Fx6 is the camera which can do almost everything It have 10 bit ,full frame sensor, 4k 120fps and even raw external recording , internal ND filters etc But we all know filmmakers buy red just because they want to impress the client and yes I know red have this so called cinematic look which most people can't even tell the difference "but is it really what you need" when you spend $6k Cinematic look heavily depends on the lighting, how you customize the environment, director's experience, experienced DOP, Good Post production work, Color correction, Color grading And yes if you are shooting a Hollywood movie then we need the best camera even if it's 1% better then the other But other than that filmmaker wants a camera which is easy to use when it comes to budget productions so they can focus more on the story, acting etc rather than that focusing on the differences between fx6 and red kamodo look which doesn't even matter after color grading a raw footage or even 10bit 4: 2: 2 If you have team, good focus puller and you want to purchase a RED it's good for you But I think many filmmakers push their budget to impress the client even after knowing that these cameras differences doesn't make any sense when you are on a budget or just starting your career
Once again an amazingly high quality breakdown. Thank you so much. One thing though which is often overlooked is the operability of the cameras in the real world scenarios. You touch on it here but there is something bizarrely unique about cube based design that trumps everything and the lack of controls makes the experience of using the Komodo more similar to using a film camera. It makes the Komodo seem a far more universal shooting experience whether hand held or on the shoulder. Although the Komodo requires more rigging it’s flexibility means that that rigging is usually non proprietary and universal. It’s rare to go on set any where and see a camera being used without an onboard 5 or 7 inch attached or evf. This makes the Komodo’s cube and any other cube an easy base to expand from and likewise the accompanying power solution needs for the normal set of accessories via v lock is perfectly accommodated by the Komodo design and additional v luck solutions that simply snap on the back. Doing all this with the other cameras becomes more of an issue. We are fortunate to have all three of these cameras but the simplicity of the Komodo and it’s stripped down menu and form factor alone makes it so easy to choose and use even though this choice seems completely counter intuitive given that each the fx6 and c70 out of the box seem a breeze to use too and far more featured. It’s just a case of whether their own monitors can be trusted and once we pass that line to expand or not expand the rig then everything unravels. I don’t know whether arri own the copyright but why don’t we have more evfs like the arri mvf 2 that are universal? Small hd used to do the sidefinder but no more. In terms of design and operation it would transform these cameras. The alternatives are such compromises. I guess looking at these cameras I really couldn’t disagree more that there is no such thing as the perfect camera. This video proves that there is but manufacturers refuse to make it. It’s the Komodo metal cube with top screen menu ui and app, the grip and nd of the fx6, and the full frame rf mount of the v raptor and canon auto focus of the r5. A reversion of the small hd sidefinder and v mount or b mount solution, with io on the rear ac side as additional units ala the Komodo third party solutions. Shooting 6k raw and pro res ala the Komodo with maybe better low light but not by much. Full sensor 50fps would be great. Is it really too much to wish for?? Btw the kinefinity mavo edge 6k is that camera but for the fact that politics and the nature of brand competition have relegated this camera to an expensive proprietary side note excluding it from what is acceptable and practical amongst workflows and common considerations for price and investment in a camera system. Thanks so much again for your excellent work. So much appreciated.
Been using the C70 since release so here are my suggestions if you're look at one: This is an all-in-one package cinema camera with an amazing size and weight. Seriously. Coming from any other cinema camera this one fits like a glove in my (admittedly large) hands so I can easily shoot handheld or on gimbal. But that may not be for everyone as some people prefer the boxy cinema camera style. Personal preference. The image with the new RAW update is incredible and puts it closer to the C300 III than I had thought it'd be. Coloring in Resolve is *chefs kiss* with the new RAW files. So much DR and latitude to play with my image. No need for rigging for what I do which is corporate work and documentary. I have yet to find a use for a cage since the autofocus is fantastic even with its quirks (though not as good as the R5) and the ports for HDMI and mini-XLR cover my needs. I use Kondor Blue's Mini-XLR to XLR braided adapter cable. Don't go cheap like on Amazon because the one on Amazon I got sucked nuts and caused so much interference. You can't go wrong with either camera, but I wanted to throw my 2 cents in from using it extensively for well over a year. Things to know: You'll need a different plate if you plan to mount it to a Ronin RS2. Pretty cheap options on Amazon like smallrig's extended sideways plate or entire plate arm. RF lenses are great. I have the holy trininty and love them, but part of me wishes I had just gone with the normal EF L glass instead since the new RF ring crap on the lens is pointless and messes with my muscle memory. Again, personal preference though.
