The expansion module has a standard BNC connector for timecode in. You don’t need the 110.00 TC cable. The TC cable is for if you don’t have the expansion module. It plugs in where the expansion module plugs in.
yes i agree, called me spoiled but the blackmagic makes me dislike picking up the camera. the body should be a box, that's why i will be picking up the komodo or c70 in the upcoming year
@@SuperfanzX especially after the recent update to Gen 5 color science. It's great they occasionally update thier older cameras. The 6k Pro would be a no brainer to recommend for anyone considering Blackmagic. I still use the regular 6k's. Really hope they downsize and refine future iterations vs getting bigger though. 6k is a nightmare to fly on a gimbal so I don't even bother
Yeah. It's "Possible" to record with just the brain, a lens, media, and a battery.. but i'd look like an idiot gripping the whole camera by the body and it would slow me down. So far, I'm in with the Body ($6000), Media ($1000), Card reader ($100), SDI transmitter ($650), 1x Cine-Lens (Sigma PCHood Cinematics conversion.. budget, but still $1650), V-mount battery adapter ($200) because I have 20 vmount batteries already (free..lol), RED Handle ($500), additional cheeseplates/cage/sidehandle/rod holder ($500).. This is just for my UA-cam videos.. and i'm in a controlled studio environment. I already have the SDI capable production monitor and thousands in audio equipment and tripods and motion control rigs.. and I'm in already about $11k just to hit record., not including tax or shipping. It's the most affordable red available, but that doesn't mean it's cheap. Totally agreed.
Those of you commenting that RED is being dishonest because the camera requires all these other things should realize that these most of these things would be a similar cost for ANY camera to be production ready, not just RED. All cameras need batteries, all cameras need media, most cameras need time code solutions, all cameras can/should be be rigged with handles and external monitors. Really, with the exception of ND’s and maybe audio (so what, about $1000), the cost of getting Komodo production ready is not too different than anything else in its price class.
Carlos Quintero I agree, which is actually a big reason I ordered Komodo as a B cam/gimbal cam to my Dragon. To be able to strip the thing down, throw it on a gimbal and just go for it with my phone on the side of the gimbal is super convenient...or as a one man show being able to monitor and control my B cam from across the room without having to rig it to the moon...yes.
Good points! Overall, I agree. One caveat though, true "bare bones" is one card, a reader, & a battery. You can actually do it for $6500, even less, especially if you shoot at LQ and think smart. Even cheaper, get a Solidpod (1TB of SSD storage for the same price as 1 card) and that doesn't even need a reader (comes with a USB port) The on-board "monitor" isn't suitable at all, sure - even for amateurs it will suck - but you can still use it. Plus, the EF adapter for free. Everyone has cheap EF glass. To be a true professional solution, you're right. $10,000 at the bare minimum. Unlike any other RED or Arri though, Komodo actually can be used, because it still has a monitor (a shitty one, sure, but a monitor nonetheless). Which makes it functional out of the box. You just need to make compromises about what you're willing to live with and what you can let go. And yeah, I can get a more professional camera out of the box, but none that have the power of R3D, or the innovation of a global shutter with 16 stops. Face it too, Red's probably gonna make other GS cameras / sensors, now that the cats out of the bag. No camera exists without compromise. With Komodo, the compromise is professional cosmetic usability, out of the box. But for the the filmmaker out there who absolutely will not compromise on image quality, cosmetics can take a back seat for a bit, until they can afford the nicer monitor, or the ND wheel, or the EVF, or the V-mount batteries. So much fuss gets made about that stuff. It matters, no doubt, but it really isn't everything. For image alone, its the best thing out there. By far.
Understanding rather than being passive about what hardware is worth and cost is what allow us to price our work out n a way that allow us to stay in business...
Solid video! My Komodo build cost me about 12-12.5k. That's the production package + v mount + bp955's + cage + monitor mount + Indie 7 Komodo control monitor + 3 extra 512gb cfast + Canon speedbooster. Definitely not a $6000 camera. Another thing to consider is the storage requirements you'll need. Costs never end lol
Myth bust: Netflix doesn't care what cinema camera you use. They absolutely don't. The only time the choice of camera matters is if you make a deal with Netflix to MAKE a movie/series. So spend that extra cinema camera money on making your project. Period.
Wow. This video really changed my mind about the Komodo. Honestly, my clients like that I’m quick on set with my camera rig. Looking to upgrade from eos r, looks like it’s gonna be the c70 or fx6
For the vast majority of work all you need is a few batteries, a few cards, and a lens or two.Bringing up a new camera in this day and age is going to cost more than a few thousand to get running properly I feel. My Ursa Mini 4.6K and c300 costed something similar in all honesty. I was reading the comments and one good point was the fact that you can by most stuff used for a great price. That’s why the Komodo is an attractive camera for its price and its specs. There is definitely a lot of contenders but the Komodo does offer a lot of versatility because it’s doesn’t need pieces all purchased from RED. Mine comes in next month and I got my Sigma 18-35 online for 600 CAD the batteries for 250 CAD for 4 (Wasabi) and two 512GB for 750 CAD from Kijiji. The small HD Focus was 500 CAD.The Tilta cage I got cost only 100 CAD or so. Didn’t bother me much. Not to bad at all. Great review just my input. The C70 just seemed to much for something that can’t even offer RAW. The global shutter and 16Bit Raw and 16 Stops of dynamic range was a great selling point especially with the form factor!
dude, not sure why people get so butt-hurt over videos like this. In my video I said, maybe you already have some of this stuff which would affect the numbers...but it doesn't mean you didn't buy the stuff. Also everything about supports for the build is missing out of my numbers. It is so stupid and a waste of time and effort to bicker about petty stuff. No one is spending my money, so go out and buy whatever you want. And if the used market is right for you then more power to you. I don't care and it honestly doesn't affect me either way.
