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I'm theoretically in the market for a new camera in this exact price range. The weird thing is; i somehow don't trust RED for some reason. I don't even know where this feeling comes from. But i can't bring myself to buy one. Still hoping for a new FX6 or even FX9 tbh.. probably won't happen soon though. Thanks for the great video as always @cvp 🖤
We just purchased a Raptor X and it’s fantastic. I don’t really care about RF mount/Nikon mount/blahblah. There are PL & EF adapters and no shortage of lensing to deliver the job. These cameras are TINY with mighty specs. If I was spending my own money I may have considered a KomodoX, but honestly, there’s NOTHING to gripe about at these prices. If anyone feels there are shortcomings to capturing amazing footage for clients with these cameras, I’d suggest looking inward at personal skills first.
Love your reviews team! Was wondering if you would share your colour workflow for the Komodo-X? You have nailed a great balance of detail and neutral tones and separation, which I don’t see a lot of on that camera. 🙏
The footage from these cameras is crap. Just looks digital and not "filmic". We need to stop promoting them as "filmic". Documentary, corporate and weddings great. Tbh most cameras look bad apart from arri 😅
The image depends on your lensing, aptitude, and experience. There is no “digital looking” sensor. Not to be rude, but these comments are simply not thought through.
I think the Komodo X looks a bit clinical; the komodo shots on the other hand have a softer feel to them. In this test footage at least, maybe there was something going on in post. But if it's the OLPF or camera in general, the original will be easier to create a film look with. There are many great examples of that online.
@@prismcollectionmusici still like the OG for narrartive. KIMI 2022 was shot on Komodo by S Soderburg. Looks great! Paired the Komodo was Leitz primes. Ultra sharp! And it still looks great.
Nah, big films shot on red (like the hobbit, matrix resurrections) look just cheap. And the list continues. I searched for films shot on red and apart from "Gone Girl" I could not find a single film that stood out. It's just a cult fad with RED, yes it has a lot of good stuff as digital cameras go, but it's not what people think it is. And the more people buy into it the more they damage their creativity.
With the Ursa Cine 17k 65 coming in at that price. Seems like it would have a market for lower budget films to be able to dip their toes in IMAX without using the Arri 65 or an actual IMAX film camera. I just hope they actually have the amount of dynamic range they are claiming and have a decent sensor readout speed, because the full frame pocket and Pyxis leave much to be desired. Especially with their frame rate limited to 36 fps at the full resolution. I would have gotten the Pyxis if it had at least 50/60 fps at the full 6k.
I think Nikon/Red would do well if they came out with a box style camera that is in between the price of the fx6 and BM Pyxis. The Pyxis seems nice but it doesn’t quite nail the specs that I would want. If it could at least do 50/60 fps at the full 6k resolution and offered at least ProRes log and not just BRAW I would have jumped right onto it
My impression is Blackmagic simply isn’t trusted to survive in the field. Resolve is great, as are the converter boxes, etc., but the cameras seem to have a “film school” stigma - charming and novel, but pushed aside when the job matters. In Chicago, I’ve never seen them on-set. I’ve even seen a Kinefinity on a job (odd), but never a BM camera.
Hmmm, I'm thinking about getting the Blackmagic Pyxis. It seems to be nowhere near as good as these Komodos but still cheaper and good enough for me as my first box camera ☺️
@@InfamousStar1 let’s agree to disagree as I’ve spoken to producers that work with major brands and that not what they say - at least in the UK anyway.
You are correct, It was Canon C80 and C400 that caused the price drop. I will still buy the C80 over the Red - The Canon C80 is ready to go out of the box - Red has expensive accessories, no batteries, no ND, and you are forced to rig it out (price will jump close to C400 territory) -- at the point C400 feel more tempting 😅
@@quadvr yupp! I’m going from the FX9 to the C400. You can’t beat it considering what you get in that small size and price point. It really makes RED look like overpriced cameras that has lived of its brand. Just look at the price of the RED mini-mags and cables, costs as much as a C80 if you want to make it through one full day of shooting.
@@sa.t.2507 I am planing to upgrade my C100 Mark II to C80 or C400. I am still going to keep the C100 Mark II - very good camera even today (128 GB and battery can last all day on the C100 Mark II). I am going pick up the RF 50 1.2 next year (saving up still), and then Save for C80 or C400.
12:40 The Red DSMC 2 Cameras have better and more natural color science compared to the DSMC 3 Cameras. My favourite is Red Monstro followed by the Helium, ARRI and lastly Venice
My main two concerns (which you unfortunately haven’t mentioned in this video) is the long boot up time and missing internal NDs. To me these two issues are still a dealbreaker. Since you said you use the KX in the studio, how do those two things affect you? Thanks for your videos!