I have all three cameras and practically speaking as much as I love the c300iii c500ii design concept of modularity the design of the c70 in almost every way is truly awful at any professional level. The monitor alone would disqualify this from most shoots. In bright daylight it is unworkable and too flimsy a design to take a hood. I could go on about the layout and the insanity of a flip out screen like this on a professional camera (surely it’s not for vlogging yet it clearly has that and tick tock in mind?!?). There is a reason why the box camera rules and can be rigged professionally or otherwise. As for the menu system please stop the insanity. Arri and of course black magic have shown for so long it just doesn’t need to be this complicated and slow. I appreciate that it works for many people out of the box but it’s use case and operability is limited to exactly that. The raw is great though.
@@KenFlanagan I've used all 3, I get that you own them so you've used them more extensively but for MY case it works the best out of the 3. 1. Portability: traveling with 1 Pelican because my C70 fits with all my cables, monitor, handle, lenses is pretty great. 2. Same internal ND's and good enough RAW LT. 3. No need for more inputs for what I do. All my audio gear already has Mini XLR-XLR adapters so I have no problem with the smaller ports. Plus a C70 with a Sennheiser MKH-416 sounds comparable to most stuff out there to a consumer's unknowing ear. 4. Able to run it on a small gimbal is a big bonus since my CEO directs an ultra marathon on the side and I help with video for that. Being able to run and gun is crucial with low setup time compared to flying a C300 III on a Ronin 2 with an easyrig. 5. For what we do (corporate work mostly) the customer's don't know what's good and what's bad. They just know if it looks good or not and the C70 much better than lots of cameras that other large companies in my same industry use. I work for a very large solar company as a Creative Director and even with our C70 our image looks better than both the #1 and #2 solar companies in the nation (United States). So we decided not to spend more money on very diminishing returns and use funds elsewhere and whenever we rent, a Komodo is only $150/day at my local rental house so I just go that route. Again, it's all about use case. Argue with me all you want, but for what we do we love the C70 and if we want anything more expensive I'll just go Red. I see no point in going $15k into Canon when I would just pony up for something better at that price point.
@@CinemaSteve hey Steve no argument. I’m on a job now using the c70 and there is a lot to like. Just I have to rig it up and at that point I’m looking at our other cameras we’re using c300ii and the design is just so much better or at least it just makes sense in a shooting environment. I totally understand your use case is different.
@@CringePandaoh yeah. It’s still my A cam even with my R5C in the mix. Ive been super tempted to buy something else but every time I do, I can’t. I have RF L glass so it’s gotta be Canon. The image is still amazing and I only think id upgrade to the C80 if I wanted 6K which idc about since I don’t even use 8K on my already purchased R5C.
Thank you CVP for constantly delivering terrific and well-paced content that is a combination of great research, lots of experience with the actual products and beautiful cinematography. It really stands out, well done as always!
Komodo just crushes it for Narrative. I'd use the FX6 for ANYTHING commercial (and C70 for anything really) The Sony Camera's can't seem to shake off their commercial/corporate look. I've seen a few features shot even on the Fx9 and it still kinda looks like a commercial. Komodo out of camera is some of the best looking footage when transformed into REC 709 with the correct settings, R3D files are just absolute beasts.
@@NDWolff-of2zw yes and the Venice has a completely different look. Obviously the best cameras in the world are there Alexas and the Venice but when it comes to low budget cameras you have to choose the best that fits your goal. None of these cameras really hold up to any of the big boys with over 15+ stops of DR and colour science that is just absolutely perfect!
"The Sony Camera's can't seem to shake off their commercial/corporate look." = User error. Image out the FX6 can be graded to look anyway you want, almost zero rolling shutter, Venice colour science etc. Not sure what you're talking about when you say corporate look.
@@donmcvey I'm sure it can, I'd love for you to show me something like that. It's the Venice Colour Science sure but they don't compare even straight out of camera. I've been around a lot of productions and have still yet to see a FX6 that has impressed me in the Narrative world (of course I might just not have seen enough!) !! At the end of the day none of these cameras come close to a Venice and it would be silly to assume they can really compare at the highest-level productions. Sure, interviews and corporate work but I haven't seen someone choose an FX6 for something really serious.
@@ElliotSlade I find a lot of it is to do with what cameras higher-end productions will end up using. I own an FX6 and it's a perfect doc cam for me, but if I'm shooting drama and commercials I usually find myself on an Arri/RED package - and that's usually a lot to do with choosing cine glass etc. I have however matched FX6 footage with Arri and RED. What I find when working within standard boundaries of DR and colour is that most of these cameras perform amazingly these days. When you start pushing them, seriously high DR or crazy saturated colour (like in a music video for e.g) then you can start to notice that cameras like the FX6 and C70 weren't really made for that purpose. All that aside though, when I run my FX6 stuff through ACES or when just stick on the s709 base LUT, I find it looks very natural in terms of colour - as in a great base to go from. But it's all subjective.