@@carlosq00 You put out a review and people are going to give their feedback. It wasn’t anything offensive that I said it was just my point of you and honestly the way you responded was just pretty ridiculous. Never said anything to offend you just my input. Relax man. 🤦♂️
@@InceptiveDOP I’m going to agree to disagree with you about my comment back to you. Because if we are going to have a level playing field then I am also entitled to my own opinion and feelings. With that said, I do recognize that I was harsh in my tone and you were not responsible for what triggered my tone. Thanks for checking out the channel and your feedback as it adds value to the community. I’m human and make mistakes often that’s not an excuse but rather a sincere apology and hope we’re all good.
@@carlosq00 all good bro! And I do agree it’s in our nature and people on UA-cam really can push buttons sometimes! Love the content regardless man. Great stuff man!
Thank you for a great breakdown. One of the things I find interesting about your videos is that you are working with a variety within a relatively comparable price range. I am currently pricing out some camera's and I think you really hit the nail on the head on this one. For me what makes the Komodo worth consideration is the global shutter and ability to record to red to C fast and to get ProRes to an Atomos thru the SDI.
On bigger productions the sound department brings the tentacle syncs, then you would also not really need the beachtek XLR. Also ND adapters aren't really professional tools and ND iteself belongs more to the lens package, which is seperate from the camera imo. For netflix you would go more towards a v-mount setup with a break out box. Personally I would also add a shoulder setup to this list.
I was looking at that Komodo price and thinking ok, I can get that. Now I'm like, oh me, not so fast. Only if one has all of that other stuff already would it make sense. I'll be happy with the C70. Thank you very much Carlos. You saved me a ton of research. And a ton of hard earned cash. LOL
Great breakdown. A bit of the BareBones list was overboard for barebones..... honestly. Also it would’ve been great to see images of the items, even if you hadn’t purchased them and had them in studio physically.
Carlos: I got (naively) stung by this very process with the Blackmagic Pocket Cinema 4K... If I'd only thought more deeply about it before committing to it I'd have saved a bunch of money and 'pain. Live and learn, I guess. Great video. Happy New Year.
@@GorilieVR Yup so do I, but that was my point of my comment though. It's easier to grab native batteries and go with the flow then buying extra gear just to get it to run for longer periods of time.
Loved this video, and maybe start to a new series like this one. I recently started doing more research into monitors after my buddy got the overly hyped Osee or Swit 3k nit monitor. And at first it was fantastic until the brightness seemed to be too much to the point where the image itself was WAY off. So I did more research and found people saying that the true sweet spot is around 1k nits and some monitors like SmallHD maxing out at 2k nits while keeping a proper image without distorting colors. I did a search on your page for monitor videos and you have a bunch of reviews on monitors and it got me thinking if you could do a similar video like this one on monitors in general and what you look for and how important certain features are for you and what others should look for. You might have this already done but really loving the new angle you have. It is starting to get me to think that maybe fanboys were the ones that started "cancel culture". But I do find it disheartening when people cant have a constructive conversation and it ends up being fanboy talking points that have nothing to do with reality. Keep up the amazing content!
TRM, a comercial dealer here in France propose a package with accessories 10500 euros. Including monitor v-mount batteries etc. The normal rig we usually see in UA-cam. (without lenses, obvious).
Thank you for this informational video. Not sure why folks give so much shit when talking about actual running costs. Just batteries, a monitor, and media alone can set you back 2 grand for any cinema camera. I’m thinking about what camera I want to get in a year so this helps me budget things out. Have a good one Carlos. Stay safe.
Nice review, and you did not add wirelles video which is crucial and also the focus does not have an sdi output, so the monitor should be connected via wirelles transmitter or you would need different one.
it is expensive, but you get what you pay for. thats all things in life...if you do want to shoot an independent film, something for a straming service, or something high quality and you beleieve in yourself, the komodo is still the way to go if you can get it...How much cost effective is quality or to go a little bit cheaper. lets say you spend 15K total to set this up. because the image is so fantastic it will be worth it in the long run....other cameras may be cheaper, and give you great results in the short run, the Komodo will take you farther if you persevere. How much is a college degree? a lot more than a high school education. but years down the road which will pay off more? the competetion for anything (especially in the film/music video business is intense. people shoot themselves in the foot by going cheaper in the short run.
Only thing I would disagree with is audio and monitoring. Sound and ACa should have all of that. But yea if for some reason the DP wants to literally have all the gear then ok. But I don’t see that happening.
@@carlosq00 really best "step by step" reviews and explanations on the youtube. You are not skipping things like... yeah.. that should everybody know... (I asked the question on the previous video if you could anwer and it was: how does red camera "captures" environment for black shading with the sensor cap on?? with the cap on everything is black.. no matter if we are inside or outside, bright or dark environment right?
@@VirtuosityToniLekic yes that is right, and black shading is something that should be done every time the environment (temperature, location, day vs night and so on) as well as every time the ISO and Project Frame Rate changes.
@@carlosq00 yes, I understand, but I wanted to know how does camera "reads" darkness? because what is the difference between sensor beeing covered inside (pitch black) and outside. covered with cap is dark - no matter if inside or outside. hope you know what I mean 😄 sorry...
Great honest review. I’ve rigged $20,000 cameras into $100,000 machines without even putting a lens on it. More people that want to use this camera for their UA-cam channel need to realize this.
