Not a rant, just an observation. I feel like the elephant in the room when it comes to top-of-the-line cameras is: the beefed-up workstation and storage you need to have in order to process 6K/8K/12K, etc. footage. That's a steep added price to pay. Also, regarding resolution, etc. in 2022, if you're a starving/struggling indie filmmaker, be aware that most distributors still accept 1080p deliverables! For commercial work, it's a different game but I would bet that 4k is still plenty. Gear depreciates so quickly that most ad agencies and film production companies rent their cameras and bill their clients accordingly. In the end, most content is likely to be consumed on tiny screens. For indie filmmakers, a Sony/BMPCC, etc. is plenty.
Processing 6k and beyond is not really all that difficult at face value, it depends massively on the type of raw and the NLE. 6k raw in Resolve can be far smooth than H265 on a Windows computer. I dont think its really an elephant in the room, rather I think its a dying myth. Canon Raw is probably one of the last remaining formats where it's still a genuine problem though. Computing speed gets more affordable at an even faster rate than camera gear. I think the point in this video is if youre running a business, it's wisest to do what you can to excel, rather than the minimum to merely exist. Sure agencies can rent gear, but you want to be the guy in your area with the RED if you want to get offers that remain. Consumer saving isnt the mindset of a business to business often.
@@CanditoTrainingHQ i totally agree on that... Bought my 1st camera 2 years ago. For one year i didn't do anything than playing and testing. 1 year ago started working on film making and i already own a Sony a7c, an fx3 totally rigged, atomos, lenses, matte box, filters etc. A lot of opportunities already came when i bought the FX3 and people learned about it because they wanted 4k 60 and generally sony camera to match others that existed. I've spent more than 20k in euros and already earned the half back.. everything that came back was already invested in more equipment. Well im a gadget/tech freak too 🤷♂️
@@CanditoTrainingHQ have you tried delivering a video that has animations, 3d renders and more all in 6K? When we talk about processing power for delivery we arnt just talking about the camera footage. We are talking every element of the video being sized for 6K
It really depends on how you determine independent filmmaking. If you're making a legit short film or film, bigger budget commercial work, then a real cinema camera is okay. If you're doing RU-vidrs stuff then DSLR/Mirror less are good enough
So much commonsense reality in this video. Lots of folk blindly look at only the tech-specs but Ryan has nailed the importance of perceptions and the real reasons why sometimes choices and benefits far exceed what the brochure states.
I stopped using the term "cinema camera" to refer to my kit. It's a production camera. It's built to get me through the project and answer the demands that set brings. Good on your for finding what speaks to you.
Yeah, how much of this "content" all the "creators" are shooting is ever gonna be seen in a cinema! 😆Not that they probably care. Cimemas are for boomers.
I just started shooting with this camera last week. I bought the camera then started listening to the reviews, they said you can't tell a difference between this and Sony A7sIII, I was like sheeeaaat....wasted my money, but I still wanted this camera because I love raw. But, I fell in love with this camera when I saw their orange production body, it was like a toy. Now, after filming couple of videos I can clearly say there is a big difference between this and 10 bit Sony or Canon R5, these are digital, you feel it, you can see it, but this just has that organic cinematic 35mm feel. I get it, your tripod becomes heavier, your lenses, cage, body with camera becomes heavier, but when you edit and color the footage you just feel like you want to go out and film more. This doesn't even have that BMPCC feel, that has more of a super 16mm feel, this truly has something of a 35mm film. If you bought this camera don't chug all the review on YT down in one day, just get it, shoot it, and feel the footage in front of you. I most likely won't be shooting so much with Mirrorless DSLR for my videos unless the circumstances is truly run and gun light weigh. Waiting for my cine lens to arrive as well for Komodo.
Whoever says you can't tell the difference between the two is talking out their arse. The image that is coming out of let say the Pockets or Komodo is way above majority of the DSLRS. Obviously it's about lighting, story etc but there is a clear difference in terms of the "look" on the camera level. Heavy isn't a bad thing for video unless you are fighting against it. For instance, my UMP rig isn't ideal for events compared to a 6K Pro or Komodo or better yet FX3. Heavy is actually good, specially if you throw it on an easy-rig for the sway.
Absolutely agree. Something about the image from the Komodo, it has texture and character unlike any mirrorless sensor. Noise even sometimes looks nice coming out of it. Glad you're enjoying the camera though!
Bro my nikon z6ii with a gimbal and the correct color grading (I mean spending a good hour on color) looks just like this. Mirrorless is getting too good.
