Hey guys sorry for the audio cutout at :23 I’ve got a busy week and didn’t have time to go back and change it. Done is better than perfect! Hope you enjoy 🙏
Hey Griffin, would it be possible to get a clip from the komodo and one from the c200? For grading purposes, just to get a feeling of grading and matching. Would be a blessing 🙏🏻🙏🏻
Man, I hope you know how valuable these deep dive comparisons are for people who don’t have the resources to explore all these cameras before making a purchase. Keep crushing it, brotha 🤙🏼
David John Balce I will try to make this happen. I can tell you the C500 Mark ii will win in control over depth of field, high iso, and overall usability by quite a ways. Image quality might be similar to the Komodo, although it will perform better than the c200 did.
Much better quality with C500II due to photosite size (DR, overexposure), also it's 24x36 v s35 so the feeling will be very different. The C200 is already better for image quality (except noise) than Komodo; and in comaprison to C200, C500II is another league.
I really appreciate the comparison, thanks for doing it! Unfortunately I don't think it tells us much about dynamic range or out of camera color. The light in was little too perfect and the C200 can definitely clip in many situations. I would really want to see the roll off when there is a hard clip (eg. bright clouds), and judging color has the same issue. The C200 can get weird with extremely saturated blues and magentas, but everything in this shot is in a skin tone range. Again, totally appreciate the test! Just keeps me wanting to see more 😁
Hey Tyler, appreciate you checking out the video, and I also welcome the feedback. I’ve got another video next week where the lighting is in a completely different situation. I lit using some neon blue quasars and tungsten lights so it will show a little bit of a different lighting situation. I’m planning on adding one more day of shooting before releasing that video. What would be some other situations you feel would be good tests to add? I will try to add them in
@@GriffinConway I'd love to see more! And critical comments are always super annoying so I appreciate your patience. I'd like to see some very saturated colours in frame and some light that clips the camera but isn't specular. Straight into the sun is tough to judge because it will always clip no matter what. Big white fluffy clouds are a common problem, or just expose for someone in the shadows with full sun out of a window. How many stops over is that window safe and how gradual is the rolloff?
I agree with Tyler. A few test in challenging scenarios. Maybe she can wear a bikini to see skin tonality. 😂 Just kidding😂 No disrespect. But yeah, challenging lighting scenes . Thanks bud!
I got through your whole video....and I just realized that I didn't hear anything you said while you had your talent on the screen. I'm going to go back now and listen to it with just the audio and pickup what I missed. Nice job, thanks for doing this!
Guys let’s not forget Komodo has a global shutter sensor technology.This is the main reason Red created this project to be able to match DSMC2 On set ,instead of using GoPros or other brands camera’s as “ crashcams “.It useful especially for gimbals, drones or where there is lots of movement in the shot (no more gellos effect or twisted lines ..) I’m going to get one soon and leave it on my M15 gimbal change or steadycam so I can use with pl glasses , mattebox and match colors easily with my Helium.
Great video man. I’ve been enjoying all the videos lately! I’d love to see your color process in premiere if you ever wanted to do a yt vid on it! All your looks are so natural and really real feeling. I definitely admire your work.
I think if you could actually choose a real ISO for Canon in post like R3D you probably wouldn't have as much noise when pushing the underexposed image. I'm pretty sure you can do it in Davinci but pushing the exposure slider in Premiere is not the same thing as changing ISO, unfortunately. Great comparison though. Thanks!
Lee Zavitz hey Lee thanks for checking the video out. You are correct in Davinci you can change the ISO value. I haven’t tested this as I am editing in premiere 98% of the time. However, in my test I adjusted the actual master raw control panel in premiere for the clip (which is different than the lumtri exposure slider). I’ll have to test Davinci and see if I get better results. Thanks for checking out the video!
Griffin Conway oh I know that you adjusted it in the raw control. I’ve done it before. It’s just that you have no real iso changing abilities in premiere for whatever reason. And I haven’t back to back tested how much of a difference there is. I’m just pointing it out and I’m sure you already know!
Cory Weinberg it’s a great camera for those who don’t mind the usability challenges that come with using a small camera with no built in ND’s, xlr’s, not the best autofocus, and no IBIS. That said, the image is really solid and punches above its weight class
I bought C200 couple of months ago and I was thinking that i made wrong decision and needed to wait for Komodo but Canon Raw on c200 is amazing and camera is great for any type of job. 10 of 10 for c200 :) Tnx Griffin
Older video obviously but keep in mind, Komodo has settings for not just highlight rolloff (which you mentioned) but also the contrast within the redcode. Great video.
underexpose test you need to use ISO instead of exposure for canon. it works different way. not sure if you can choose ISO in Premiere, but in davinci you can
Griffin Conway Got it. But on the other side it shows like canon isn’t capable of pulling the shadows as good as red, which is incorrect, because if you do it via iso, it’ll be much less noisy.
