Great little video, I have both - my favorite camera combo I’ve ever tried. The FX3 comes in and covers all of the Komodo’s weaknesses - and the Komodo is just a joy to use, it gets me excited to go out and film
For sure, thats exactly how I feel. I wanted to do more narrative stuff so I swapped for the Komodo to get into the RAW workflow but I think as far as great cameras go they are both awesome just depends on what you need. Will hopefully own another FX3 sometime soon.
I would say go for it! A reason that I don't own the fx6 is just the supply issues Sony was having. I am sure I can get one now, but a reason for moving to Red sooner rather than later was just that I couldn't get my hands on an fx6. They seem to really thrive where the other camera lacks. I think having both really could sure up any potential issues you may have with the other (RAW vs Autofucs, internal ND vs Not). @@Fortytwoflat
Absolutely. I’m thinking the same. The Komodo x looks really fun and clean, and inspiring. And also. The v raptor, is literally one of the best cameras ever created. I literally spent the whole day trying to justify the v raptor.
I know. I did as well; the reason for the Komodo first was because I know one day I will have the Vraptor and figured it would be easier to start getting used to the red workflow now. Get great results from the e Komodo, and the Vraptor will just be icing on the cake regarding quality.@@Fortytwoflat
Thanks Cody. You've got a good energy and vibe, too. I am getting the Komodo X in and I have the Sigma 24-70 so I'm looking forward to using it. I feel like the Red image that I've seen generally has more mojo than in Sony but you did a good job of matching them and making them look the same.
That’s awesome! Yeah, I bought the Komodo right before the X was kind of rumored. Don’t regret it but I would love to get an X soon. That said, I totally agree. I think you can push the red harder. I think if you pushed both to their limits in their strengths you would see that all things being equal you can probably get more out of the red. But, the Sony is a lowlight beast. That’s the only piece of these two cameras that make it interesting to me. I wouldn’t be brave enough to attempt a wedding on the Komodo not knowing what light might be coming my way. That said, I agree and for that same reason I made the switch to red. Thanks Mike🤘🏻
I love my Komodo, but it’s a journey to get it through resolve and uploaded 😂 I have been on the fence about adding a fx3 or Ronin 4d I would like auto focus for once. Setting up RS3 & LiDAR is just more time. For films? Komodo all day. For quick content? Not so much
I totally understand. I actually bought a c70 just for quick content. The fx3 in this video was one a sold but had back on loan - only after did I realize I needed a second “less quality” but “more versatile” camera for stuff like this.
Hey Cody! Great video. I'm curious on your workflow on how you were able to match both cameras in post. I currently own a Komodo and an FX30 and I'm planning to use them together on future projects soon.
Hey, thanks! So it’s going to be a bit of a long answer but hope this makes sense. I do all of this in davinci for reference. So on the color page I start with a color space transform node and go to davinci wide gamma and then end the tree with a color transform to rec709 gamma 2.4. Then I actually graded both at the same time, I was afraid if I pushed the red too hard I wouldn’t be able to get the Sony to match. The second node I did a basic rec 709 conversion on both cameras, third node was the “grade” and the forth to the end was the power windows and such to get the pieces I couldn’t make match in the base grade. Hope that helps. Something I played with that worked pretty well but didn’t do for this video that is totally like “incorrect” was using a color, space transform node on the red, converting it from red log10 to Sony S log3. When I did that I was able to stick the same Sony LUT on both the Sony and the red and it got pretty close. It wasn’t perfect but if you don’t mind grading after the LUT you could get it to match. Again it’s incorrect but in a bind it works pretty well.
lets just stop debating about it, the time to film and stop dicking around with gear has come, write your script, your show, or production, cast and deliver, no excuses. Our great grandfathers filmed out of a wooden box with a cardboard mattebox and still made dope shit. lets go people, get off your ass.