Yeah I think most of this is psychological. I got a $50K contract to shoot B-Footage & BTS for a Hulu/amazon prime series and the footage I shot on my A7s3 was used in the show next to Arri Amira and Alexa Mini. Lighting and creativity go much further than how much you spend on a camera body. Not saying there's not a time and place for a cinema camera. but more that it's all situation based.
Yes, it's 100% psychological. I did some work for a company along side a bigger video production company. They had a big camera (Sony FX3) and I only did with my Sony A7 iii, but their result was very disappointing (they had bad color grading in skin tones and made no usage of shadows, the faces was completely exposed everywhere). I charged 2K for an interview and they charged 10K. In the end the company ended up choosing me for 90% of future projects, but they still use the bigger company once in a while, when they are asked to do something big budget (even though their result is kind of meh, because the company simply dont see it, they just see a crew and a big boy camera). Clients just take you more serious and will pay you more, when you come with 3 people and a large camera.
I think the main difference here is that you worked with people that actually had knowledge about equipment. Because most clients that do not have any knowledge, just rely on how they percieve the quality of the camera. I find it very funny that if I rig up my camera and put a lense hood on, the client percieve my camera as a 25K camera, when in reality it's the same little camera house that I always used (now it's a Sony A7iv, still nothing fancy). It's just insane how different your camera is percieved with a lens hood and external screen.
How did you get that "$50K contract to shoot B-Footage & BTS for a Hulu/amazon prime series". Who did you know? Because it wasn't based on the A7s3 camera you rolled up with. It depends on the work that you want to do and the camera you need to do the job.
@PRIVATE @Krog Studios said he rigs his Sony A7iv up and the client thinks it's a $25K camera. @Krog Studios doesn't know is that his Sony A7iv footage will fall apart when it goes up again someone with a FX3 or Komodo and knows what they are doing. Krog got called in to help when someone else dropped the ball.
I have no beef towards RED but there is a reason why "clients" want RED cameras. They have traditionally marketed to your clients instead of actual filmmakers. Meaning your clients WANT RED cameras even if they aren't the best fit for the specific project. Not saying they never are, but it's tough when you get that creative decision taken away from you because of the misconceptions of clients or people who don't understand anything about cameras. But it's the world we live in so totally get it! Great video and as a BMD user, very fair assessment of the 6K camera. Was wondering though, have you tried out the URSA G2 at all?
If it can shoot 10-12 bit color with 12-13+ stops of dynamic range & if it has log capabilities then it’s a cinema camera regardless of if it’s a Red,Arri,black magic,Sony
correct. People who claim they need a "big camera" for clients are either... A. Not confident in their abilities and are compensating... or B. hacks that don't command much respect from clients in the first place
No just no... The specs are not a factor to categorize a camera. A cinema camera should be understood as a system primarily designed for and used by a crew for a filmproduction for cinema. I think its weird to call a camera a "cinema camera" if it probably was never used for an actual cinema production. There are only a handful of prominent cinema cameras out there. Specifically the Arri Alexa line, REDs bigger camera systems and stuff like the Sony Venice. There are also documentary cams like the Amira, Sony`s "F" series and Canons C-Series. The Ursa Broadcast G2 isnt called a "cinema camera" either even though it has the specs of the Pocket CINEMA CAMERA and the Body of their flagship Ursa Mini CINEMA Camera. The term "CINEMA CAMERA" is mostly just a marketing/branding hoax to make you feel like you buy a ticket to the big screens with a camera. Just call it how it is. Most cameras are generally a digital film camera. And mostly they are (used as) production cameras. "Cinema Camera" may be a good colloquial term to refer to the spectrum of digital cinema cameras with advanced technologies and specs as it is widely used but please dont try to force this term in a serious conversation. Why does everything has to be "cinema" or "cinematic". Its the same bs as with computer hardware where everything has to be "gaming". Don`t fall for this.
Considering that the Red Komodo has less dynamic range than a cheap Panasonic S5, i don't see how it is classified as a 'cinema' camera either. Arri is a cinema camera primarily because of its massive dynamic range. Anyone who's shot on DV knows what limited dynamic range looks like...
I still have my Og bmpcc and Gh5 and tons of gear setting... I do more photography and live sound then anything...... I want to buy a cinema camera next year but I don't know where the markets at and it's so saturated with everything and anything. I just don't want to be in debt to a camera that I'm paying off and I'm not going to use to make money.
It’s a case by case basis: it depends on your skill level and what you can do with the camera on hand. I get what Ryan said that that Red camera gives him the motivation, and it should as well as the confidence. Further it’s the color science that sets that apart. I would get that Red camera but I’m afraid that they will come out with a upgraded version very soon.