Yep... there’s no cheap way to get into the RED camera space. All cameras can always use operational enhancements. However RED, as you effectively point out Carlos, cost a “bit” more. Thanks for keep’n it real in terms of actual price of entry in ownership give or take. Very enlightening. If your ROI is real and relatively immediate, then price of buildout is of lesser concern.
didn’t you forget a lens? I’ll personally stick with my C70 it’s more than I need for what I do. If I was to use a RED I still get the same lens I love my RF Fujinon MK-R Cine Zoom
Liked your content ! Good information! A suggestion - I guess you've used noise cancellation in post (I may be wrong) and that eats up your voice little.
You are absolutely correct. I am so sick of companies like Red saying that the cost is only ???? for the brain. And then comparing it to other brands that are ready to film for that cost. It is comparable to saying that the cost of the hard drive is the cost of the RED. It is marketing BS and as a film community we should be pushing back on this intentionally misleading marketing. The "brain" is only a piece of a camera... it is not by any definition legal or otherwise a "camera" Buyer beware
No buyer beware. All cinema cameras involve a lot of added expense. The Komodo is not a piece of a camera, whatever that means. All you really need is media, batteries, a battery charger, a card reader, a lens and a monitor or smartphone - no different from any other cinema camera.
GREAT VIDEO, and it's exactly what I needed since I just paid for, but not yet received a Red Komodo. ... On the RED expansion module that you mentioned .... For the personal user, how important is that? ... Doesn't our software which we use for post, create a time-code of sorts for editing?
timecode only matters if you are recording audio externally and want it to match up perfectly and or if you are shooting with multiple cameras and need the different angles to line up.
@@carlosq00 Thank you for responding, and for your input. ... I actually bought (but not yet received) ... the SOUND-DEVICES MIXPRE-3 II ESSENTIAL KIT ... sorry for the cap's , I cut and pasted that. ... Anyway, I'm more of an audio file, and I own a great DAW (Studio One Pro) which I'm well versed in. ... So I guess I'll let you know if I will still will need the expansion module for a time code & precise audio synchronization. I think the price of the cable on that thing is more of a turn off than anything else .... I mean ... Is there a lifetime guarantee on that cable? It's soooo pricey for a piece of wire.
i really hate there is no go-to camera. komodo is overcharging for what you get (once you build out) but fx6 is 4k and not future proof. and I hate having to buy an external monitor to shoot RAW. so frustrting.
@07:00 rent the media cards... so you dont have to spend 2500.00, boom.....done.. BMPCC 6k is more cost friendly.. if you are shooting a Netflix show you will have a budget to rent all of this RED gear...
Related question; Does CirPol variable ND cut it for real productions? They doesn’t behave as a real ND, especially if the camera is moving. Increased color saturation of skies, exposure changes as camera moves, changes to how off-axis flares behaves etc. I wouldn’t be comfortable using them is exposure/color/saturation consistency is important. Or is this less of an issue when the ND is mounted behind the lens? Very academic question from my point as nothing I do needs to meet professional standards (I only need myself to be happy with my images), but I’m a bit curious if typical variable ND with their polarizing effects are considered “okay” in professional sets.
The canon variable ND doesn't exhibit the same issues and problems that the screw on filters struggle with and it pairs exceptionally well with Canon's lens lineup. I've seen it in use in professional environments in video and stills work since it was released.
@@carlosq00 do you know or have any strong ideas to why it works better? Is it being built differently than traditional variable-ND? (Like some electronic vari-NDs that are based on LCD darkening the ND instead of CirPol based effects) Or maybe just that having a CirPol based ND *behind* the lens reduce the visual artifacts somehow? (I guess the light is much more directed by the lens, so clearly having it behind and in front isn’t exactly the same thing)
@@carlosq00 for sure. I think the kid I was looking at was the - basic camera with a side handle -the tilta cage and handle - a couple of Cards -a couple of battery's - the control monitor from smallhd -and the kippertie nd filter.
@@carlosq00 True, but I’d say that counts toward the indie run n gun build where there’s typically less crew. One could argue that the indie/solo setup could be more expensive than a Komodo for crew work. Close enough I guess though.
Thanks for sharing I guess your friends before a camera they need to buy a calculator !! Somethings here I agree and orhers not so much but is good info. Also missing a cage, baseplate, rods. And that is just a start... Thanks again
A the end of the day... your dropping some serious coin. But Like Bill Zidis say's below... if it makes back the money on a regular basis, why the hell not. I bought a high speed winch (to fly people @ 24' per second) and I rent it out to stunt work all the time. If your connected in the industry to be able to rent it out or you can yourself, people get all creamy when you said Red or Arri.
I agree with you and that is exactly why I invest in gear. With that said, many people jump in before they understand the need for their services and who their competition is as well as what their current market can tolerate. It it truly was as easy as stepping in to BestBuy and picking up a camera and all the business came with it, the narrative of this video and whole conversation would be different.
How does the image compare to c500m2? I know you have both and just wondering. Also why get Komodo if c500m2 seems better in the specs in every way cept global shutter?
Totally different tools for different jobs. Specs are not the same or “better” just different. Ones is small remote controllable, global shutter and shoots R3D, the other is full size production camera with full frame rolling shutter sensor and XLRs, different codecs etc etc... how can you compare? Very different cameras for different applications obviously
@@stevensantacruz3826 I feel you but seems to me the c500m2 can shoot anything komodo can except global shutter stuff with a lot of motion ect.? What would you shoot with a komodo that c500 cannot? Just tryna decide myself which one to buy for my needs. I know all the images look different, I just sold my Arri Alexa XT plus. Im downgrading because I need something I can use as one person without a crew, take with me one a plane, shoot broll Anywhere.
they are two different tools that is true, if all we are going to compare is image quality you can't go wrong with either. Komodo allow you to work with less expensive rigging options because of it's size and the C500 Mark II makes shooting Solo or with a very small crew easy on set and in post production. It really is a toss up when it comes to what I would shoot with Komodo that I couldn't shoot it on the C500 Mark II.