Hugo Will definitely understand what your saying here, but I only shared my experience (which includes editing in premiere). I even showed my screen while adjusting the exposure values so people know my process. And anyone who edits in premiere will likely have an easier time pulling shadows on the Komodo. They are both great cams with different strengths and weaknesses.
@@GriffinConway I think the point they are trying to make is that someone might not know about davinci feature for canon. And that could effect purchase decision. If shooting a short film or feature film. Than I would want to use the software that got me the best image.
@@legendp2011 I agree, Premiere is usually garbage for judging camera quality. This seems to be just another example next to the horrible handling of 10 bit h265/h264 footage.
Your test is consistent with my long standing experience with Canons,.....I love canons and consider myself a canon guy but lower light or too much under exposure is always something I have to consider when using canons, be it the c-series or even many of the other dslrs. Having your lighting right with the canons does seem to be more important than say with the sony series or alexas or Nikons.....never used a red camera
Thanks Griffin For Great video I was very surprised that the C200 looked so much more cinematic than the Komodo I wish more tests on High iso performance and Auto Foucs in video Great job
I would love to do this test too. I would only want to do it with someone who is competent in the sony system so we could make the tests fair since I don't shoot Sony often.
I found the Komodo image to be much more similar to an Arri look. The C200 also looked good, but mostly more green. It's something that can be compensated for in post, but I think the Red has nicer colors in these demo shots.
In my experience I have always found Arri to be much greener than the c200 when at the same white balance. I would love to see them side by side though....maybe in a future test!
Hi Griffin, thanks for that, enjoyed the R5 vs C200 too, and subscribed! How frequently do you ABB (auto black balance) the C200? I get much less noise if done every time I change environment. Big hassle! Is there an equivalent requirement for the RED?
Steven Freitag hey Steven appreciate you checking the video out and subscribing. I try to auto black balance on the c200 at the start of every production day, although sometimes I don’t do it if time doesn’t permit. I’ve found the trick with the c200 is just make sure you never underexpose, and if you can overexpose by about 1 stop without losing highlight detail you will avoid noise. The red has the same black balance process but it’s about 5 times slower!
The Canon has more dynamic range, handles highlight a bit better, and gives a much more natural tone to the colors particularly skin tones. Where the RED is more orange and saturated. Also, the crop on the super 35, not good. BTW, didn't know you were a long tall drink of water. You join the ranks of other tall youtube camera guys that look short when doing talking head shots: Gerald Undone, Peter McKennon. I'm 6'4 so I can relate, not criticizing.
excuse me but are you high? RED has way better highlight rolloff and way better dynamic range. On top of that there's global shutter. Sensor size hasn't mattered for years, since you can buy a speed booster on top of other pros with the RF mount.
@@YourProEntertainment "Way better highlight roll-off?" Sounds like you're the one that's been smoking the peace pipe bub. It doesn't appear so here. And sure, I can't argue a global shutter has its advantages, but its not the end-all of video recording. On the other hand, I will give it credit for its compact size over the C-200, that could at times give it a more usable advantage, ergonomics notwithstanding. As for the sensor, size does matter. And in this case, the Komodo lags behind with its need to crop. BTW, Videographers have been crying out for a FF video cameras for years and Canon is one of the few manufactures to step up to the plate and offer the C-500 MK II at a price that doesn't require you to take out a second mortgage to finance it. In any event, the Komodo is an admirable entry -- especially from RED who has a reputation of never playing well with 3rd-party accessories. With this entry, they're not forcing you to purchase their in-house recording media right out of the gate. (you still get a warning) Its step forward global shutter alone, is not enough to offset the single card slot, crop, quirky auto focus, and no internal stabilization. Combined, the limitation cause it to lag behind when compared to the C-200. I'm not saying is a bad camera, just that I feel those compromises, at least in this test, relocate it come in at second place.
@@krane15 I see you start talking about videography, which is a separate audience. How I approach this is as looking at cinema cameras and cameras suitable for commercial work. Sure, videographers might want some specific gimmicks such as full frame, but really what's the real reason behind wanting full frame? Bigger pixels or shallower depth of field? You can get either of those with a decent image quality, easy. Hell, you can even buy MF if you love shallow depth of field, but it still won't make your images look better. We've had fully functioning full frame DSLR's for more than a decade. It's just that we now have smaller bodies and lenses which attract a lot of buying customers on the videography end. But then again if you're doing videography with no intention of commercial stuff, why would you spend 6k on a camera body? I don't condone RED for their business practices, but this is probably the 2nd biggest change in the camera world they've done. Global shutter is amazing and helps a ton with CGI work. I doubt there's that many people that cry for internal stabilization or auto-focus or single card slot in the commercial field. Those "flaws" are backed up by other things standard to commercial work. I'd even go as far as to say that the prettiest lenses have no auto-focus, but then again if you're looking at this from a videography stand point, you'd probably want AF and you don't rent the lenses. Still, I'd not recommend c200 for videography. For documentary run n' gun it would be a really sweet camera, not gonna lie. But if you do that, then you have a lot more options for bodies.