No, not by a long shot. If you studied past RED release schedules, you'll see that they upgrade their cameras more like every 3-4 years, if not longer. It took them 5 years to go from the DMSC2 Monstro to Raptor XL. After Raptor XL they are more than likely to release another Gemini and Dragon equivalent for DMSC3. My guess: the Komodo will not be upgraded before 2024. It's supposed to be a crash cam, not an entry into the RED lineup that most indie filmmakers use it for. They would cripple their own lineup if they increase frame rates etc... If that is even possible with a global shutter readout.
If accessory overkill and contradiction was a video ...this would be it!! Lol Love this speed booster because I don't like matte boxes ...but here's a matte box! Quick connect, on top of base plate, on top of bigger base plate! LOVE IT!!
Great vid! Quick tip for the rig: switch out that nucelus handle with a Handle from the nucleus m. It's compatible with the nucleus N, wireless and with a way better build quality that you can actually hold the whole camera rig with.
@@RyanKao Just realised it recently myself after ordering the focus grip you got and being uuultra annoyed with the cable and battery falling out mid-take :)
@@pocketsindependent the only solution i found is using the Grip to Arri Roesette Mount that Tilta provides. Then, I got a rosette part from smallrig that you can basically screw on wherever you want and voila.
Haha, in the end it basically DID just come down to perception of the client. Im sure its a superb cam, but i reeeeeally doubt there are many people in the world that would actually be able to tell the endresult apart from a well graded 10bit log from the sonys, panasonics or such. But sure, for some clients you just „need“ to bring a red/arri i guess…cheers!
this is why i want a RED its all about perception and value. when i show up to a shoot with a RED and a small rig they gonna know its BIG TIME and then posting all about on social
Yooo that camera is insane, it looks like an absolute weapon! Congratulations, can’t wait to see all the creative content we’ll see next from ya with that beast! 💯✔️🔥
This is why I'm still using an RZ67 Mamiya / XF / DF with a Phase One CCD sensor for my photography. The superior raw file for grading and the optics in front of the client.
I think that the concept of achieving better image quality when you compare the bmpcc6k and the komodo goes the other way, if you think about all the content we make ends up on social networks or in the media, which is like a big bottleneck, now yes one who really wants to improve the quality of their work should focus their investment on lighting accessories for them. It seems to me that the leap from bmpcc6k pro does not amount to a substantial leap, I think it misses out on the possibility of investing in other things that really mark the quality of the final audiovisual pieces. It's just a perspective Cheers
The blackmagics look great in natural light because the natural light has UV, it's penetrating the skin and illuminating what's there, LED light doesn't have UV and just lays on top of the skin. Red has enough dynamic range and color bit depth to counteract this problem.
I respect this, totally understand, I'm almost on the same train right now, I used to own the A7SIII, is fantastic, sold it, it didn't met my expectations on some areas (IQ wise yes), currently I work with Lumix MFT (GH6,G9) for video and canon R system mainly for photos (although I use my Lumix cameras for photos too sometimes) and I love it, it's everything I want/need, but I do understand some clients looking for that big brand camera, I wanted a Komodo for that reason too, but right now, I can't justify the price of one, and even if I could, don't know if its the best decision from a business stand point.
@@AlphaTroll honestly not quite, it sometimes is very hard to match colors, the CineD profile is different on both, even the Vlog is different, basically every profile xD with patience and knowing what to do, sure you can match them, but sure its a little bit trouble some in certain cases. The IQ of the GH6 is very very good but it has a "Cinematic" look to it, the G9 looks very very sharp in comparison, even dialing down the sharpness in camera, so yeah, that's the best way to put it, I ended up selling my G9, although an amazing camera and I love it and will miss it, I thinking on getting a second GH6 just because its easier that way.
Congrats on your new camera, but Your justification on why you spend $10K on a komodo wasnt that much of a reason for upgrade for me.. all i heard was '''wanted something better'' ''wanted good quality'' ''wanted motivation'' You still had those things with your pocket. Although i agree on the global shutter , is a pretty huge reason. But not $10k reason. Now,, if you had money laying around and you wanted to spend them, then just say that and don't fill your mind with deceptions on gear syndrome. :)
Can agree with this. No knock to the creator, the video is well crafted in all but the title. I desperately wanted to branch into video from photography. I struggled through the start with a nikon d53200 (yikes). I use my purchases until they break. I then went the cinema camera route and got a C100mkii. Old but gold and certainly don't have any monthly payments to worry about. After a certain point you're spending money just because.