@@carlosq00 if you already have some EF lenses and had to choose one or the other which one would you own? I can only afford one camera. Most people tellin me to get Komodo because of the superior R3D codec. Thanks for responding.
I've worked with Red files as a VFX artist. The workflow is a pain. Given what is needed to shoot with the Komodo with a bare bones budget, makes it even less attractive. Thankfully, there are so many choices out there to work with. Thanks for the breakdown. It's good to know what we can expect to deal with when considering a Red Komodo.
Hi Todd. I've heard that most vfx is in 2k becasue 4k video takes A LOT longer to render. So do you have to downscale for VFX or do you use the 6k files?
I’ve appreciated your videos in the past but this video is completely ridiculous. 1. Timecode for bare bones?? Lol 2. Canon variable ND mount adapter for bare bones? How about an $80 variable ND on the front of your lens? 3. You can rig a trigger handle for much cheaper than the outrigger handle. The Komodo is amazing and if you have ANY old gear like an old monitor, an old top handle, etc. it shouldn’t cost more than $7k to get going making some amazing indie work.
completely ridiculous? ok. Let's just say that I am not a bargain shopper when it comes to working on paid gigs where getting fired is not an option. reputation matters and I want to stay employed long term not one project and I'm done. I need and want to survive in this industry and spending money to make money isn't actually an expense if you can profit from it.
That doesn’t make any sense. What does your reputation have to do with not needing time code when shooting single cam and using a robust but less expensive handle?
haha not a warning, it's all good. Just want to help people see the actual value of their gear so that we can all make money instead of giving away our work and not charging accordingly for rentals.
I mean it really depends. You can go the CFAST to SSD route and save $500 while gaining an extra TB in storage. Sure maybe its not as reliable as CFAST, but its just using standard SSD's like RED has done in their RED mags for the past 10 years. An Atomos shinobi is perfectly adequate and easily $250 used. All the audio people I've worked with have their own timecode equipment and the RED ext port is pretty standard. I don't really see how the expensive handle is needed. The pricey ND adapter can be replaced with screw on filters. The wooden camera A box which gives you XLR's is fine for barebones audio, only $140 used. Just saying you can definitely have a ready to shoot kit for a lot cheaper and upgrade as needed. Depends on the gig, if its a high paying gig where you need that max efficiency then of course bling it out. However you can definitely do it on a lower budget if your work isn't paying as well.
The expansion module has a standard BNC connector for timecode in. You don’t need the 110.00 TC cable. The TC cable is for if you don’t have the expansion module. It plugs in where the expansion module plugs in.
I shoot 6k .braw with 2x BMPCC 6K's with 1TB SSDs. Hate Blackmagic ergonomics but damn value is hard to beat
yes i agree, called me spoiled but the blackmagic makes me dislike picking up the camera. the body should be a box, that's why i will be picking up the komodo or c70 in the upcoming year
Agreed. They need to make a boxy body for them
True dat. Ugly as sin but awesome bang for the buck. Color science is almost on par with the Komodo. And the file is easy to work with Resolve
@@SuperfanzX especially after the recent update to Gen 5 color science. It's great they occasionally update thier older cameras. The 6k Pro would be a no brainer to recommend for anyone considering Blackmagic. I still use the regular 6k's. Really hope they downsize and refine future iterations vs getting bigger though. 6k is a nightmare to fly on a gimbal so I don't even bother
@@GorilieVR would love to see stuff you shot on your channel 👍
I think people are missing the point wherein the cost of a ready to shoot package is cheaper than the cost of a DSMC2 brain.
Yeah. It's "Possible" to record with just the brain, a lens, media, and a battery.. but i'd look like an idiot gripping the whole camera by the body and it would slow me down. So far, I'm in with the Body ($6000), Media ($1000), Card reader ($100), SDI transmitter ($650), 1x Cine-Lens (Sigma PCHood Cinematics conversion.. budget, but still $1650), V-mount battery adapter ($200) because I have 20 vmount batteries already (free..lol), RED Handle ($500), additional cheeseplates/cage/sidehandle/rod holder ($500).. This is just for my UA-cam videos.. and i'm in a controlled studio environment. I already have the SDI capable production monitor and thousands in audio equipment and tripods and motion control rigs.. and I'm in already about $11k just to hit record., not including tax or shipping. It's the most affordable red available, but that doesn't mean it's cheap. Totally agreed.
This makes me wanna go with the C70 even more but why is the Komodo always in the back of my mind.
@@Jimfinites probably bc it's a RED and the image quality looks great haha
Those of you commenting that RED is being dishonest because the camera requires all these other things should realize that these most of these things would be a similar cost for ANY camera to be production ready, not just RED. All cameras need batteries, all cameras need media, most cameras need time code solutions, all cameras can/should be be rigged with handles and external monitors. Really, with the exception of ND’s and maybe audio (so what, about $1000), the cost of getting Komodo production ready is not too different than anything else in its price class.
There is a lot more to the story for sure!
I don’t want to spoil the rest of the series but talk about remote options 😉 no other camera can come close 🙌🏽
Carlos Quintero I agree, which is actually a big reason I ordered Komodo as a B cam/gimbal cam to my Dragon. To be able to strip the thing down, throw it on a gimbal and just go for it with my phone on the side of the gimbal is super convenient...or as a one man show being able to monitor and control my B cam from across the room without having to rig it to the moon...yes.
This video was eye opening. Totally made me love my c200 more.
