Should I sell my RED Komodo X for the Canon C400? 

definitely! come back to the good side of life!

Hell no. Red image quality is levels above

Never ever. Nothing beats the RED Image!

No. Filming under water I really need RAW video (because colors under water are a real challenge) and Canon's RAW video implementation is not that great. Even though I don't like the company (because they are litigious with their patents on compressed RAW) a RED Komodo might be the best thing for now. Until their patent expires and we finally get proper ProRes RAW implementations. ProRes RAW files would be so much faster to edit with. 👍🏻

@@sebastianFZE Seeing how much Canon improved the C70 via firmware I wouldn't be surprised if the C400 gets compressed lossless RAW in the future.

Happy to be back :)

it really depends. As I said in a recent video I don't do much commercial work anymore. I do have a multi day shoot tomorrow for an old client though. If this is what I would keep doing I 100% switch to the C400.. The RED is just not made for this I feel. There are definitely reasons for it. But you're right. As of right now it might not be enough

@@damiencooper So to be sure: you think this C400 is more a run and gun documentary stile camera than the Red? Mostly because of ND and native RF lenses autofocus?

@@onnonugteren2935 no, not at all. I think shooting run and gun documentary with the RED is just fine with the new audio ports and how small and modular it is. But you do need more people and often more time with the RED. So it depends. I wouldn't want to shoot a 2 - 3 angle Interview with just REDS without having one person at every camera at all times. Files sizes are also massively bigger so that's something to keep in mind. But yeah, if small commercials, fast type content and documentaries are all I shot I would 100% prefer the Canon

@@damiencooper If it’s a matter of files size, wouldn’t choosing Prores 422 for certain projects be sufficient? And there is also the option to use DJI Lidar for moments when autofocus is needed as a solo shooter, or even for multicam interviews. Honestly, apart from the internal ND filters and the fact that the camera powers on instantly, I don’t really see the advantages that the C400 would have over the Komodo X. But maybe I’m wrong? Perhaps you should keep a Komodo X, sell one, and use a C70 for run"n"gun projects?

@@JeanSebastienLEGER prores 422 is as big as RAW LT on the C400. The lidar is great but still fiddely, expensive, adds weight and gear to it is nowhere near the same experience as real autofocus

Why does everyone think that? :D Did I really do such a poor job explaining it in my last video?

@@damiencooperI think you didn’t but not everyone really listens..

Nice.. can‘t wait to play with one either

it's gonna be an interesting decision for sure

neither. Canon control sucks in my opinion and is not worth the extra cable

Thanks so much man! Yeah, that‘s a good point. I see it almost the same way

The canon cameras are amazing with all these custom buttons. It’s so fast and easy. Faster than using the screen. I even have a video on my channel about the exact button layout I used on the C70

@@damiencooper Thanks mate i'll look that up. 1 min after I wrote this I watched another vid explaining OSD, I was coming back to delete my noob comment. But maybe it may help someone else. I was more referring to seeing your adjustments rather than just a clean feed. But again I understand it's done via OSD

it's great but also a bit of a hassle..

Ya I can understand that. Just wondering if the auto focus is as good as the cameras AF etc

As to the both cine zooms? That‘s the big question. There‘s more and more full frame zooms coming out. But they‘re not the same. For most projects I would likely use primes and for run and gun doc work I might just use AF lenses

​@@damiencooper You might should have a look on the RF 24-105mm f2.8 L IS USM Z lens, and the upcoming RF 70-200mm f2.8 L IS USM Z. These lenses well be my go to fast zoom lenses for shooting video and well get some fast primes like the RF 50mm f1.2 L and the RF 85 f1.2 L for interviews, and the 10-20mm f4 L as for the ultra wide shoots when needed

REALLY depends on what you're looking to shoot. Me? Right now? Not sure tbh

I have.. but I'm not sure anymore :D

if you need AF, the RED will frustrate you :D

everytime I shoot with the RED. But how often do I need it? Hardly ever

I think that a skilled colorist will get the exact same look out of all of them. As a matter of fact, I shot a documentary with two canon cameras alongside multiple RED cameras and it was all graded by a professional post production house and I couldn't see the difference at all. And I watched in theatres

Disagree, my c70 plays along side Alexa Mini’s all the time - it’s all about how you use c log 2. The arri and canon color science is pretty closely matched, and while you can see the differences in the details, it’s not as obvious when just watching content. That look that you’re talking about is all about the color bit rate and post color work flow. 12 bit cineRAW light isn’t 16bit RED RAW, but should do fine with a little work. Also, I’ve noticed how much your lens choice matters in getting that look too. With a good cine lens or the right filters the c70 looks like a whole other camera.