Reading these comments has me scratching my head sometimes. When I was making money with a camera, it was weddings and school plays. DSLRs didn't shoot usable video yet. I was shooting on Canon XL1s, then Panasonic Camcorders, playing around with DOF adapters, etc. At the time, I had very few camera choices at $1500 or less. A good camera after that was going to be $5k. If i did more than a couple jobs a month I would probably have jumped for the $5k ones. Fast forward to now, I bought a 4.6k Ursa mini for $700 for no reason other than to film my kids. If you're making money with your gear then you should invest in what works for your business. Personally, I've learned you can do a lot with less (lenses, adapters, filters, etc can make up for more than one camera deficiency). Conversely, if you're just shooting wedding videos or commercial promos, there's nothing wrong with some of the more "camcorder" like cameras out there... especially if they have a clean out. They'll save you a heck of a lot of time not dealing with rigging.
I read this and I'm glad that's your take away, I hoped more people would also come to this conclusion. At the end of the day it's all about what works for YOU in your day to day workflow, vs a hobby, etc. And there's nothing wrong with investing in gear either if you're confident in the pay off! Appreciate you taking the time to watch and comment man!! Cheers.
16:45 - 21:50: The most objective statements a cinematographer has ever said about higher end gear on RU-vid. I cringe sometimes when RU-vidrs pitch notions that you don’t need this, that or the other, without understanding about client environments and expectations and the opportunities they can lead to, if you have what some type of clients consider to be pre-requisites. It’s not all about whether or not you can get a decent image from a consumer product. The simple answer is that you can - and if you’re only working on your own projects, or those of low value clients, there’s nothing wrong with that. However, if your target audience is higher value clients, recognizable brands, and you’re pitching 5 figure deals, and including up charges for camera packages, in my experience, this makes a huge difference. Thanks for being bold enough to share this. Not all people who watch RU-vid are RU-vidrs - and it’s refreshing to hear.
Love your channel you’re so inspiring. I’m slowly trying to move up the freelance ladder when it comes to taking on more serious/higher budget clients. I completely agree with the “gear doesn’t matter” myth. I’m planning on getting the fx3 as soon as it comes back in stock, I know it’s no RED, but for me to own an fx3 will definitely be a small milestone for my early journey as a freelance filmmaker. Hopefully I can get to your level one day lol
Well, back in the days Hollywood still made movies with Canon 5d MKii, even the canon XH-A1. Use whatever you want, if Game of thrones was shot on a GH5 I wouldn't even know or care, we enthusiasts think too much
preach. story over everything. i use gh5 and of course i want a better camera one day, but business is going well for me and i think it's because of my storytelling, and of course i do my best to give a good image quality
Thank you for this video. Red is not in my budget YET, but definitely gave me lot of motivation to get there faster. Thank you Ryan for your honest opinions and get an insight so deep into your thoughts. Last year I did my biggest investments ever into my lighting gear. It gave me such a bigger confidence, and improvement in my overall skill and image quality. Still in the learning curve, but that gives me being motivated to learn more, be better.
Cameras can be a business investment or a creative investment. It depends on what you are doing and what your goals are. I have invested a lot to do my RU-vid videos, but it's a hobby. In the past I have owned expensive equipment and was doing commercial productions. If the gear fits your budget and goals, go for it. Certainly it doesn't make sense to spend a bundle of cash and get no financial return.
done 100's of g's of work. Last project was a 50k contract for a major organization. done work on the presidential race, mega star music artists, hbo, etc. Used bmpcc 6k. Not one single client ever asked what we shot on. They all just looked at the work........not one single client....ever asked...what we shoot on. They just looked at the work.
This rig looks super solid! I only do micro shots as a side hustle and I am able to do those with just a Canon R6 and a R, but for serious work a reliable setup like this is a must. Very interesting to hear your thoughts!
@3:38 It's simply the inverse of a teleconverter... its sort of misleading to say it "makes it full frame "----when it actually reduces the image circle of the taking optic via additional glass....and since its vaguely the same amount of light compressed into a smaller final result...> you gain a stop so what is funny is that the "side effect" of which being a "speedboost" -just like its opposite a tele-adapter looses light by making the image circle larger. This is a focal reducer. The properties of the sensor never change in any way its the lens that is becoming different.
well, what you said is true... but reducing the image circle DOES make the image behave as it does with a full-frame sensor. So yes, the sensor itself doesn't change... but you DO get the "full frame look" allot of people like.
Sigma FP, thats where its at my man ! I pick that up over my A7S3 almost every time if I dont need the autofocus. Obviously not suitable for your use case. But it has a great image.