A.J Schofield premiere had an issue when it exported and I was out of time for my “fun RU-vid stuff” and had to get to work on my actual work so I didn’t have time to re export it. Done is better than perfect 😄 thanks for watching!
Very cool :) The hard thing about ISO under/over is it may be strongly dependent on shooting ISO. Can affect how dynamic range is distributed in the image. So you may get very different recovery results depending on ISO. I kind of suspect this issue is at play here, because I recently saw another Komodo test video where highlight recovery was incredible and dark recovery kind of sucked. Your result didn’t seem to match. It’s probably because you shot at different ISOs and the raw behavior changes with ISO, so we see to different sides of the same coin. For the BMPCC4K there’s published charts and you’ll get very different results if your shooting base ISO wasn’t optimal for the recovery you want to be able to do in post. Unless you shoot for that chart (or always stick to some ISOs you know how dynamic range is distributed for a given ISO) you won’t get optimal recovery. You’d also saw creators like Max Y and Gerald Undone giving very different advise about how to shoot BMPCC. Max eventually was unhappy about the work needed to get great image. Gerald had very clever tricks for optimizing for always recoverable highlights when exposing to the right in raw, how to always know your DR was optimally distributed. One could imagine that’s Geralds crazy techy approach to get best image actually paid of in easier grading in post. For REDs and Canons I’m not sure how important this is, if the under/over results are as strongly tied to how you shot it as on BMPCC. Probably a hard topic to cover in a versus style test as you have to know optimal settings for both cameras for the fairest/best results.
Thanks Sam! I don't think it's the camera for me based on the type of shooting I do. Are you referring to mounting the shinobi on the c200 or the komodo?
Could you make a video about setting up your rip and your atomos recorder? just a 1 min taker or something like that, I would love to see how you set your atomos up
Fraser MacMannis hey Fraser! Thanks for checking the video out bro 👍 planning on some more c500 Mark ii videos soon. It is still my favorite camera out of all of them (except for the Alexa mini LF which is $80k lol )
Thank you for the thoughtful video. Really enjoyed the comparison. RED is super attractive in post. Canon may be better for short handed, run and gun jobs.
@@seanvelasco-dodge Sure they are like many other things they claim are made in the US and are low quality products from china. Check this video and stop beeing a RED fanboy. Open your eyes. ru-vid.com/show-UCaXkBP-tPP-gIYXdABi7vjA
Definitely c200 cuz it’s better for unprepared locations due to autofocus, handles, viewfinder etc and it’s beats red’s footage controls cuz it’s not as good in non studio environments.
Wow. Would love to see more tests in more dynamic lighting conditions tbh. The komodo for 6 grand outright beats the c200 mkii in my opinion, and the c200 is 10 grand? No competition.
Hey so I noticed that you’re using a Shinobi with your C200? I’ve been trying to find a screen that will let me monitor when I switch to 4k60 mode in either MP4 or RAW mode. Are you using SDI with yours or HDMI? And does it let you monitor 4k60 in either mode?
Yes I was using the shinobi via sdi even in 4k60p. It will show the image just fine in this mode. If you use HDMI make sure to turn your HDMI max res to 1080
Thanks for this. I ended up getting a shinobi as well. After research I realized none of the monitors I ever bought displayed 60p. They always only went up to 30 & that was my issue. Seemed like unless I wanted to spend a lot more, the Shinobi was the best option for me. Just did a shoot today with it. Thanks again.
"First section here is going to be full sensor raw mode on both cameras. The Red Komodo was shot in 6k 24p, and on the C200 it goes up to 4k..." Gotta love Premiere Pro bugs lol
Love your real world, not too technical comp reviews. I'm looking for a B-cam for my C200. Not sure if I should go with the R5 (B-roll and handheld gimbal) or a C200b (more challenging on a handheld gimbal). I'm having a hard time deciding. Leaning towards the C200b because of the R5s heat related limitations. What do you think? Thanks!
Juan Carlos Pena I have both and 10 out of 10 times I would grab the c200 for professional video work. I love the R5 for photography, and when I’m filming for travel / fun / etc. I find the pro features of the c200 really nice and also it’s a perfect match for the other c200 so it speeds up post production. That said, the best option is if you can rent both and try them for yourself to see which you prefer. Thanks for checking out the video Juan!
For me personally, I like the c70 a lot more because of the type of work I do and the other cameras I already own. I like built in ND’s, high quality audio, better slow motion etc. I would give the overall nod to red though if you are looking for the absolute most control over your image. I just don’t like the workflow with red.