Your c200 is perfect
@@maxmaxmaxgoon5602 for reals. Can’t fall into the camera hype. Just need to work on getting better with what I got.
@@luisochoa6177 check out my hack
@@luisochoa6177 It's not camera hype lol Komodo is better
Good points! Overall, I agree. One caveat though, true "bare bones" is one card, a reader, & a battery. You can actually do it for $6500, even less, especially if you shoot at LQ and think smart. Even cheaper, get a Solidpod (1TB of SSD storage for the same price as 1 card) and that doesn't even need a reader (comes with a USB port) The on-board "monitor" isn't suitable at all, sure - even for amateurs it will suck - but you can still use it. Plus, the EF adapter for free. Everyone has cheap EF glass.
To be a true professional solution, you're right. $10,000 at the bare minimum. Unlike any other RED or Arri though, Komodo actually can be used, because it still has a monitor (a shitty one, sure, but a monitor nonetheless). Which makes it functional out of the box. You just need to make compromises about what you're willing to live with and what you can let go. And yeah, I can get a more professional camera out of the box, but none that have the power of R3D, or the innovation of a global shutter with 16 stops. Face it too, Red's probably gonna make other GS cameras / sensors, now that the cats out of the bag.
No camera exists without compromise. With Komodo, the compromise is professional cosmetic usability, out of the box. But for the the filmmaker out there who absolutely will not compromise on image quality, cosmetics can take a back seat for a bit, until they can afford the nicer monitor, or the ND wheel, or the EVF, or the V-mount batteries. So much fuss gets made about that stuff. It matters, no doubt, but it really isn't everything. For image alone, its the best thing out there. By far.
Understanding rather than being passive about what hardware is worth and cost is what allow us to price our work out n a way that allow us to stay in business...
Thank you, informative and eye opening. I need to start looking at all systems this way.
Exactly! And I think you were very careful with the full production kit.
Great one! I think you are so right about memory. Backing up for real and transferring on a shoot is so critical. Having those extra few cards is key.
Solid video! My Komodo build cost me about 12-12.5k. That's the production package + v mount + bp955's + cage + monitor mount + Indie 7 Komodo control monitor + 3 extra 512gb cfast + Canon speedbooster. Definitely not a $6000 camera. Another thing to consider is the storage requirements you'll need. Costs never end lol
what are you using the canon speed booster for? and what is your preferred VND?
@@adamwagner1844 Extra stop of light is handy, especially on a light-hungry camera + EF full frame glass. Freewell VND is a decent budget option
Myth bust: Netflix doesn't care what cinema camera you use. They absolutely don't. The only time the choice of camera matters is if you make a deal with Netflix to MAKE a movie/series. So spend that extra cinema camera money on making your project. Period.
You really Helped me bro!! Yu have No idea how!!! Thanks!!!
Glad to hear it!
Wow. This video really changed my mind about the Komodo. Honestly, my clients like that I’m quick on set with my camera rig. Looking to upgrade from eos r, looks like it’s gonna be the c70 or fx6
Glad it was helpful!
For the vast majority of work all you need is a few batteries, a few cards, and a lens or two.Bringing up a new camera in this day and age is going to cost more than a few thousand to get running properly I feel. My Ursa Mini 4.6K and c300 costed something similar in all honesty.
I was reading the comments and one good point was the fact that you can by most stuff used for a great price.
That’s why the Komodo is an attractive camera for its price and its specs. There is definitely a lot of contenders but the Komodo does offer a lot of versatility because it’s doesn’t need pieces all purchased from RED.
Mine comes in next month and I got my Sigma 18-35 online for 600 CAD the batteries for 250 CAD for 4 (Wasabi) and two 512GB for 750 CAD from Kijiji.
The small HD Focus was 500 CAD.The Tilta cage I got cost only 100 CAD or so. Didn’t bother me much. Not to bad at all.
Great review just my input.
The C70 just seemed to much for something that can’t even offer RAW. The global shutter and 16Bit Raw and 16 Stops of dynamic range was a great selling point especially with the form factor!
dude, not sure why people get so butt-hurt over videos like this. In my video I said, maybe you already have some of this stuff which would affect the numbers...but it doesn't mean you didn't buy the stuff. Also everything about supports for the build is missing out of my numbers. It is so stupid and a waste of time and effort to bicker about petty stuff. No one is spending my money, so go out and buy whatever you want. And if the used market is right for you then more power to you. I don't care and it honestly doesn't affect me either way.
@@carlosq00 You put out a review and people are going to give their feedback. It wasn’t anything offensive that I said it was just my point of you and honestly the way you responded was just pretty ridiculous.
Never said anything to offend you just my input. Relax man. 🤦♂️
@@InceptiveDOP I’m going to agree to disagree with you about my comment back to you. Because if we are going to have a level playing field then I am also entitled to my own opinion and feelings. With that said, I do recognize that I was harsh in my tone and you were not responsible for what triggered my tone. Thanks for checking out the channel and your feedback as it adds value to the community. I’m human and make mistakes often that’s not an excuse but rather a sincere apology and hope we’re all good.
@@carlosq00 all good bro! And I do agree it’s in our nature and people on UA-cam really can push buttons sometimes!
Love the content regardless man. Great stuff man!
Great Video Carlos! Very helpful in making my decision for my next purchase
I only need a lens, a card, a monitor and a battery lol
sweet
Thank you for a great breakdown. One of the things I find interesting about your videos is that you are working with a variety within a relatively comparable price range. I am currently pricing out some camera's and I think you really hit the nail on the head on this one. For me what makes the Komodo worth consideration is the global shutter and ability to record to red to C fast and to get ProRes to an Atomos thru the SDI.