Yes, the bigger the camera the greater the confidence of the client on us. This is so true and recently I started to rig up my camera a7iii and cages abd moniter and instantly I started to charge 2000 to 3000 more on my regular charges by adding things like moniter. Also your colour also looks good mann can you make a video on the how you grade.
@@Frontigenics if you are trying to impress someone than you have to look smart by expansive stuff rather that they will judge you on the baees of planes that you have in your mind. Same thing applies here also
@@lifewithrich-yt Hahaha But it also make an impect like if I am using an external recorder than I always shoot in raw and colour grading it to the most I know
Thank you! I've been hired at a small marketing company as their videographer to expand their services and bring in new clients through video. I'm first task with creating a budget of what gear we will need to launch video services... I have spent over 20 hours so far, since the weekend, in research. All of these other RU-vid channels talking about cameras don't talk about probably one of the most important topics when buying a camera, right up there with image quality and work efficiency, and that's Return on Investment. These cameras, in the commercial industry are investments. Just like lenses, lighting equipment, sound, etc. Will I make the money I invested in the equipment back? Is it worth it? Thanks for touching on the topic.
The functionality makes so much sense, I really did the functions on the grips being able to record and manual focus without having to change how you hold the camera really helps with shot selection and mobility! You right about that 6K footage... oooooof 🔥
With my personal experience with technology, I'm amazed you can get all those components to sync-up and continue to function for 3 hours without something crashing and forgetting how to interface with other parts. "Sorry, I need to restart the monitor or the mic goes back to auto levels."
Clients actually don’t care if you’re camera is big. That’s all in your head. If you know what you’re doing and you are confident in your work, you will use whatever camera suits the project (and its budget). I enjoy using my Black Magic pocket 4k for everything, and when I do get my hands on an Arri or Red it won’t be a self-esteem boost, it will be a camera.
100%. I've been commenting the same thing. If you have a good portfolio, clients don't care. These are all people compensating for something. I direct narrative stuff more than I produce client-projects... but if I had a DP come to set with a "fancy big camera" and little to no lighting gear I'd be pissed. Better to have a Pocket 4k and a big LIGHTING KIT any day of the week.
@@Frontigenics preach! ive also been commenting similar. its 90% operator, 10% gear. im a steadicam op of 18+ years and 30 + years as a camera op and i still use a 20 year old masters rig with one SDI line down the post. be confident in yourself , not how shiny or new your toys are. if this cat came to my set with this brand new shiny camera package, id think he was a trust fund baby or just using daddys money to scratch an itch, rather than seeing him as a seasoned pro.
Sorry, but this is false. When you get into 10-30k+ budgets they 1000% will not be cool if you roll in with a mirrorless camera. The end client doesn't know/care, but if anyone from marketing, an agency rep, etc. is on set with you they will definitely take issue if they aren't a proper professional camera. As a former BMPCC4k shooter who invested in a RED, I booked other jobs just from being a red shooter. I also noticed peers and agency reps take me more seriously. If you are a red owner/operator there is no doubt that you aren't capable. It shouldn't be this way, but perception is a BIG factor which has helped me land bigger clients.
@@nathanlewis8386 In that budget range, you aren’t just bringing whatever gear you feel like on shoot day. If you TRULY thought a mirrorless (for whatever reason) was the optimal equipment for a shoot, you would discuss it with the director in pre-production. If they say “sorry, we don’t care and we want an Arri”, you rent an Arri. If you really bought a RED just for looks I’d be shocked. But I’m guessing you bought it because it’s actually better for the jobs you are taking on. Don’t buy camera based on looking pro. Be pro. Have principles. Learn to communicate with your teams and you can confront any stigmas/misconceptions that you face.
So why does Hollywood care so much? It's also strange to hear that yet some movies were made with Iphones and Mark 2Ds and some TV episodes were done with a AR3
Fantastic video man, and I love your level-headed response to the "does-gear-matter" conundrum. I love seeing humbleness from successful young filmmakers, and no matter what anyone else says, $10k for that setup isn't expensive at all, given the quality of the image you're getting and the boost in respect from your clients. I'm a filmschool dropout who recently started falling in love with filmmaking again (after 6 years of diverging into 3D and motion graphics) and just recently started buying equipment to start a youtube channel. I'm already $9k in, and haven't even gotten to sound equipment. For high end client work, a 10k camera is actually on the affordable side. Keep up the great work man!
$9k "to start" a RU-vid channel and that's without audio gear? So many got to 6 figure subs with a just a GoPro or an iPhone with a lav mic. Just hit record, and once you build an audience and revenue stream, then upgrade accordingly. MKBHD didn't need a Red camera "to start" although Red camera is their staple now. Get your priority order right and I hope you grow fast mate!