How do you think these camera will match in an A-B setting interview? Have you tried skin tone matching? Also , what's the start-up time on the K? Thanks man!!
Hey Juan thanks for checking the video out! The Komodo is quite a bit slower to start up...maybe 30 seconds or so, compared to 7 or 8 seconds on the c200. I haven’t A/B compared in an interview setting but I can tell you this: they can definitely be matched by someone who is skilled at color grading but you would have a much easier time using a camera within the same brand. Canon tends to have more magenta in the skin tones, but if you know your way around your edit suite I’m sure you could match them.
The C200 with the Lut used has a very video-ish roll-off with red clipping and looks much harsher overall. RED cameras usually look much more harsh than ARRI in comparison. I really think the Lut used on the C200 doesn't do it any justice at all - you would be better off by just using the official Canon Luts which look much smoother.
@griffinconway hey mate love the videos - doing a stellar job. Was just wondering if you would be getting your hands on the c300mk3 at some point. I’m a c200 owner - loving the camera - but with the release of the c70 I’m wondering if it’s worth me making a change over to it in order to get the RF mount, positives of a smaller body and the c300mk3 DGO sensor and 10b422 (at the expense of raw). I figure as the c300mk3 has the same sensor and XFAVC codec as the c70 so would be great to compare that to the c200 and get an almost 2-for-1 comparison of c300, c200 & c70. My main hurdle for a change would be dynamic range - if the c70/c300 XAVC codec still retains the same or more dynamic range as the c200 I’d be interested in jumping over. Anyway, you Channel is great, the format for your reviews and insights is genuinely helpful.
Thanks so much for the kind words. I’ve been planning on testing the C300 Mark iii but haven’t got around to it. I pre ordered the c70 to add to the production kit. I’ll be doing some more testing with both of those cameras in the future for sure!
Griffin Conway nice one ☝️definitely will be looking forward to it. And again - keep doing what you’re doing - lots of people out there doing reviews etc, but your content really stands apart 👌
Im undecided between the C200 and C70, I want the FX6 but dont feel like waiting until December before they are available. Leaning more towards the C200 to save $2000 but I don't want to only shoot in RAW. Is the 4k 8 bit as bad as they say?
If you can afford it, I would go c70. It’s an amazing camera. Great codec options, nice small raw files with much less noise than the c200. Also, 4k 120p, and much better autofocus modes (whole area af is great).
@@GriffinConway Ok. This man is selling a C200 for $2500. I inspected it and used it, clean and works perfectly. But that DGO and 10 bit is very tempting
During shooting, yes I was able to adjust my lens Aputure on my ef glass on the Komodo. Not in post though (not sure if that’s what your asking). Also, at this time RF glass is not supported even though it is RF Mount
Wow...imagine living in a country where you can just rent whatever you need. In Ireland we only have two rental houses that will serve smaller productions that aren’t run by Netflix (like Vikings) and only one that has the Alexa Mini. And they only got it last year. There’s no chance we’ll be be able to rent something like the Komodo for another 3-4 years...
I know. It appears as though one can rent anything in the bigger cities in the US. The American you tubers/reviewers say, ‘Why not rent xyz and see what you think’. Dang, I wish. Oh well. 😄
Do services like lens rentals service Ireland? Sorry to hear about that. I was only speaking from my personal experience, which is of course limited to my knowledge of my region/country etc. To be honest, I didn’t know I had Ilan international viewers. Thanks for watching!
@@GriffinConway oh don’t worry I’m not saying anything against you or what you said in the video. It’s just the situation here in Ireland that we only have two somewhat decent rental houses who’ll serve smaller productions and production companies. The bigger ones we have won’t even answer you unless you’re working for Netflix or some big budget feature shooting here. And even still they don’t get new stuff in that often. They just have a bit more choice than the smaller ones we have here. We aren’t getting the Komodo anytime soon
John Kelly ah sorry to hear that man! One silver lining I can say is Ireland is a beautiful place. I visited with my family when I was much younger and just remember thinking how beautiful the landscapes were.
I haven’t used the camera enough to know the answer to that. I know with other reds you can record proxies at the same time. Hopefully that will come to this camera as well. I use proxies in my workflow all the time.
@@GriffinConway Thanks Griffin, but I don't think it will have internal proxies recording because the computing power and a much smaller chip. Perhaps the next Komodo.
@@GriffinConway It seems the only way to get proxies simultaneously is through a sdi recorder where you get get maximum 4k 12G down sampled footage then pipe the signal to another monitor for monitoring.
@@GriffinConway That'd be very helpful. I've already decided to get a Komodo and sell my trusty C200B. The no proxies workflow does seem to be a major difficulty however I could pass on the Komodo's image quality.