I kind of agree. In some situations canon can work really well, but in most situations it just looks too "video." Fx6 has the same problem...very video like image. And it just isnt inspiring to color grade. So I just rent Komodo for projects that are more narrative and Canon for general talking heads.

"When Canon figures out the "sauce" that makes an image quality look like an actual "CINEMA" camera then I may consider it. What I mean by that is that RED, ARRi an even BLACKMAGIC all share that sauce (in their own way). They have this organic, movie film texture-like image quality straight out-of-camera that makes them so appealing. Canon for some reason can't achieve that. Don't get me wrong, Canon has a beautiful image quiality as well, but on the "DIGITAL" side of things, not cinematic." True.I have heard a Lot of DPs say that...Most agree that the Blackmagic Look - the image rendering- is the next best thing after the ARRI.

@patricioderito3722 Totally agree, you couldn't have express it better Patricio. I think there are people who just cannot perceive the difference; and those tend to be the ones who feel quite satisfied with the look of Sony (even Canon), that 'digital' look as you said. These people typically do work for corporate, commercial, broadcasting, and rarely narrative and cinema work. And maybe because of that they have developed a taste for the digital TV look. If you shoot and watch a lot of stuff of that kind (commercial, corporate, music videos, youtuber content) your eyes and brain adapt and you start considering it a good standard. That happened in Japan in fact, as they were the ones who manufacture the TV devices of the world since the late 1970s and later the broadcast cameras too (JVC, Sony...). This was a culture in which Standard Definition (480/520i) and a very bright and small color gamut was the norm for a long time, they got used to that 'quality'. So the Japanese culture (including the engineers) developed a taste for that so future developments (HD, rec709) somehow kept that kind of aesthetics as reference ---they, for example, love over sharpened images and 60p; there are studies that show that they prefer that look to 24p and softer images. And that's why, I think, it took so long for Sony to develop a reasonable 'filmic'. 'organic' color science, something that they only achieved recently with the Venice line of cameras (not even on the recent Burano). And because Japanese executives and engineers were kind of blind to what made an image cinematic and organic, they literally had to rely on western DPs, people like Claudio Miranda who had experience with analog film and was very knowledgeable on the workings of digital technology. Canon cinema line did it better in that respect because they never were a broadcasting company and borrowed their color science from the photo division of DSLR raw capable still cameras. In particular the C70 and C300 Mkiii with the DGO sensors look quite filmic indeed (not so the R5c). And ARRI did it well from the beginning because they developed film scanners before so they understood what made a digital image cinematic. Finally Blackmagic took their understanding of cinematic color science from the Davinci Suite ---and their teams of color scientists---, a company that they acquire several years ago precisely with that purpose. But don't worry Patricio if you meet filmmakers and friends who don't perceive the difference, who don't grasp the 'secret sauce' as you call it (Sony fanboys?); I think you will waist your time trying to explain something that is hard to point at and to which they are kind of blind, really. In the end, it's not them but their visual culture.

good point

@@phrasalsyntax I had both. Sold the OG and kept the KX

they're almost the same weight though

@damiencooper sorry I can understand that you thought compared to the FX6, however I'm saying I would rather a full frame like an updated FX3 or something 😉 ❤️

Good point. I have actually no idea yet. But selling the RED doesn’t seem like it makes a lot of sense yet

uff, hopefully only good stuff :D

exactly. Not as much within the RF mount eco system though. But I agree

to youtube or Canon? :D

I bet it will be. Especially at that price point!