@@gigihanmandarin MKBHD also starts at a time when RU-vid isnt a very competitive place so you could shoot with your nokia phone and people will accept it but in a modern age where people starts with high end mirrorless cameras and shotgun mics, it's not really that simple anymore.
19:33 I know you hear a lot of people talking about this and some will say it’s our insecurities of using black magic or mirrorless camera set up; that can achieve an incredible look for any client. But in my eight years of transitioning into film/DP; from a background of over 23 years of being a photographer, in the last three years, I’ve been working occasionally with agencies , producers and directors. Most directors I’ve worked with, or even bid on jobs for, bare minimum except the Canon C70, but prefer C300, Red or better and a lot of them know that the Komodo is a b-cam/ crash cam. But if you’re starting out, and doing work for local businesses, I promise you any mirrorless system is more than enough. I still don’t think and especially now(used $3100-$3700)the Canon C70 gets as much love as it should. 12 bit raw (if needed), 180 shutter angle, 10 stop internal ND, auto focus if you’re still small crew, run and gun, file sizes that are so much easier to manage. Doing a corporate gig? Standard picture profile 4K 10 bit. The list goes on and on.
As a producer here in mexico city that work with all record lables, most of the clients dont know about cameras juts brands as you mention, but do you think if you make a sony a7s3 with a bulky rig you can make the same impresion? with the atomos you also get 16 bits raw
Yes it absolutely can! Mine has in the past. But the end result most of the time speaks for itself. I’ve had clients come to me asking what I shot some vids with and we’re blown away when I said it was the a7s3.
Excellent points. Perception is a lot. Especially with people who have no idea about anything tech. I once produced a record and delivered it to the record company executive I was working with, and the first question he asked me was whether or not I had mixed this on ProTools. I told him no, and he told me he didn’t like the way it sounded, that I should go back and mix it in pro tools. I had used an apogee set up, I knew it sounded just as good, and so I just waited a few weeks, went back with the same mix, told him I used ProTools, and he told me he was blown away by the sound. Lol. It’s the same thing with cameras. Perception definitely matters, with regards to dealing with clients, but it has nothing to do with the quality of image, in general. There might be little differences here and there, but overall, it doesn’t matter.
I have a cine camera and use mirrorless one as well. I use mainly use my cine camera for high speed frame projects. Some mirrorless camera could do but it's more expensive.
by the time you finished rigging the Komodo its just as heavy as a dsmc2 wich btw any scarlet w (way Cheaper) it has way better high frames capabilities than the 2k 120fps komodo .........:?
this is such a good video. ive moved from iphone to sony a6600 and rigging it slowly. its such hard work to do it alone from videos abut really enjoy your vids buddy!
The crucial difference that makes a camera a cinema camera is the maximum video length. Max video length obviously doesn't matter for typical narrative film shooting, and the like. But if you have to stick a camera on a tripod and start shooting a live event, the 29m 59s limit for non-cinema cameras will hit you fast. The other day I had to shoot an awards presentation, and I used my Canon C200 w/ Canon 85 mm prime and a Canon XC10, which doesn't even have interchangeable lenses. However, the Canon XC10 is a cinema camera because it will shoot as long as the battery keeps running.
One thing to say here - it's much easier to create a good looking image on Komodo than on FX6/UMP/C70. The color science is just there and it's much more suited to commercial work. It's not that much of a difference, and having it side by side will easily get you there, but when it's not like side by side (komodo and a bmpcc6k as an example) - sometimes you just won't get there at all. It saves time, it saves labor. Also a lot of non-cine cams do not have an OLPF stack (hello BM), and their image looks a bit ugh from scratch and those things you just can't correct in post.
And, as much as it matters as a business opportunity - that thing lasts. I still use my Epic/Scarlet MX combo and I'm totally fine with it after 10 years from the release date. Name at least one Canon, BM, Sony (except for Venice) camera that lasted so long business-wise.
Glad that I live in an area where outside of the people actually producing the footage and content, none of the clients have a lick of an idea what camera brand does what and what is good and what not. I even know people working on commercials that have never even heard of Arri. It's kinda crazy.
When I bought my bmpcc4k 3-4 years ago. I notice that the clients and calls I got begin to shift from lower budget (Just come with camera and tripod kind of shoots) to shoots that actually has effort been put into the pre & post production. I used to hear so many times that "gear doesn't matter, it is the person using it" Which I do agree whole heartedly agree to it. However I cannot deny that at some point it was the gear that taught me and elevated my workflow and disciplines to another level. Soooo what I am trying to say is, at some point the gear does matter.
the Pocket 4k can produced hollywood-level results in the right hands. If you were getting "lower budget calls"... that's on your skill set, not the camera.