@@TheFilmGuyOfficial Say, if you already have a set of Super 35mm lenses, a camera with full support of S35 would be great, an if not, you will have to go ahead with full frame lenses. There are huge number of S35 lenses that have been existing in the market for long, and that’s why many camera manufacturers keep launching new S35 cameras.
Tools for different things. I love the Komodo, its image, global shutter, color flexibility, size, shape, and versatility make it a great camera for even the highest end work. If I had to go straight doc style, I'd probably choose the canon for the simplicity and bullet proof design as well as the autofocus. I've always had a harder time with Sony, but have seem plenty of incredible things shot on them.
rolling shutter will soon be a memory.. Thank God. BM just pulled off a miracle with the latest firmware so im confident it wont be more than a year or so.
Haven’t used the other two, but the FX6 came in clutch during extreme summer heat in the American South and the ND worked great. It takes some effort to get the best picture possible, but it’s a great camera
Your comment is so on point from what I’ve researched. I’d love to ask your opinion on something::: As I’m considering which one (C70 or Sony fx6) to get, it seems that the decision is coming down to if I want to make a decision based off of ease of camera use in the field (sony fx6) or ease of getting a good image straight out of camera (c70). This decision has me at a bit of a standstill, lol. So, with that being said, exactly how much extra effort do you find you have to put in to get that image you want out of sony?
I own a Komodo, DSMC2 Dragon-X, Pocket 6K, and a grip of Sony mirrorless bodies. Of all those, the one that gets the most use for video, is the A7Siii. The Komodo IMO is the best camera for several reasons, but even with its killer app and small form factor it is more of a chore to shoot with. I think a lot of it comes down to the current Sony alphas having professionally reliable autofocus. It just works, whereas with the Komodo I've had focus hunts when something strays from that box even just a little. Eye tracking autofocus is a big deal for single operators or small crews. I'll take that every time over an extra stop of dynamic range or a built in ND.
Really interesting comment dude. I'm an A7siii shooter and have been thinking to upgrade to the Komodo, but I do shoot a lot of sports and also fast paced close up type shots, which has given me concerns about the Komodo. People say the Red picture quality is levels above, always looking more filmic, what do you think? Thanks in advance
@@badger-productions yes, that’s absolutely true. The RED image is mind blowing, and if what you’re used to working with in post is 10bit, the 16bit R3D files will wake you up in a hurry. They’re nearly impossible to break. Then there’s the app…just wait until you see it. Everyone’s app should be exactly like that. Stop by my channel sometime…I have plenty of videos about all of these cameras.
Up front cost of FX6 is very transparent to start (or keep) shooting. Up front cost of Komodo can go through the roof in a heartbeat. Both are great cameras.
Have all 3 of them, my work got very specific requirment, which is extremely compact, and easy to hold all day without hurt my back/shoulder/neck. In my very personal experience, I love low light performance. Because I shoot a lot of doc in place WITHOUT ANY GOOD LIGHT. komodo is not going to work well unless I got an f1.2 lens with focal reducer which gives it 1 stops of extra light. C70 and fx6 both work well under low light, fx6 is really good at extreme light condition. FOR SIZE AND WEIGHT CONCERN!! I have to handheld camera for long time, some time even over 20 hours. For the good of my personal health, every 100g is a concern point for me. Therefore, if I already know I will shoot under day time , I will always carry komodo with just an good 3.5mm mic, a 5" monitor, a zoom lens, and 2 small size v mount batteries. c70 is kinda bulky im hand, but works well if you only need hold it for few hours or half day with minimal rig. FX6 is suprisly light weight consider how big it looks like, BUT! when you add top and side handle, I JUST WANT CARRY AN TRIPOD for it!!! There is no such thing called minimal rig for fx6, you MUST use that big fat top handle for audio. so no light weight run n gun option. the side handle is also fat as well.....It really hurts when I really need low light performance but dont want carry a full size "CINEMA" camera. FOR FILES, I don't think there will be any problem for any of these 3 camera, an average pc or m1 mac book will do the job. With the powerful addons and edit software, they are all just some different style of click on your computers, no one is more difficult than others. if you want just use clips right out of the camera, use canon then, because red usually need way more noise reduction, and sony sometime just got that really wired yellowgreen ish tint especially on skin tone. In my best conclusion, the final winner is the ............Sony FX3, hahaha, yes it's got all I need for my work on the go, extreme low light performance, super light weight, got 1 power bank or 5 tiny sony battery could last me 1 day, all of them could fit right in my pocket. I don't know what to say, for my work, my client really don't care what machine I use as long as the image seems decent. It ticks every box , easy to carry to sneak in anywhere, reliable power source, useable audio, minimal rig, able to hold it for very long time with bare hand, good lowlight performance, great image. I can't find myself use fx6 c70 or komodo anymore since I got the fx3. and I even start use it for some commercial work, it really works well compare to fx6, c70 or komodo. I can't believe such small camera can really do the job that I use to need a camera weight like 25 kg at least and need 3 people to make is run.