Agreed
Thank you this save me from a lot of headache greatly appreciate this 💯
Glad it helped
On bigger productions the sound department brings the tentacle syncs, then you would also not really need the beachtek XLR. Also ND adapters aren't really professional tools and ND iteself belongs more to the lens package, which is seperate from the camera imo. For netflix you would go more towards a v-mount setup with a break out box. Personally I would also add a shoulder setup to this list.
You are a legend analistçyou tell all the reals about products...Thanks dear CARLOS
I was looking at that Komodo price and thinking ok, I can get that. Now I'm like, oh me, not so fast. Only if one has all of that other stuff already would it make sense. I'll be happy with the C70. Thank you very much Carlos. You saved me a ton of research. And a ton of hard earned cash. LOL
Yeah, I'm going with the C70, lol
Kinda where my head is too lol.
But, but it’s a RED and I need RAW for my talking head shots!
Yup c70 it is bruh!
I just got an fx6 and was having an existential crisis debating selling it for a Komodo. But this brought me back to earth.
Waiting for mine to arrive 😭 no word on when that’s gonna happen now.
Great breakdown.
A bit of the BareBones list was overboard for barebones..... honestly.
Also it would’ve been great to see images of the items, even if you hadn’t purchased them and had them in studio physically.
Carlos: I got (naively) stung by this very process with the Blackmagic Pocket Cinema 4K... If I'd only thought more deeply about it before committing to it I'd have saved a bunch of money and 'pain. Live and learn, I guess. Great video. Happy New Year.
At least with this camera the native batteries allow the camera to run over an hour....LOL pk4 RIP
@@Dubi00 i use vmount/dtap batteries with BMPCC 6K's and film all day. I originally used probably 40 internal batteries lol
@@GorilieVR Yup so do I, but that was my point of my comment though. It's easier to grab native batteries and go with the flow then buying extra gear just to get it to run for longer periods of time.
Loved this video, and maybe start to a new series like this one. I recently started doing more research into monitors after my buddy got the overly hyped Osee or Swit 3k nit monitor. And at first it was fantastic until the brightness seemed to be too much to the point where the image itself was WAY off. So I did more research and found people saying that the true sweet spot is around 1k nits and some monitors like SmallHD maxing out at 2k nits while keeping a proper image without distorting colors. I did a search on your page for monitor videos and you have a bunch of reviews on monitors and it got me thinking if you could do a similar video like this one on monitors in general and what you look for and how important certain features are for you and what others should look for. You might have this already done but really loving the new angle you have. It is starting to get me to think that maybe fanboys were the ones that started "cancel culture". But I do find it disheartening when people cant have a constructive conversation and it ends up being fanboy talking points that have nothing to do with reality. Keep up the amazing content!
Second camera angle was on point in this video... Information was top notch as always
Glad you liked it!
Can you do this same video for c70 PLEASE! That would be awesome
will work on it
Price is irrelevant if it makes money back constantly.
True. If your purchase doesn't pay for itself, then it's just a toy. A liability actually. haha
Hey Bill
100%
I’m thanking about buying this today my brother
it is a very nice camera, no doubt, quirks and all
TRM, a comercial dealer here in France propose a package with accessories 10500 euros. Including monitor v-mount batteries etc. The normal rig we usually see in UA-cam. (without lenses, obvious).
Just to compare...
Thank you for this informational video. Not sure why folks give so much shit when talking about actual running costs. Just batteries, a monitor, and media alone can set you back 2 grand for any cinema camera. I’m thinking about what camera I want to get in a year so this helps me budget things out. Have a good one Carlos. Stay safe.
media and batteries can't shoot without them and add up cost in a hurry
Nice review, and you did not add wirelles video which is crucial and also the focus does not have an sdi output, so the monitor should be connected via wirelles transmitter or you would need different one.
Yes, you are right
Great info!
Thanks for watching!
it is expensive, but you get what you pay for. thats all things in life...if you do want to shoot an independent film, something for a straming service, or something high quality and you beleieve in yourself, the komodo is still the way to go if you can get it...How much cost effective is quality or to go a little bit cheaper. lets say you spend 15K total to set this up. because the image is so fantastic it will be worth it in the long run....other cameras may be cheaper, and give you great results in the short run, the Komodo will take you farther if you persevere. How much is a college degree? a lot more than a high school education. but years down the road which will pay off more? the competetion for anything (especially in the film/music video business is intense. people shoot themselves in the foot by going cheaper in the short run.
Only thing I would disagree with is audio and monitoring. Sound and ACa should have all of that. But yea if for some reason the DP wants to literally have all the gear then ok. But I don’t see that happening.
great video Carlos!
Thanks for the visit
@@carlosq00
really best "step by step" reviews and explanations on the youtube.
You are not skipping things like... yeah.. that should everybody know...
(I asked the question on the previous video if you could anwer and it was: how does red camera "captures" environment for black shading with the sensor cap on??
with the cap on everything is black.. no matter if we are inside or outside, bright or dark environment right?
@@VirtuosityToniLekic yes that is right, and black shading is something that should be done every time the environment (temperature, location, day vs night and so on) as well as every time the ISO and Project Frame Rate changes.
@@carlosq00 yes, I understand,
but I wanted to know how does camera "reads" darkness?
because what is the difference between sensor beeing covered inside (pitch black) and outside.
covered with cap is dark - no matter if inside or outside.
hope you know what I mean 😄
sorry...
They could’ve used SSD recording or the data is heavy for that?
Great honest review. I’ve rigged $20,000 cameras into $100,000 machines without even putting a lens on it. More people that want to use this camera for their UA-cam channel need to realize this.