Great video! It’s true, any gear you get today is good and will do the job. But the one thing to take away from it is, find something/gear that makes you happy and actually want to use it and go out and shoot!
The image is beautiful. I could never shoot a camera that made me over think. Forgetting to unplug the SDI port is too much. There's enough distractions on shoot day. Frying a port is no bueno.
great video thanks for sharing your experience! I'm curious though, I've been a video professional for a while now and I rarely work with corporate or more creative clients who care about which camera I'm shooting with (or know anything about cameras TBH). If you have a client who does care, why not just rent the camera they want you to work with instead of spending $10k+ to buy one?
Its a good thought but having it in your possession saves you time and also you are becoming better with it! As for me as a guy who doesnt care for economics and in/out in my business.... (tech freak) i just want everything in my posession even if i dont use it on production but i only test things and upgrade my technical skills with the product. (To be honest i sell that too.. a lot of people doesnt know how to use a lot of these stuff)
@@jaredking232 renting is the way to go. camera/sensor tech is always upgrading. this red camera will be obsolete soon and this cat will need to invest in more money for another new cam. you can always go to a rental house, practice on a camera or even rent one for a day and teach yourself. with all of the content on RU-vid you can get a goods grasp on the technical ins and outs of modern cameras.
For corporate or cinematic work DP’s must have referrals based on excellent content and being great to work with, the gear is way down on the list because you can just rent them.
I wouldn't call the Komodo a Cinema Camera as such. The whole reason for its design was to give action film-makers a 'disposable' small form factor camera that they can fit into tighter spaces on action scenes so that they could stop using GoPros for cinema. That's why it has global shutter, because it's designed for action. However, it does capture great images and is a nice camera. I think the term 'Cinema Camera' has been watered down. My wife uses Sony FX3's for her business and they're called 'Cinema Cameras' but they're not really (10 bit doesn't mean cinema). I use a RED Helium 8K and even then I know it's used a lot more in TV than it is in films, but hey. Arri is a tough name to knock off the top. Ultimately so long as your images speak for themselves, it doesn't matter what you shoot on. The main reason for buying a better camera should be to give yourself capability where you're lacking. Dynamic range, frame rates, colour science, 10 bit, whatever that is. Just don't get bedazzled by the term 'Cinema Camera'.
It's kind of interesting to read this opinion when just about every consumer level/mid-tier cinema camera today are better than most professional cinema cameras even like 10 years ago. Yes there are cameras that are "better" than others, but that largely depends on use, and they have really large diminishing returns. You could use an Arri Alexa LF and 99.9 percent of people wouldn't notice the difference between that and a camera that cost nearly 2 percent of that camera's cost. The elitism in film is just is a false barrier when it comes to a lot of gear. People can do more with less and its usually something that saves a lot of time when you do. As with anything it depends on use, but I would say we are living in an amazing time to be a filmmaker with access to tools that would have cost a lot more than they do today.
What a stupid comment. For one, Komodo calls it a cinema camera. For two, you literally called it a camera for "action film-makers." Are cinema and film-making not the same thing? Grow up. Stop being contrarian just for the sake of being contrarian.
Oh man I remember being so disappointed with the camera when I saw potatojet's video on it. In the video they were so hyped for it but after seeing all the individual aftermarket parts they had to get just to set it up it seemed like such a hassle not worth the trouble for the client base I had at the time. Cinema cameras are really expensive and the set up are very intricate so I could appreciate the Red Komono for its small size and cheap entry price so I still had hope of buying one eventually but then Panasonic announced The Lumix S5. I pre-ordered the S5 for about $2500 got the camera, 20-60mm kit lens and a free sigma 45mm. I ended up getting more Commercial work and better paying costumers so eventually I bought another 3 Lumix S5s. I have 4 of them now and sometimes I want to make the jump to a Cinema Camera the DJI 4D seems perfect for me as a starter but idk. You youtubers make Cinema camera look so simple and fun lol and the footage you guys get is amazing I could only imagine the video before youtube compresses it. I think Ill just start filming prores raw and cine lenses on my S5 and expand my client base and hopefully eventually get projects with the budget for a Cinema camera.
What? The S5 with pro res raw is still not Komodo, FX3 or R5C quality. How did you get sucked into the world of LUMIX? You bought 4 Lumix cameras but not the Netflix approved S1H? Makes sense right? Keep working at it and the S1H or Komodo, FX3 or R5C will get you a jump up in cinema quality when you need it.