Agreed! I own (or owned) all three. The FX3 is the best camera to use professionally for 90% of people. I use a Komodo and FX3 for client work and couldn’t be happier. And I reach for the FX3 more than the Komodo. It just works.
yurr the fx3 has a lot of great features. i mostly shoot on a tripod and hear some minor complaints about the fx3 having baked in noise reduction unless u record externally. was wondering if the panasonic s1h is in a similar tier, though i know the lowlight isnt as good. also idk how the fx3 /s1h is w fan noise, which is a concern coz i shoot indoors/small spaces most of the tme
@@Kevlexicon You’re in luck, I also used to have a S1H. S1H has settings to reduce noise reduction in camera, but there isn’t a way to turn it completely off. The S1H has great low light because it is dual iso (640 and 4000), better than the Canon R5C and Blackmagic 6K. FX3 is king of low light though, with a dual iso of 640 and 12800. The fan noise is almost inaudible in both the FX3 and S1h (I think the FX3 is quieter by a hair). The FX3 autofocus is so reliable and is why I sold the S1H (amazing camera though). Unless you’re shooting commercial and working with high end clients, it doesn’t matter if the camera has noise reduction built in camera. The image and features from the FX3 and S1H are incredible and better than any camera below $5500 easily. If you NEED internal recording image that isn’t noise reduced, then you should get a Blackmagic 6K, with BRAW. Hope this helps!
@@FilmFlab If you need a recording option without noise reduction then most likely you're working on a larger set with a bigger budget and more people, which mostly eliminates the need for internal recording, thus you can record raw externally with no noise processing on the FX3 and FX6 just fine. There are obvious differences between the FX6 and P6K which will serve different needs, but needing raw isn't enough of a reason to make a difference, unless you NEED BRAW and need to grade in resolve without transcoding.
@@willmannering You skimmed what I said and replied. I said that you don't need to worry about noise reduction unless you are "shooting commercial and working with high end clients". That includes working on bigger sets and with bigger budgets. If you are, though you're most likely renting an Arri or Red. For most people, a FX3 is perfect (not a fan of the FX6, Red Komodo or C70 is better for the price). I'm a Red Komodo / FX3 user.
Used on dif projecst all three (rent) and finally bought FX6. Komodo is great cam but you need to rig it every time (it's ok for commercials but for corporate and doc not so) and really bad in lowlight (compare to others two), C70 is simple camera to use with, you can just get it from rental house 2 hours before shooting and setup it quickly, but it is not good for scenarios other than run and gun because of form-factor and difficult rigging. IMO FX6 is most universal, you can use it in multi-cam story, it has all I/O you (and sound guy, and focus puller) need. No rigging or cage need for most work, perfect doc and corporate camera but it's not that camera you can get in rental in day you planning to shoot if you never working with Sony cinema cameras before, because menu logic is HELL, its so overcomplicated and frustrating! 🥵 Conclusion: all three cams are really good and you can get excellent image from any. Just get "right" cam for your type of works.
Bit Depth is the most important. Marketing wise some companies say 16 bit !! Some say 12. Usually it's 12 bit log or 16 bit linear. These are considered to be THE SAME. REDCODE is probably 16 bin linear wavelet based (they usually are very secretive about this), ARRIRAW is 12 bit LOG uncompressed (larger files) Sony RAW (higher end cameras) is 16 bit linear 3:1 compression (larger files) Blackmagic DNG is 12 bit LOG, mild compression (larger files) Blackmagic BRAW is 12 bit log, much higher compression (smaller files) All of those codecs are capable of capturing high dynamic range images. Some of them look worse than others when compressed. Some of the very highly compressed smaller files on REDCODE can look very mushy in low light. BRAW in it's most compressed can also loose a lot of very fine detail which is RESOLUTION not DR. DR = Bit Depth Compression = Resolution
I believe the REDCODE in REDs newer cameras (starting with Komodo?) switched to discrete cosine transforms instead of wavelet transforms as used previously.
I’ve legit never seen any Blackmagic cameras lose any detail at all, even in 8:1 compression - neither in personal use nor any of the tests I’ve ever watched.