Doesn’t the canon variable ND adapter come with the red Komodo itself????
no it doesn't
Yep... there’s no cheap way to get into the RED camera space. All cameras can always use operational enhancements. However RED, as you effectively point out Carlos, cost a “bit” more. Thanks for keep’n it real in terms of actual price of entry in ownership give or take. Very enlightening. If your ROI is real and relatively immediate, then price of buildout is of lesser concern.
Great video. Lots to think about in my brain before investing in this brain. :)
Glad it was helpful!
didn’t you forget a lens? I’ll personally stick with my C70 it’s more than I need for what I do. If I was to use a RED I still get the same lens I love my RF Fujinon MK-R Cine Zoom
i know and yet you look at the comments and so many people think my math is way off... haha
Liked your content ! Good information! A suggestion - I guess you've used noise cancellation in post (I may be wrong) and that eats up your voice little.
that and allergies stresses out my voice which sounds worse as the day passes. haha
You are absolutely correct. I am so sick of companies like Red saying that the cost is only ???? for the brain. And then comparing it to other brands that are ready to film for that cost. It is comparable to saying that the cost of the hard drive is the cost of the RED. It is marketing BS and as a film community we should be pushing back on this intentionally misleading marketing. The "brain" is only a piece of a camera... it is not by any definition legal or otherwise a "camera" Buyer beware
No buyer beware. All cinema cameras involve a lot of added expense. The Komodo is not a piece of a camera, whatever that means. All you really need is media, batteries, a battery charger, a card reader, a lens and a monitor or smartphone - no different from any other cinema camera.
GREAT VIDEO, and it's exactly what I needed since I just paid for, but not yet received a Red Komodo. ... On the RED expansion module that you mentioned .... For the personal user, how important is that? ... Doesn't our software which we use for post, create a time-code of sorts for editing?
timecode only matters if you are recording audio externally and want it to match up perfectly and or if you are shooting with multiple cameras and need the different angles to line up.
@@carlosq00 Thank you for responding, and for your input. ... I actually bought (but not yet received) ... the SOUND-DEVICES MIXPRE-3 II ESSENTIAL KIT ... sorry for the cap's , I cut and pasted that. ... Anyway, I'm more of an audio file, and I own a great DAW (Studio One Pro) which I'm well versed in. ... So I guess I'll let you know if I will still will need the expansion module for a time code & precise audio synchronization. I think the price of the cable on that thing is more of a turn off than anything else .... I mean ... Is there a lifetime guarantee on that cable? It's soooo pricey for a piece of wire.
@@josephsardone8971 you’re better off with the SoundDevices 💯🤙🏽
What tyoe of wireless follow focus sytem is the best for the Komodo?
this is what I'm using ua-cam.com/video/ykcN_KaC5r8/v-deo.html
i really hate there is no go-to camera. komodo is overcharging for what you get (once you build out) but fx6 is 4k and not future proof. and I hate having to buy an external monitor to shoot RAW. so frustrting.
lens ?
probably the Canon 35mm CN-E if I remember correctly.
@07:00 rent the media cards... so you dont have to spend 2500.00, boom.....done.. BMPCC 6k is more cost friendly.. if you are shooting a Netflix show you will have a budget to rent all of this RED gear...
With those requirements I wouldn’t get the Komodo, but it seems a lovely camera for indie efforts where you don’t have those requirements! :-)
Totally agree
Related question; Does CirPol variable ND cut it for real productions? They doesn’t behave as a real ND, especially if the camera is moving. Increased color saturation of skies, exposure changes as camera moves, changes to how off-axis flares behaves etc. I wouldn’t be comfortable using them is exposure/color/saturation consistency is important. Or is this less of an issue when the ND is mounted behind the lens? Very academic question from my point as nothing I do needs to meet professional standards (I only need myself to be happy with my images), but I’m a bit curious if typical variable ND with their polarizing effects are considered “okay” in professional sets.
Great question that I would also like to know the answer to!
The canon variable ND doesn't exhibit the same issues and problems that the screw on filters struggle with and it pairs exceptionally well with Canon's lens lineup. I've seen it in use in professional environments in video and stills work since it was released.
@@carlosq00 do you know or have any strong ideas to why it works better?
Is it being built differently than traditional variable-ND? (Like some electronic vari-NDs that are based on LCD darkening the ND instead of CirPol based effects)
Or maybe just that having a CirPol based ND *behind* the lens reduce the visual artifacts somehow? (I guess the light is much more directed by the lens, so clearly having it behind and in front isn’t exactly the same thing)
Do one of these videos for Komodo X please
Meh…Blackmagic URSA Mini G2 or BMPCC6K
BRAW changed so much. I watch DPs just guess what is what.
Get a RED if ur contracted to.
So you're saying... I'm broke..
my hope was to show that this is not a 6K camera...it's awesome never the less just not a ready to shoot package for the price as advertised.
was looking at it last night.. needed about 23k AUD for a usable A cam set up, haha I saw that and I was upset haha
having bits and pieces from pervious cameras helps some but it is definitely not a $6K camera
@@carlosq00 for sure.
I think the kid I was looking at was the
- basic camera with a side handle
-the tilta cage and handle
- a couple of Cards
-a couple of battery's
- the control monitor from smallhd
-and the kippertie nd filter.
If you’re on a production with a DIT - you’d almost certainly have a sound engineer. I don’t think the XLR input is necessary.
Interestingly enough, a year of COVID changed a lot of things including number of people on set at any one time, at least for me it did.
@@carlosq00 True, but I’d say that counts toward the indie run n gun build where there’s typically less crew. One could argue that the indie/solo setup could be more expensive than a Komodo for crew work. Close enough I guess though.
Hmmm... I think I will keep my GoPro for now 😆
I have a love hate relationship with my GoPro
NP-F batteries?