@@contentm3893 lol yeah I remember seeing the S1H when it first came out, at the time it was way out of my price range as a hobbyist. I love filming and editing videos occasionally I would get paid from it but mostly it was just a fun hobby. Back in April 2020 I got rear ended in a car accident and I had to stop working my normal job because it was too much for my back. So I decided to try getting into video. I had a gh4 at the time and I knew the Gh5/s had been out for a while so I figured Id try and aim for a gh6 since it would probably be around $2k-2.5k. To my surprise Panasonic had just announced the Lumix S5 instead, which was being looked at as a S1H in a GH5's body. The price, features and timing were perfect. Got the S5, booked a few cheap weddings to build up my experience and portfolio. Slowly my prices started going up, the S5 went on sale so I bought more. Back then $4k plus cameras didnt appeal to me because the quality difference wasnt worth what I was making. Now that i have more consistent work at a much better price its easier to justify $1500-2500 lenses and $4k plus cameras. Hopefully work keeps growing and by next year Ill be able to buy a cine camera without worrying if it makes me profit or not.
19:30 Gaffer Pro Tip for you... Yell "Striking" Before Plugging in or turning on a Lamp. So Talent and crew don't get Blinded, like you blinded yourself.
Im not saying that you’re one of them, but I feel as though many RU-vidrs are scared to just say the image quality was the main driving factor for their purchase. I mean it’s not bad to say so.. like yeah I decided to ditch my BMPCC for a Red cause the image quality is just so much better, and who cares if I spent thousands, im happy with it and that’s all that really matters. Life is too short to not buy yourself something nice from time to time. It brings you satisfaction knowing the image comes out looking like a feature film, nothing wrong with that.
I had also the red komodo... before i was filming with the canon 5D mkIV ..then i got a red komodo..and now i film with the Red V-Raptor . And i love it.
I’ve had my eye on the Komodo since it was announced. I so badly want to strap it to an FPV drone, but can’t justify buying it when I’m merely a hobbyist. I can dream though can’t I.
Great informative video. Like so many freelancers, we struggle knowing which steps to take in terms of investments for gear. Thanks for sharing your story.
You can always rent a camera if you have a high end client, charge a little more and make them pay for it. That's exactly what a lot of productions do but they don't tell people that.. Reason they do that is because technology is moving forward so fast so if they waste the money on buying something that's only going to be "the new thing" about a year or so then they're stuck trying to sell it to get the next big thing or to get a "better tool"... I like renting honestly because it's gotten so cheap when you get it online places like lens rental and, share grid borrow lenses .. and on top of that you get to try out the gear and make $150 mistake versus a $10,000 mistake.. now if your workflow is on a constant basis where you're needing that camera every single day it obviously makes sense to buy high end gear.. I've been working in production for 23 years and everybody rents. The DPs I work with either rent or if they do own a camera they charge the production a kit fee..
I understand where you're coming from, but I totally disagree with the assertion that a "Brand name" camera will elevate your brand or bring your more business. I've been in business for 5 years and the only time a client has even asked what kind of camera I'm using is when I'm subcontracting for another production company. Now, if you're on 100k shoot for mercedes or something, yeah... spend some of that budget to rent some of the best gear. Or if all you want to do is agency work, fine. They probably expect you to have a cinema camera as a freelance DP. But if you build your business to be more about providing clients with solutions and not just being a "camera guy".... They'll never ask you what you're shooting on.
You had a real cinema camera. And now you have another one. The winner is the companies who sell us stuff we don't need. All upgrading an artist needs is in the brain. Enjoy your new camera but please don't fall into the trap that gear will take you places. It won't. Only your ideas will.
Hi Ryan, amazing video! Can you please write your PP settings for a7s3 S-Log3 (black level, black gama, knee and so on..), that match most closely Komodo "look". You might also can recommend where to get some good Luts for S-Log3 to imitate Komodo. Thanks!!
Very impressive camera setup. That camera cost more than my last 2 used cars! The camera has a very professional look and should improve your business for years to come.
If my FX6 (that I ordered in February) does not come within the next few weeks I'll just buy the RED Komodo as well. I wanted to go for the FX6 mainly because of the built in NDs and the start up time. How is the boot up time with the Komodo going for you?🤔
Whats this about having to unplug the SDI cable Constantly? That doesn't sound very professional of high end camera. That is gonna be the deal breaker for me. I always love to turn my camera off often to save battery on location. I was really looking forward to stepping up to a RED.
great video. more than just the normal review a real word observation. Its a significant list of gear but I didn't see what tripod you put this on or quick release plate? Thanks again