Thanks for the massive infos and time you put in. Hard to compare the Komodo to the two others. Komodo is barebones while the others come with decent audio, NDs and beautiful AF Features. There is one thing that made the Komodo my workhorse for my main work. for pure Color, motion and image I pick the Komodo at all times. I do a lot of product and lifestyle content. that includes fashion, tabletops and broll of Talents on set. Since I got the Komodo a lot of clients are amazed by the images they see out of the Komodo. Even on set, Just slap one of Reds internal luts on to fit the clients vision and applause is save every time! Haven’t had that happen on set to images we created on sony or canon. Fiddeling with all that S and C log stuff is just not straiggt forward for me. R3D is just one of a kind to work with! On the tech and handling side its truely a different story. Especially for events or run and gun with an ultra fast output I‘d definitely advise Fx6 or c70. batterys, media body and go! easy and quick. So in the end there is no good or better. Only the right tool for the right job.
I love my C70's for the image and ease of use. That pretty much ends the discussion for me. I hear great things about the Komodo. Although a lot of the comments are The Komodo is great but... you have to ABB it all the time, too much set up, no NDs. The FX6 is a camera I strongly thought about. The Auto ND is pretty incredible for outdoors. But they lost me when I heard you had to run software just to stabilize the footage. We are in a time of minimizing steps and protocols. The camera that gets me further away from "Murphy and his laws" wins. Canon. C70 & R5c.
Been shooting with my FX6 constantly for over a year now. I've used post stabilisation twice I think, and that was to iron out some gimbal tracking shots. I like having internal IS on my A7iv, but I can't say I've 'missed' it on the FX6. Definitely not a factor when choosing a camera for me.
The big issue with the FX6 for me was that you have to have the top handle installed to get onboard audio. I run Gimbal and Tilta ring so that just wasn't going to work. C70 all the way now.
We have the c70, fx6 and a Red helium, when it comes to matching shots c70 and helium are very easy to make them similar, Canon color science is great and very fast to match with Red. Fx6 always gave us some problem with color correction. It's very difficult to drive the image exactly where you want. In the end, if the fx6 is on set the fastest way is to cc Sony first and then all the other. Warm colors is an issue with Sony, changing value of blue and green affects red, orange and few type of skin tone somehow. Sony is great in low light but night shots are less common, so in the end we end up using always Canon. I don't know about Komodo but r3d raw is just amazing, you can do everything that comes up in your mind, the only thing you need to pay attention is the exposure, if it's properly exposed you can change any color, completely, without worrying about spills or skin tone. Another important factor that make us choose Canon over Sony is how the camera perform on set. Form factor, clarity of the menu, lens choice, internal raw, battery duration, makes it faster to operate in a busy environment. Don't get me wrong fx6 makes beautiful images but it seams that you need more effort to exploit the full potential of the camera
How strange it happens to me on the contrary, in my team we agree that the color of the fx6 is easier to colorize, maybe you are simply used to other types of color science a little more extravagant or you do not expose the fx6 well anymore that its logarithmic curve is very different from canon and red that use an almost equal curve, obviously you should not expose them the same for this reason. even so it seems to me that sony is taking the science of color on the right side (that they look as true to reality as possible) in my opinion RED has too much green in the mid tones and in the skins and blue in the whites, which they make colorization more difficult when it comes to wanting to give a different sensation to action or terror.
I've had an FX6 on order since December. Slowing moving ahead in the backorder line. The last time I called the store, I was 8th in line. The only worry I have is if there is an FX6 Mark II on the way, but there is no way Sony could even keep up with the supply at this point.
Yeah I doubt that’s coming anytime soon. If you look at how long the fs5 took to get a MKII, which was three years and how minor the update was, I wouldn’t be too worried about a MK II FX6 coming too soon! Jake
Honestly I think I'd go with the C70. Just seems the most versatile for me. Overall I would say the fx6 is the best but I prefer having the xlrs on the body. It seems odd Sony didn't keep this trait of having at least one on the body like the fs5 as it was always a reason why I liked that over the c100. Also I love internal NDs. The Komodo comes last for me even though I love modular system I just it comprises more and is harder to justify and I hate cropping in to the sensor. Though for dramatic, it probably tops out on IQ with R3D. As you say though non are bad and will all give stunning results. Another top notch video again Jake.
