Sony FX6 vs RED Komodo 

where? link?

Send me the Link lol They Filmed half of Ambulance on the Komodo Dude

But with the price difference after rigging you could easily buy an external recorder for the fx6 and also shoot raw.

@@RiceCubeTech they are not the same. The RED RAW is way cleaner. I was all rigged to shoot a feature on the FX6, had the Shogun mounted. We did side-by-side comparisons with the Komodo. There was no comparison. I'm sure with a little noise reduction it would have been fine, but the Komodo needed no noise reduction.

I thought I'd update this post regarding the above mentioned feature film I DP'd. We had a day when the Red Komodo overheated and we had to switch to the FX6. I've watched the film on the big screen several times. The audience notices no discernible difference between the FX6 and Komodo. But I can definitely see the difference between Full Frame and S35. The FX6 footage, after being graded by a colorist, fit in just fine with the Red footage. For me moving forward, it'll be all about how expansive I want my world to feel. The film won Jury Best Feature at the Beverly Hills Film Festival.

I have to disagree with you. I have an fx6 and a7s3 and have used an a1 as well. the red Komodo image quality is better. There is more information in the file and dynamic range. the color depth and sharpness of the red Komodo surpasses the fx6 by a good amount. noticeable to me at least. the fx6 has its pros ( internal nd and amazing auto focus) but for a true high quality image you can push and pull to your hearts conten, the Komodo wins. and thats coming from an fx6 shooter.

@@bryangarciafilms I respct that you've a take just like I do but I disagree as well. 1) Komodo is sharper. Yes, 6k footage will be sharper than 4k. If sharpness beyond 4k is valuable to you, you got your pick, Komodo is sharper. But A1 with 8k is sharper than Komodo. Also, Reds have always been sharper than Arris but that didn't even get them close. 2) Color depth. I've shot a lot of12 bit Prores RAW sampled from 16 bit linear RAW on FX3 and I also shoot 16 bit Redcode RAW on Komodo. And never have I ever come close to feel like there is lack of color depth in 12 bit footage. In fact, there is plenty than we can realistically make use of. If you can in fact eek out the performance of 16 bit over 12 bit sampled from 16 bit, then I concede my argument. A lot of great cgi hollywood movies didn't even shoot 16 bit. Dynamic Range. No, they all have same dynamic range. They have those stops allocated differently but by just knowing the cameras and shooting them at the settings that yield the best possible DR for the given scene, you get the same DR (Also assuming you're not shooting s-cinetone or using sony's rec709 lit or some other lut to grade that doesnt preserve DR. I use Phantom LUTs fot my base image and they are great) And its not just my experience but mathematically calculated as well. Checkout cined.com lab tests. In fact, Canon C70 has a stop more DR but at the expense of worse rolling shutter performance over Sony and RED. Never really enjoyed working with C70 personally. The one advantage I see Komodo has is it has slightly better rolloff when image is over exposed. But conversely, Sony has better rolloff when slightly underexposed. So, its just based on specific scenarios we find ourselves in. Komodo and A1 is my current setup. And i used to be that guy that convinced myself that RED is better and took pride in having that camera when i got it 2 years ago. So I relate to those kind of takes on youtube channels. But I've grown to be bluntly honest with myself and as much as I love my Komodo, the image doesn't look any better or worse unless if there is user error.

@@BalaKrishna-bq5iz What made the jump from the FX3 to A1 and how do you feel they compare/contrast for video?

@@justinavila1320imo, it’s literally just the 8k. I had an a7siii (same sensor as the fx3) and now an A1. Since the fx3 doesn’t have full size xlr and Internsl NDS, it’s not a huge leap in convenience like the fx6 would be over the a1. So you still have to use a bunch of rigging materials anyways. Once rigged out the A1 has one distinct advantage which is the ability to shoot 8k. That’s mostly the big advantage.

@@RiceCubeTech Better dynamic range, more detail (not sharpness, detail), super35 mode that samples from 6k & slightly better colors when grading than a7siii.

okk, generally speaking pretty good, although there are now lighter and newer gimbals from Zhiyun and DJI that are even more convenient.

thank you

hahha, greatt.

thank you

It depends. If you want to spend another $3-4k getting the camera practical then sure, Komodo. But at the price point, Fx6 is it especially if you good enough to get the best image out of it (more pre-post skills)

thankssss

Hi Sun Tondo, the one I used was a Laowa 9mm zero distortion lens. It's S35 NOT FULL FRAME, but works great with Komodo and turns it into a cine level GoPro configuration.

🙏🙏🙏🙏✌️✌️✌️✌️✌️👏👏👏

you're right, the FX6 is superior in low light than the Komodo. Although I must say, once using these two cameras, the budget of the project should be high enough to get a proper lighting team.

You might be surprised how good the Komodo is in low light. A couple things to consider. Shooting in 6K for a 4K delivery lets you descale noise, which instantly cleans up a couple stops. Add to that, any noise you are left with looks...nice. Like film grain, not like that nasty blotchy chroma noise the Sony's have (yes, I own both REDs and Sonys).

I own a7siii which can also go upto 12800 with no noise then whats the purpose of fx6?

@@ayansinghhuh internal NDs, timecode, easier rigging, the color science and dynamic range is slightly better even though it’s the same sensor, built in xlr, shutter angle, etc. there’s lots of features the fx6 offers that a normal mirrorless can’t.

it feels plastic but is well built. It's also ok for narrative work. But like I mentioned at the end. I don't feel there is too much of a big difference between sony a7s3 image quality wise. Only handling wise more convenient.

@@marcelbrandel9078 Ok, thanks

Wow!

unfortunately i haven't found a good way around it yet, just have to constantly check one more time when changing lenses

hi Joaquin, I covered this in particular in a previous video. And in this case in comparison to FX6, def. the FX6's AF is way better. If you'd ask my experience with Komodo's AF. I'd say it's not usable for professional shoots. Only usable for quick simple work arounds.

Looks like a portkeys bm5

every camera has it's strength and weaknesses, most important is if it suits your shooting style, I personally prefer the FX6 over the eva1

@@marcelbrandel9078 ok how does eva1 shine compare to Sony fx6

Jon Pais: and sound? ND filers?

@@gerthenriksen8818 The Komodo has already been used on countless feature films, documentaries and streaming network shows, something no other camera at its price point can boast of, so it’s no problem.

@@JonPais Ok, thanks. Maybe not a problem on bigger productions or people with enough money.😀

@@gerthenriksen8818 Haha. True that. Even a cheap ND adapter and a handful of fixed drop-in ND filters can cost a mint.

@@JonPais "countless feature films" mostly as a crash cam, which is how it is intended. For context, even the original 1080p blackmagic pocket camera has been used in Marvel movies, as a crash cam. And Komodo technically has same dynamic range and slightly more on latitude than FX6 although, it isn't a huge difference. You can find Cined's lab tests on these. Interestingly, FX3 has more dynamic range than FX6 and Komodo but thats because of its internally applied noise reduction yuelding better signal go noise ratio but FX6 is more organic. For eye test though, FX6 and Konodo got same dynamic range. These two cameras were my exact setup although I swapped FX6 to A1 now.

Couldn’t afford the pay version of resolve w 4k output 😅

Lol. No.

@@parkercreative_au why do you say no?

Check your device. Sounds fine to me. Maybe music is a bit intrusive during the VO but nothing to whine about.