Lack of an EVF is not a minor thing for many serious filmmakers. Hope it can work with the Blackmagic EVF or another third party piece. A representative told me that Canon is not planning to come up with an EVF in the future. Sony also didn't provide one for the FX6 or Burano, and they took out the A7siii EVF from the FX3. It seems that these companies are listening too much to the mirrorless crowd ---mostly millennials who have never experienced an EVF and who have learnt photography and video by looking at screens on their phones. Fortunately Blackmagic understood the importance of an EVF.

Really curious what that will look like though. Can‘t really imagine right now

@@damiencooper say Nikon using Z mount lenses plus some 3rd party lenses that are in use or specifically Cine type lenses that can be used on Mirrorless cameras.

Well if I was still doing lots of commercial work I might.. But having multiple Cine cameras for youtube is a bit overkill :D

This is a Wishlist man. R5c is a once off. Also zero hint of a c70 mark 2

I doubt the R5C line will ever get internal NDs

@@damiencooper If Canon wants a bestseller, then internal ND's would be a good argument in a R5C MKII. I guess I'll buy a R5 MKII, and if some months later Canon will announce a R5C MKII with internal ND's, this would be my reason to invest again. For me it would make no sense for Canon to produce a R5C MKII if it has no internal ND's. Without them, it would be to close to a R5 MKII, if you are right, then most likely there will be no R5C MKII. I guess most of the R5C users would upgrade to a new one if it has internal ND's, and it would make a lot of Sony and Nikon users to switch to Canon, not the professionals, but a lot of ordinary filmmakers.

@@damiencooper Internal NDs on the R5C MK2 will be a game changer. 😎 But I guess you are right...sadly Canon won't implement that. We need a small form factor FF camera with internal NDs and 32-bit float audio recording. The Canon R5C MK2 has that potential. It can be the equivalent of the Panny GH7 in the FF world. The GH7 has added some amazing features, making it a true modern-day hybrid camera. Wish list for the Canon R5C MK2 (to be a true upgrade and a pro cine/hybrid cam): 1. Internal ND (the Blackmagic 6K Pro has done it years ago at an affordable price point, so I guess Canon can too, if they want). 2. 32-bit float audio recording (like the GH7). 3. Better audio PreAmps and physical audio dials. 4. Mini XLRs and a locking 3.5mm audio input mic jack. 5. Full-sized HDMI. 6. IBIS. 7. Canon Log2. 8. Canon RAW Light in 4K and 6K. Make Canon RAW Light as easy to edit as the RED R3D files. Canon needs to work on this. If they can manage to smoothen the post- production workflow of Canon RAW, then RED might have serious competition. 9. ProRes RAW and Arri RAW (like the GH7...but why would canon do that?). 10. 16-bit RAW. ✌🤞

@@kaiservisuals don’t we all? 😂

@@damiencooper yes!

very good point. I haven't used the RED on anything run and gun yet. That would be interesting

It was a great time off filmmaking. But I miss it too much. Glad to be back

@@damiencooper Amazing, looking forward to finding out what you've worked on!

You can make any fcpx project look as good as Davinci. Final Cut is fast, reliable, and sufficient

😂😂😂😂

Lmao

😂

yeah, the jump to Sony makes no sense anymore in my opinion

they haven't. I filmed this video on a FF RF mount camera ;)

@@damiencooper RED? lol Ironic, right?

@@nyambe no. The R5C.

@@damiencooper RF FF Cinema Camera I meant. Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii . Anyway, I think Canon cinema users will love this camera. Sets the benchmark for FX9 iii,

@@nyambe "Don't you feel Canon should have launched this 2 years ago? Even if it did not have all the features. I think the camera market would have been a lot different. This should have been the C400ii". True that. Canon is late to the Party.

Absolutely not. But that‘s the thing. I hardly do client work anymore. If I was, I had two C400s in my shopping cart, no doubt

Great pairing. Don‘t have any C70s anymore though :D

fun is a relative term :D

I have not. I just quit COMMERCIAL client work. Corporate work etc

I never said that :D I just stopped doing client commercial work

Right? :D

good point. I just don't have the right lenses yet

Because I’m not made out of money 😂