Been really enjoying the C70 since day one and love the image from the DGO sensor. I was using autofocus on occasion but I’ve gone back to manual with a used set of cine modded Zeiss lenses so not bothered about AF anymore and prefer the look to modern glass. It’s a personal and subtle thing, but I do prefer the motion cadence from the Red or the Canon, and I love that the Canon ND’s go to 10 stops, I think I’d choose that over the variable. Then again the Sony has much better I/O and better slow motion. So it’s a tough one with these three cameras, because they all have great features but are all slightly different. It used to be that you could tell the colour apart instantly between a Red, Canon and Sony camera but now it is a much more subtle difference and you could use any of these and get great results.
a friend bought the komodo, we shot a short film with it and although the image quality is good, I don't like its natural colors (too green in the mid tones and skins), besides it gave us many limitations in the shoot, we couldn't record a scene that we needed at 60 in 4k because the sensor cut us too much, the bad thing is that it was an interior scene in a vehicle and the wide angle lens no longer looked so wide, not to mention that the camera is super 35, I I would have liked to have the fx6 since the times I have used it I have never felt limited and I love its colors
Great comparison, I think this will help a lot of people - I recently had to make the decision between these cams - ended up with the Komodo (with fantastic service from CVP) so far no regrets!
I hear you and for people who probably consider themselves filmmakers rather than content creators the Komodo makes sense. Having seen some of your work I would be interested to know what your do about sound? An amira version of the Komodo would have been ideal but since having one myself sound is the one great disappointment nay even frustration I have when packing my bag to do a profile piece and trying to keep things tight and tidy. I would have normally jumped at a c300iii but it needs a surprisingly large amount of things in addition to the basic package to feel oven ready and at that point is an expensive investment in a lens system that is now vestigial. Did you consider that or even the c70? Also interested as I think that you are one of many Eva 1 users who made the move to Komodo. I guess everyone gave up on an eva2 and the box is now king?? Also r3d at any level is a nice way to say hello to the Red ecosystem. Meanwhile thanks for your recent content. Always a pleasure to see.
@@KenFlanagan hey Ken, I just purchased a Zoom F3 which I'll rig to camera. It's a tiny little recorder with two phantom powered XLRs and floating 32 bit audio (so don't have to worry too much about setting input gain), it's amazing! I can take a line out or record internally. I love my EVA1 and would have been very happy to get an EVA2 but alas... I tried out the BS1H and was sold on the box format, but that cam wasn't quite the step-up I was looking for. I did still consider the C70 & FX6 - but figured if I held onto my EVA1 - that would still cover me if I needed an all in one solution. The Komodo is a really lovely form factor and I love the flexibility on rigging options. Red raw is very easy to work with as well.
A word here for the Zcam E2 F6, big time underdog which has many endearing qualities. Canon R5C would be a winner if it had an ND system which allowed you to stay within the RF lens ecosystem....
Motion cadence and strong RAW codec, RED KOMODO, is a beast, the image you can produce is just amazing, you can rig it small or big, is a box. More hard to work with yeah, and post is more heavy processing wise, but the global shutter is just unbeatable for narrative work and music videos alike, has the best image of the three IMO
All agreed and there is the rub. Red design for all uses except doc. The Gemini was their only nod to it. Wish they did an amira version of the Komodo. A Komodo would be ideal with decent sound. It’s a different camera at that point but even an expansion unit ala the c300iii would be appreciated. I know people try to add sound stuff to the Alexa mini but it looks a bit embarrassing. A dedicated 32 bit float on board sound module. Seriously how difficult can that be?? And don’t say off camera and tentacle. It’s not the same footprint in any way.
@@KenFlanagan "Red Design for all uses except doc." That's interesting, because cinematographer Edgar Dubrovskiy used a Red Komodo to shoot Netflix's "The Tinder Swindler" and Netflix's award-winning documentary "My Octopus Teacher" was shot on a RED Dragon.
Agree with most of what you say, except that there is no such thing as motion cadence, and editing and grading RED footage on a Macbook is a dream come true.