Price is cheaper, you can buy a breakthrough adapter with solid qulity (RF flange distance is very short) and depending on your work, the bootup time isn't an issue. It's not like you're using Sony NP batteries, that camera can stay powered for hours. If you want better ND filtration, matte box. You want constant power in a studio setting, power cord! If bootup times are an issue, get an FX6 but the downside is that footage will not hold up like R3D in-post; especially if you're filming inside, outside and in multiple color temps with varying shifts. RAW can bring those things back way easier. Different tools for different jobs, any camera now a days is great though what I'm trying to say.
@@buddyfx7026 if you ever used internal ND it’s very hard to go back! 😅 the extra price would not be a problem, but extra gadgets on the camera is not clean enough for me. All I want is a Komodo x with internal NDs and quick boot up time or C80 with global shutter and 6k 60fps. Can’t be that hard to make this. 🙏🏻
It’s still overpriced. Even at that price you’re paying an insane premium for a Super 35 camera with no internal NDs, relatively 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 monitor is unusable. People just wanted to own a RED camera so they pretended like it wasn't overpriced tech. It's pretty much game over for RED once Sony releases their new cameras and the new Canon cameras become available as well Blackmagic etc. The RED brand isn’t what it used to be and that’s pretty much the only reason people want their cameras.
The onboard lcd isn't mean to film from. It's there for settings. The komodo was designed as a action/crashcam which happens to be good as a barebones camera to rig too which is why it became popular out of the blue. I don't think RED was even remotely thinking about other camera manufactures and I doubt that it will be game over for them. Having said all that, there is still no actual competitor which offers a global shutter with that resolution and dynamic range. I believe Z-cam comes close but that's not worth the hassle regarding having no techs and RMAs have to be send to China.
The image you can get with RED is overall better than anything in that price range and even more, only the R3D codec it worth it for people who know how to push it further, also you are forgetting the global shutter, there's no many options in the market offering global shutter. The size and form factor, build quality and other options make both komodos excellent options. Also filmmakers that can afford Komodo probably have a good set of IRND and professional filtration on hand. Also RED is Nikon now, and the Z8 and Z9 are very good cometition to whatever Canon and Sony offer and even better specs.
Forget autofocus. It’s just not for professionals and no Red camera should be faulted for it. As a 53yo DP I’ve never used it, but the surprising thing is late 20 - late 30’s dps and operators I work with aren't using it either. Even if a camera has autofocus, we’re still hiring focus pullers or pulling ourselves. It’s just a non-negotiable in most commercial applications. No one’s giving up control to the camera when production is burning $20-$50k/day.
IKR? That's why it's been used as a B-cam on countless multi-million dollar productions (and not only those using a Monstro, Helium, Dragon or Raptor as their hero camera) since it was introduced and is loved by the many who've purchased one, myself included.
Genuine question, do you think after the price cut that the Komodo X has any significant firmware updates coming its way? Or will they move on to the next camera?
Yo, the memory card section alone caught me Red Handed. I didn't know the OG Komodo memory cost that much. X looks like less of a headache but you do have to save 2k+ more to get it. X seems worth it for sure.
Buy a C80 instead - Red does not include batteries at the base price for 5K (just the body). If you have $8K to rig out a Red, at that point the Canon C400 is better choice (way more features then Red).
Jake just made my OG Komodo feel very very outdated compared to the X 😪 there are some things the OG is better In my opinion, like dual swapping batteries on the fly and a more compact body, I’m really looking to get the X since I’ve used it and I feel it’s like the almost perfect version of the OG but I feel I won’t sell my OG, it’s too good, anyways, awesome video guys !
@@IvoPavlik agreed it a question of time just like raw format on nikon too its coming...... would be nice for nikon to make an ftz adapter with an af motor ...
Only if they bought it for the wrong reasons. If they're out there actually making money with it, they won't give half a shit. It's only children that think like that.
They are probably clearing stock to release similar bodies with support for Nikon Z lenses. It's great that they are on sale, but I don't have much hope that they will maintain the RF mount in the future.
@@frankbregulla564 Rigging solves all your problems there which is something you definitely want to do with a box style camera. Why deal with shitty internal NDs which all color shifts even in the most expensive of cameras when you can buy one good set and you'll be set for life no matter which camera you use it on.
@@annekedebruyn7797 @annekedebruyn7797 Internal ND´s from Arri or Sony Venice are better than the filters you can buy that take forever to change. All serious cine cameras ( except RED) have them built in since 2014. + in my opinion there is no reason to make a camera way below 3kg and then put on weight to make it move without micro-jitter. I for myself need at least 6-7kg to get nice movements. seen a lot of micro jittery, shaky footage from the komodos here on youtube. they praise it as lightweight setup but why? you see the weight of the camera in the movement, looks often cheap. my 5 cents. what i like is global shutter of the REDs but lots of cameras now around 7ms which is fine for most jobs. maybe good for Gimbal work as well..