For real I totally understand. The stuff I've been leaning into recently is storytelling and story boarding. The thing that makes or breaks my videos recently is, is it compelling (in regards to story) and does it appear to be planned out. When I filmed this it was really yo test how close you could get it with a simple workflow. I think with today's tech you could film on anything and get great results if you lean into the other things that make a video great, I.e. Story. 🤘🏻
We used the BaseCamp system from Polar Pro. We had their basic ND filter in there when needed and then there 1/4 Mist that goes in that system. www.polarpro.com/products/mist-filter-basecamp Its a awesome system if you are needing anything crazy, and I think the mist that Polar Pro puts out is basic enough to not be too much.
For sure! The more I use the red the more I miss the color that just comes out of the Sony. That said, 6k with a bunch of room to stretch the image is awesome if you’re willing to fight the image long enough haha Thanks for your thought!
@@PeacefulMoments1844 a bit, I don’t remember the exact amount off the top of my head. On the highest quality least compression was like 90mins or so, but if you go like to one of the higher compression rate and “less” quality you gain a ton of record time. I only use the highest quality because I have enough card space for most things. That said, if you can get 1 or 2 1tb cards you’ll have enough space for most recording sessions.
For sure. I have shot RAW with the ninja in the past and it is great. The only downside I ran into is that the Sony internal noise reduction does not happen on the HDMI port. Not a huge deal if you are filming that same way you would with the red and shooting at a low ISO but when I did it the first time I filmed Sony ProRes RAW at iso 1,200 and the image was very noisy - first time shooting error but once you know its an easy work around.
Great little video,
I have both - my favorite camera combo I’ve ever tried. The FX3 comes in and covers all of the Komodo’s weaknesses - and the Komodo is just a joy to use, it gets me excited to go out and film
For sure, thats exactly how I feel. I wanted to do more narrative stuff so I swapped for the Komodo to get into the RAW workflow but I think as far as great cameras go they are both awesome just depends on what you need. Will hopefully own another FX3 sometime soon.
I have the fx6, and it’s amazing. With its frustrations and strengths.
And I’m considering adding a red.
I would say go for it! A reason that I don't own the fx6 is just the supply issues Sony was having. I am sure I can get one now, but a reason for moving to Red sooner rather than later was just that I couldn't get my hands on an fx6. They seem to really thrive where the other camera lacks. I think having both really could sure up any potential issues you may have with the other (RAW vs Autofucs, internal ND vs Not). @@Fortytwoflat
Absolutely. I’m thinking the same.
The Komodo x looks really fun and clean, and inspiring. And also. The v raptor, is literally one of the best cameras ever created.
I literally spent the whole day trying to justify the v raptor.
I know. I did as well; the reason for the Komodo first was because I know one day I will have the Vraptor and figured it would be easier to start getting used to the red workflow now. Get great results from the
e Komodo, and the Vraptor will just be icing on the cake regarding quality.@@Fortytwoflat
Great video. 2 strong points for the Sony - Run And Gun. And Red K for Narrative. I’d like them both for those specific projects. 🎥🎥😎
For sure! The more I use the Komodo I love the raw. But I do miss how easy it is to make the sony look good right out of the box.
Thanks Cody. You've got a good energy and vibe, too. I am getting the Komodo X in and I have the Sigma 24-70 so I'm looking forward to using it. I feel like the Red image that I've seen generally has more mojo than in Sony but you did a good job of matching them and making them look the same.
That’s awesome! Yeah, I bought the Komodo right before the X was kind of rumored. Don’t regret it but I would love to get an X soon.
That said, I totally agree. I think you can push the red harder. I think if you pushed both to their limits in their strengths you would see that all things being equal you can probably get more out of the red. But, the Sony is a lowlight beast. That’s the only piece of these two cameras that make it interesting to me. I wouldn’t be brave enough to attempt a wedding on the Komodo not knowing what light might be coming my way. That said, I agree and for that same reason I made the switch to red. Thanks Mike🤘🏻
I love my Komodo, but it’s a journey to get it through resolve and uploaded 😂 I have been on the fence about adding a fx3 or Ronin 4d
I would like auto focus for once.