@@JonPais thanks for that Jon. Absolutely. We were working on a feature doc through sundance and every other doc seemed to have a dp attached rocking an Alexa mini. We have tried so many times to raise the game of the imagery in docs and there is absolutely no reason not to try if you have the resources but practically I was referring to observation doc really and at that point the canon c300 line were pretty much perfect. C500 would be ideal. A full frame version of any camera would be better as it can get you out of jail in terms of losing the background and using shallow dof just to give a shot a look without lighting. Sound and phantom power are really what makes a doc camera for me. Also I think that doc is practically all reconstruction so again they could use anything with no worries. Probably mos. Currently I really want the Komodo to work but they don’t make it easy or cheap to do so. Thx
one area I think you missed is a scale where on one end is "days of our lives" and on the other end is artsy. hard to put into words, but I think you know what I mean
Literally just checked it and this is simply not true. The c70 has 12.8 stops using DGO All-I (at SNR 2) and the Fx6 has 11.7 stops, which is a far cry from the 2 stops that you claim. Furthermore the rolling shutter is quite high with DGO active and with DGO turned off the dynamic range is back to even with the fx6. The exposure latitude is also the same for both according to cined with both showing 8 stops of latitude in total. (Compared to the 10 stops for the Alexa)
Great comparisons! They are all great cameras. A year and half ago I spent months laboring over which of these three to guy. They are all so good in many ways. In terms of pure IQ, I'd have to give the edge to Komodo. I have a Sony FS7 and it is still a great camera even today, so I'm sure the FX6 is wonderful. In the end I finally decided on the C70, mostly because I'm invested in Canon glass. I bought an A7R3 a few years ago, hoping the Canon glass would work ok with a metabones adapter. I was wrong. The autofocus was pretty much unusable for all my lenses. When I got the C70, I actually tried to return it because I wasn't blown away by it. It was a little too heavy for how I like to shoot, and the autofocus did not impress me. To be fair, I was using the EF-RF adapter, so that held it back a bit. I also don't really like the function button layout, the crappy menus (just do it like Blackmagic, they nailed it). It's also super frustrating when you change sensor crop modes, it doesn't revert back to your previous resolution settings when you switch back. So switching from 4K 35mm frame, to 2K 16mm frame, and then back 35mm doesn't go back to 4K. You have to manually change the resolution back to 4K. WTF!!! I jump back and forth in sensor modes, so it is SUPER annoying. The C70 also didn't do well on my RS2 gimbal. Yes, it balanced OK, but in real world use, it was not doing well. And certain features don't work in S&Q mode, so there's that. Now a year and half later, I have come to really like the C70. The dynamic range is LEGIT. RAW is amazing and the footage is super easy to grade quickly and have it look really good. I have to fight with FS7 footage a bit more to get it how I want it (but it does look really good as well). I grabbed an R5C and so far they make a great combo.
Don't you guys think those panning shots and up-down movements look awfull in 24 fps 1/50 shutter speed? i Relly think it would be better with a higher shutter speed.
Thank you guys. I have been binge watching your videos for the past week as I'm thinking about getting an FX6 to use as my main A cam and using the SIII as a B cam. One question I can't seem to find the answer for, is does the FX6 balance okay on older gimbals like a Crane 2 or smaller ones like the DJI RS3 with the monitor mounted on it? Thanks!
Out of this three, the Komodo is the hands down winner. With a Global Shutter, 16 Bit RAW colour science, and an option to shoot in ProRes for fast turn arounds, Komodo is the clear business production camera. Although the extras required to get it to basic production package level is quite high. Do I want to spend $10,000.00 plus CAD for a non 8K production camera, when for the same price I can have a 12K production camera ?
CVP/Jake, are fantastic. Excellent content, anytime I want info on a camera or new accessory, these are my 'go-to'. A must subscribe for all camera users/fans.
Great information, man. There are SO many things to have in consideration when we get a camera…, for the time being I’m very happy with my bmpcc 6K Pro. Thanks for sharing
Been out of the big cine camera game for 5 years, going to jump back into it. Trying to decide what to pick up within this price point is hilarious right now. Decisions, decisions...
Personally I am happily enjoying the Sony a1, you get 4K super 35, excellent full frame 4K (with dynamic range close to the c70). The option of 8k, plus the small body let’s strip it down or build it up. The only thing missing is a time code port however tentacle syncs have yet to let me down!
@@walmartpimp2 sadly it would bite into the Sony Venice 2 too much, since that camera is basically[?] the same sensor just without the autofocus, But with the ability to record raw video and in the open gate 3.2. (8.6k) also anamorphic modes. But if they were to make it, and throw in some more flavors of 8k recording (since heat wouldn’t be an issue.) it really could be a dream camera for many. Ultimately i would still stick with the A1 due to my photo needs. (Perhaps renting it if a shoot demanded timecode like a Netflix project)
I picked the Komodo and could not be happier. If I was recommending a camera almost to anyone else, I would suggest the Sony. Something about that global shutter of the Komodo looks so natural to me ... even in normal shots, it adds a bit of movie magic IMHO. But not everyone sees the same thing. The most versatile is the Sony, best auto focus, best low light and the highest frame rate, and the Sony Log option.
komodo is not in the line as a solo operate-able. first ask your client, there are many companies ask for sony cameras. if you are totally independent, i see no reason not to choose C70.
All 3 cams are very good options 👍🏻 I have the FX6 now for over a a year and i love it 😍 I made an FX6 REEL 2021 🎥 best cinematic greetings from germany
Thanks for the review, it's great! It would be nice to add Canon R5C to the comparison. I have FX3 and Komodo in my arsenal but I recently got a R5C and this camera is impressive!