For the monitor
Thanks for sharing
I guess your friends before a camera they need to buy a calculator !!
Somethings here I agree and orhers not so much but is good info.
Also missing a cage, baseplate, rods.
And that is just a start...
Thanks again
unfortunately there isn't a single formula that would address every single person who has or wants this camera.
A the end of the day... your dropping some serious coin. But Like Bill Zidis say's below... if it makes back the money on a regular basis, why the hell not. I bought a high speed winch (to fly people @ 24' per second) and I rent it out to stunt work all the time. If your connected in the industry to be able to rent it out or you can yourself, people get all creamy when you said Red or Arri.
I agree with you and that is exactly why I invest in gear. With that said, many people jump in before they understand the need for their services and who their competition is as well as what their current market can tolerate. It it truly was as easy as stepping in to BestBuy and picking up a camera and all the business came with it, the narrative of this video and whole conversation would be different.
Add 400 for a decent mic.
yep
Before I watch the video I'm gonna say 10k for a basic rig and storage.
Great guess
And he didn’t even mention lenses
Facts…lenses blow up budgets
what audio solution were you mentioning for the 32 bit float? I am pretty new to audio stuff
Mixpre-3 version II (2)
what KP media said the Sound Devices MixPre version II recorders are terrific
How does the image compare to c500m2? I know you have both and just wondering. Also why get Komodo if c500m2 seems better in the specs in every way cept global shutter?
Totally different tools for different jobs. Specs are not the same or “better” just different. Ones is small remote controllable, global shutter and shoots R3D, the other is full size production camera with full frame rolling shutter sensor and XLRs, different codecs etc etc... how can you compare? Very different cameras for different applications obviously
@@stevensantacruz3826 I feel you but seems to me the c500m2 can shoot anything komodo can except global shutter stuff with a lot of motion ect.? What would you shoot with a komodo that c500 cannot? Just tryna decide myself which one to buy for my needs. I know all the images look different, I just sold my Arri Alexa XT plus. Im downgrading because I need something I can use as one person without a crew, take with me one a plane, shoot broll
Anywhere.
they are two different tools that is true, if all we are going to compare is image quality you can't go wrong with either. Komodo allow you to work with less expensive rigging options because of it's size and the C500 Mark II makes shooting Solo or with a very small crew easy on set and in post production. It really is a toss up when it comes to what I would shoot with Komodo that I couldn't shoot it on the C500 Mark II.
@@carlosq00 if you already have some EF lenses and had to choose one or the other which one would you own? I can only afford one camera. Most people tellin me to get Komodo because of the superior R3D codec. Thanks for responding.
7100 dollars or euros, not under 6000 laders or dollars, 2024
I've worked with Red files as a VFX artist. The workflow is a pain. Given what is needed to shoot with the Komodo with a bare bones budget, makes it even less attractive. Thankfully, there are so many choices out there to work with. Thanks for the breakdown. It's good to know what we can expect to deal with when considering a Red Komodo.
Though it is capable of recording pro res for a pro res workflow.
Hi Todd. I've heard that most vfx is in 2k becasue 4k video takes A LOT longer to render. So do you have to downscale for VFX or do you use the 6k files?
I’ve appreciated your videos in the past but this video is completely ridiculous.
1. Timecode for bare bones?? Lol
2. Canon variable ND mount adapter for bare bones? How about an $80 variable ND on the front of your lens?
3. You can rig a trigger handle for much cheaper than the outrigger handle.
The Komodo is amazing and if you have ANY old gear like an old monitor, an old top handle, etc. it shouldn’t cost more than $7k to get going making some amazing indie work.
completely ridiculous? ok. Let's just say that I am not a bargain shopper when it comes to working on paid gigs where getting fired is not an option. reputation matters and I want to stay employed long term not one project and I'm done. I need and want to survive in this industry and spending money to make money isn't actually an expense if you can profit from it.
That doesn’t make any sense. What does your reputation have to do with not needing time code when shooting single cam and using a robust but less expensive handle?
How does a 6k brain not have time code?
DSMC2 also only has runtime timecode so to use it properly with other cameras you need something like a Tentacle Sync.
$110 for a copper cable. Yeah, ok.
I didn’t set the price check the RED website
Highly Informative lol (We've been warned).
haha not a warning, it's all good. Just want to help people see the actual value of their gear so that we can all make money instead of giving away our work and not charging accordingly for rentals.
How to have smooth voice like yours
haha nodules in my vocal cords I guess haha
@@carlosq00 😂
@@carlosq00 😄
for a laugh turn captions on, auto translates from japanese
I'll have to try that
I mean it really depends. You can go the CFAST to SSD route and save $500 while gaining an extra TB in storage. Sure maybe its not as reliable as CFAST, but its just using standard SSD's like RED has done in their RED mags for the past 10 years.
An Atomos shinobi is perfectly adequate and easily $250 used. All the audio people I've worked with have their own timecode equipment and the RED ext port is pretty standard.
I don't really see how the expensive handle is needed. The pricey ND adapter can be replaced with screw on filters. The wooden camera A box which gives you XLR's is fine for barebones audio, only $140 used.
Just saying you can definitely have a ready to shoot kit for a lot cheaper and upgrade as needed. Depends on the gig, if its a high paying gig where you need that max efficiency then of course bling it out. However you can definitely do it on a lower budget if your work isn't paying as well.
To clarify if you are trying to match something like the C70 in terms of ease of use you'll need to spend more.
For a run and gun camera with Raw capability better to buy a Canon C300mk3 or a Sony fx6 + Atomos?
that the prob with fx6, nobody wants to buy an external recorder for raw. plus there are so bulky smh