Setting up RS3 & LiDAR is just more time.
For films? Komodo all day. For quick content? Not so much
I totally understand. I actually bought a c70 just for quick content. The fx3 in this video was one a sold but had back on loan - only after did I realize I needed a second “less quality” but “more versatile” camera for stuff like this.
Hey Cody! Great video. I'm curious on your workflow on how you were able to match both cameras in post. I currently own a Komodo and an FX30 and I'm planning to use them together on future projects soon.
Hey, thanks! So it’s going to be a bit of a long answer but hope this makes sense.
I do all of this in davinci for reference. So on the color page I start with a color space transform node and go to davinci wide gamma and then end the tree with a color transform to rec709 gamma 2.4. Then I actually graded both at the same time, I was afraid if I pushed the red too hard I wouldn’t be able to get the Sony to match. The second node I did a basic rec 709 conversion on both cameras, third node was the “grade” and the forth to the end was the power windows and such to get the pieces I couldn’t make match in the base grade. Hope that helps.
Something I played with that worked pretty well but didn’t do for this video that is totally like “incorrect” was using a color, space transform node on the red, converting it from red log10 to Sony S log3. When I did that I was able to stick the same Sony LUT on both the Sony and the red and it got pretty close. It wasn’t perfect but if you don’t mind grading after the LUT you could get it to match. Again it’s incorrect but in a bind it works pretty well.
@@codywisenbaker Thanks man! Appreciate this, i'll give this a try!
lets just stop debating about it, the time to film and stop dicking around with gear has come, write your script, your show, or production, cast and deliver, no excuses. Our great grandfathers filmed out of a wooden box with a cardboard mattebox and still made dope shit. lets go people, get off your ass.
For real I totally understand. The stuff I've been leaning into recently is storytelling and story boarding. The thing that makes or breaks my videos recently is, is it compelling (in regards to story) and does it appear to be planned out.
When I filmed this it was really yo test how close you could get it with a simple workflow. I think with today's tech you could film on anything and get great results if you lean into the other things that make a video great, I.e. Story. 🤘🏻
Nice video thank you
Appreciate you watching it! You have either of these cameras?
What lens filter was used for the last jack piner ?
We used the BaseCamp system from Polar Pro. We had their basic ND filter in there when needed and then there 1/4 Mist that goes in that system. www.polarpro.com/products/mist-filter-basecamp
Its a awesome system if you are needing anything crazy, and I think the mist that Polar Pro puts out is basic enough to not be too much.
Red looks better!
Love the vid. I run a komodoX and my partner has an fx3 and fx6 and we were wondering if we could color match. Thanks again.
For sure! Glad you light it. If you expose the images right it’s super easy to match. Good luck!
Good video. Thanks.
Sony color looks better but Komodo has more detail idk
For sure! The more I use the red the more I miss the color that just comes out of the Sony. That said, 6k with a bunch of room to stretch the image is awesome if you’re willing to fight the image long enough haha
Thanks for your thought!
How much recording time do you get an a one terabyte card? -on the Komodo
@@PeacefulMoments1844 a bit, I don’t remember the exact amount off the top of my head. On the highest quality least compression was like 90mins or so, but if you go like to one of the higher compression rate and “less” quality you gain a ton of record time. I only use the highest quality because I have enough card space for most things. That said, if you can get 1 or 2 1tb cards you’ll have enough space for most recording sessions.
this video is morethen Mercedes VS lamborghini
Sony FX3 shoots RAW with a NInJA V so just go with a Sony.
For sure. I have shot RAW with the ninja in the past and it is great. The only downside I ran into is that the Sony internal noise reduction does not happen on the HDMI port. Not a huge deal if you are filming that same way you would with the red and shooting at a low ISO but when I did it the first time I filmed Sony ProRes RAW at iso 1,200 and the image was very noisy - first time shooting error but once you know its an easy work around.