If you can get hold of one sure. But coming from docs it seems we are always trying to up the image to something more a kin to Hollywood production values. The Gemini or amira were always balanced against the practicalities of an fs7 or canon c300. But at a certain point we all want our Netflix docs to look like films and the Komodo definitely does that and with a little filtering the fx6 can easily do that too though there is something oddly filmic about the Komodo’s image out of the box that is hard to replicate. Sound is the Komodos Achilles heel for docs but for form factor and utility it’s incredibly versatile. I have both and the c70 but for some insane reason I am always drawn to the Komodo every time. It’s just so much more like a filmmakers camera.
Can you do a video on, "Should you buy the Canon C300 iii, Canon C500 Mark ii, Sony Fx9, Ursa Mini Pro 12k, Ursa Mini Pro G2, Kinefinity Mavo Edge 6K/8K."..etc
One question I have is, how the FX6 handles filenaming? Coming from BMPCC4K which has a industry standard unique naming scheme with Reel,shot,Date helps a lot! does the FX6 have a similiar unique naming scheme? And also is there anything like slate mode on the Blackmagic for the FX6? Naming scenes and getting it to metadata is a saver for what I do.
You can have an auto naming folder setup with a script. Basically drag and drop into folder and the script will keep the orignal name, but add whatever parameters you need.
Another online creator that does not understand raw or work at sets… great comment, the Komodo is not for you obviously. Stay with some alpha series until you are ready to dip into cinematography
it's ridiculous to think that The Ursa mini 12k, being absolutely superior (image quality wise) is at the same price range as these three cameras Just wow.
It has a great codec, but less Dynamic range and worse low light than these three cameras, as well as a lack of Prores makes it a non-starter for many people.
As I said in the BlackMagic camera group: Resolution does not equal quality. Dynamic range, color science, color depth (8-bit, 10-bit, 12-bit, 14-bit, 16-bit, etc…), and codec quality are all more important than resolution options. BlackMagic makes wonderful cameras but the Red Komodo and the Sony FX6 are significantly better cameras than the Ursa 12K, and the C70 is on par with it.
The canon C70 is much better in the dynamic range category. Besides that DGO sensor is really something else. Personally I'd take Dynamic range over resolution any day of the week
@@geoffreybassett6741 i would check out spec test for these cameras. They actually don’t hold up as they are advertised. Unlike the ursa. Fx6 is clocking out at 12.5 usable stops of dynamic range. Also fx6 Prores Raw is worse than the internal codec (xavc-i). Best auto focus though. Best low light. C70 is damn near the perfect run and gun camera. Good codec, great usable dynamic range. Great lens options. And runs solely on sd cards. Also internal is raw. Komodo is a great cinema camera. Full stop. It’s meant for smaller budget features and studio work. Sdi goes out way too often. Ursa is a production camera. 12k or G2 - multiple media options (SD/Cfast/ssd) - Ef lenses are widely available - no autofocus, but its not a run and gun camera - I/O best by far (I do miss the hdmi) - codec is super flexible (braw) and if you get the g2, you have prores as well - best to work with in terms of color grading.
@@CVPTV Jake! Please, please do the Ursa 12k and the DJI Ronin 4D (and possibly even something from ZCam?) in addition if you do another edition of this format. The three cameras in the video get talked about all the time, but a huge part of the reason that there’s less competition is that so many equally viable cameras just…don’t get mentioned by most RU-vid channels. Blackmagic, ZCam, Kinefinity, etc. are out there doing such amazing work and it’s frustrating to see them not be treated as equals in comparison videos. Anyway, much love for everything you guys do, and you’re an indispensable part of my research and learning. Just hoping for a bit of a shakeup to the hegemony of Canon/Sony/RED.
Perfect camera: 6K FF C500 mk II with DGO for even more DR; add FX6’s electronic variable ND up to 8 or 9 stops; all 60P RAW Light at 12-bit rather than 10-bit; maintain its current rolling shutter Performance (around 15.5ms). Add interchangeable RF mount and some legit RF cine lenses. There, that’s the perfect camera. Ps: C70 crop factor is 1.374 compare to R5. Canon listed crop factor is wrong. You should use either the height or the width of the sensor to calculated crop factor rather than diagonal. 36x24 is of a different aspect ratio to DCI 4K/UHD.
I agree about the image of the c500 but in sunlight the monitor is pants and it really only comes alive with the side evf and Expansion and V lock making it insanely expensive for what it is. Though in that configuration with a decent shoulder mount it’s a joy to use.
