't need a phone app to auto focus either.
Global shutter and real raw count for something. Red cameras have the best image quality of all cameras in this price range without any doubt. To me the price is more than justified.
@@castielvargastv7931 It’s quite a premium to pay even at 7k for a Super 35 camera with no internal NDs, bad autofocus, bad lowlight and overpriced proprietary accessories that are necessary for the camera to function normally including their insanely overpriced monitor because the onboard screen is unusable. Honestly, a lot of cameras look just as good if not better than the RED even the Blackmagic 6K which is pretty inexpensive. With a capable operator and decent color correction many of these images are difficult to tell apart. It’s not that the KX isn’t a good camera, it’s just that it’s overpriced gear in today’s market which is saturated with incredible cameras that do a lot more for a lot less.
Not a single syllable about image quality. Well, that’s 10 minutes I’ll never get back. Serves me right for clicking on a video where the guy has his toys in the background. 🤦♂️
Why fret about image quality when we all know that camera image quality is a game of diminishing returns unless you’re ARRI or don’t know what you’re doing? We know we can make great images with any camera, this is simply a matter of what camera works for what workflow 😃
@@FireFaceFilms If you don't think image is an issue I guess you need to find all sorts of other reasons to justify what you spent on the komodo and all the extras just to get it into a usable state. Red makes good cameras but overpriced IMO.
I more mean that image *isn’t* the most important thing to consider when picking a camera. Spending money on extras and rigging will vary wildly depending on the job. If I’m honest, I could spend a fraction of the money on any of the cameras discussed here and get a Blackmagic Cinema Camera 6K or Pyxis with appropriate rigging and get an image that I know I’d like more than what comes out of the C80.
@@matthewmaccarthy8542weird assumptions to make about a person you don't know but ok... and you seem very secure in your masculinity. It's a fucking tranformers lego dude. I've seen many adults that enjoy much more childish things, such as leaving rude comments on a small creator's video rather than having constructive, thought provoking discussion 🤷🏼♀️
So you’ve got a tough situation with the F3. It doesn’t have dedicated timecode and only two inputs, so if you want to do the LTC method like discussed in the video, you’ll have to give up one of the only two audio channels you have. (Not impossible, but not ideal)
Yeah, I don't think people realize how nice it is to show up on set with a fully rigged-out camera. I saw that on a Hollywood set and immediately thought "why am I not doing that?!". I almost bought this bag but found a very similar bag on sale but this Shape bag is what I recommend to everyone else.
Well well, we have just the video for you! The COMPACT XH2s Cine Rig (Does it get Better?) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3JLAvi_yWg8.html
Unfortunately, upon initial testing, it seems like the Deity sync app doesn’t do just LTC conversion and expects you do only do syncing in app. So for our *current* use case, it’s not very helpful
Perhaps user error, but I haven’t found the method for getting it to consistently engage. Also as I shoot for other folks, I like to have a mic track from a legit mic to make it somewhat easier for them (it’s already a process to have to explain it to them)
FWIW, the Tentacle Sync E DOES have a scratch mic built in so when using with prosumer stuff with no TC input, you at least get scratch mic on one channel. Kind of lame that Deity didn't copy them and do the same thing. I've used the Deity and I own three Sync E and two Track Es. The Deity has the screens, which is nice, the Tentacles don't but functionally, either is a good choice. I just invested in Tentacle years ago well before the TC-1's introduction.
This is the closest I could find! If this doesn’t work, my best suggestion is to round up a few variants like this and see which. Avoid any TRRS cables though, only TRS a.co/d/011IfmML
even though it's way more expensive, I would choose the Wooden Camera cage as it actually has mounting holes in the area where I complained that the tilta doesn't
(02:45) Actually 18-120 F4 has no issues like that . I tired that lens so many times and it has almost NO exposure change or focus loss during zooming , especially if you don't zoom in or out too fast. Without hesitation It is the perfect lens for video . Besides, quality of photos and videos from that lens is just so good. But The problem is I had two copies of that lens and after 3-4 monts both of them stopped working :( I'm not sure what the problem is but I think it has something to do with its power zoom motor .
Well then, the QC alone may be enough to scare us off getting that lens…though I do hear a 16-55 mark II is coming, so that could be exciting. Though a 16-80 mark II could be cool as wella
Great video!! I’m a current XT-5 hybrid shooter and I rigged mine out very similarly. I use the 99 v-mount battery with the d-tap since I just waited til I found both on sale on Amazon after checking basically daily for 2 months haha. My only other difference is I use the Tilta follow focus, smallrig cage, and a smallrig handle on top that I then attach my monitor to the handle. I’m getting into being a second shooter for weddings this coming year as well as a few short films, so I’ll be investing in a XH2-S soon! Happy shooting!
For landscape photography, is this a better choice than the 16-55? I don’t like that the aperture has an encoder as opposed to an actual ring that does it physically
I can’t speak to landscape photography all that well, but I would still go with the 16-55 as it’s noticeably sharper than the 16-80. As far as the aperture ring though, you’ll have to deal with it being electronic on every X-mount lens unless you buy third party manual lenses!
Blackmagic released the Ursa Broadcast G2 which is essentially a 6K Ursa about a year or two ago. It comes with an EF mount since the B4 mount only allows you to shoot 4K maximum. I wouldn't say the Ursa line is abandoned.
