🎨 I Color Graded this footage with FilmConvert. Get 10% off FilmConvert Nitrate with code JOE10 when you click this link: www.filmconvert.com/purchase/?promoCode=JOE10
Maybe it's me, but what I like about the RED Komodo, Pocket 4K and 6K (even more than the P4K), is this the way the noise in the footage adds texture. It's pleasing. Sony and Canon are very clean. It's a nice look, but it has that hybrid clarity versus film grain. Thanks for making this video and sharing your talents.
@@conner_productions Yeah. I don't shoot anything outside of 400 and 1250. Those have the best image and use 100% of the color space of the sensor. I think Gerald Undone did a video on how ISO affects color reproduction. The noise on the 4K is just unacceptable, especially if you're using a focal reducer. It just enhances it outside of the 400 and 1250 ISO settings.
I've shot with both and I think the build quality of the Komodo is far better than the Pocket 6K Pro. I also think that the Komodo is just a simply superior camera in many ways. That's not saying the P6K Pro is a "bad camera", it's just not in the same class as the Komodo is. I do like that the P6K Pro has better audio connections (dual Mini XLR). I wish the Komodo had that.
Awesome. First footage I've seen of a Komodo + Sigma 150-600, which is the lens I use to film surfing. Enough to get some idea on what the footage may look like, as i'm looking forward to get one soon. Great video, man! Keep it up.
Hi Joe, excellent video, I was curious to know if you use autofocus at the car races? I shoot architecture, nothing to do with this, but it’s always good to learn. Thanks
Thank you so much, man. That was a very honest review. I'm got the bmpcc 6k Pro, but I've been in love with Red image for quite awhile and yes, I'm enjoying watching videos about RED cameras!
The one area where you and I are very far apart is about codecs. I really value a high quality very compressed codec which is more or less why I've been strongly considering the move away from Z Cam F6 to the Sony FX6. I just run my camera too much and too long for a lot of events. I'm also on the road a lot . So even if I could afford to purchase a nice external RAID DAS (which will be something I do in the future), I'm limited by how much storage I can bring with me and perhaps just as importantly how much "fast" storage I can bring with me. Global shutter and RED IPP2 are undeniably good. But both ProRes and RedCodeRAW are massive. I personally feel like the FX6 is the best all-rounder camera currently getting manufactured under $10k. There are plenty of cameras that are better than it in one or several areas, but as a package it's pretty hard to beat. Especially for me who is mostly in events and doc land. Where audio (preamps and DACs), codec (size/quality), AF (although I don't really use this right now), size, speed, battery life, rolling shutter (the FX6 is second only to Alexa), high ISO and noise performance, sensor size, resolution (UHD is oversampled, log support in post(!!!!), and has DCI-4k), all matter - again I think as a combined package of all of those things the FX6 does incredibly well. Even if it's not #1 in any of those categories, its average of all those things is higher than basically any other camera. And in theory if I care about it, the Ninja V would allow for 12-bit Log RAW from the 16-bit output of the camera which would rival 16-bit linear RAW (in theory. In practice I don't think the FX6 has the pipeline to pump out more than 14 stops of DR, but it would at least allow for greater than 12-bits worth of color information in a relatively compact RAW file size. And it gives the benefit of having an ARRI like sensor resolution, at a slightly higher 4.4k resolution). But I don't foresee myself moving to RAW anytime soon unless there is a massive amount of client demand for it. Great review! Glad you found a system that makes sense for you. It's far easier said than done. Especially since it is a moving target.
Sorry for the delayed response. I think that you have a different use case than I do. Personally I dont need an HQ compressed codec since most of my work allows for the creation of proxies if needed. It's also to keep in mind that R3D LQ has a data rate of 110 MB/s for 6K while the FX6 has XAVC 4:2:2 10bit in 4K which is also 100 MB/s. I'll take R3D LQ over XAVC 4:2:2 all day long. There's also news floating around that RED is working on a codec below LQ for the next firmware update on the Komodo & V-Raptor.
Love it. You have helped me make a decision. And, thanks for sharing the types of lensing you were doing on the shots. that too has help my decision process.
If you have callouses on your fingers that can cause issues with touch screens. I play guitar, so the fingers on my left hand often don't work on touch screens.
Great video! Informative, looks great, sounds great and awesome post! Well done Joe. I'm pretty sure I've seen you out at Sebring and/or Daytona. ~Robert
Been shooting NASCAR with the Komodo for a while now, pairs up with a Gemini like a charm. Sadly I can't upload any of my work, awesome channel you have here dude! Those Fujinons looked clean, I'm currently shooting with the Sigmas rn and the focus on the 70-200 is such a pain lol.
Thanks! Appreciate the compliment. I know what you mean about NASCAR....them and IMSA (one in the same) are brutal when it comes to rights to post stuff.
@@icecreaman2010 I actually dont have a gemini, my buddy that shoots with me uses it. I've been looking into selling my komodo and upgrading to a gemini after comparing our footage a lot. We don't shoot in low light at all, our races take place during the day here. The advantages of it are higher framerates(which is why I want one) and better dynamic range.
the picture quality is really amazing . even on 720 it looked great and then i switched to 4k. the crop thing is very bad but i guess this is the price for getting a red at 6000
@@joenicklo Mutiny? I'm looking for very custom. I've got a title handle that does run/stop plus focus and it's a usb-c to 9pin but the one from them is seriously 23" long. I have no freakin clue when it should only be 6" max.
I’m considering the Komodo X now, as I want to be able to work in 60fps in HQ . I was considering the raptor too, the disadvantages are the more data rates , heavier and less money for lenses. I have maybe crazy idea to buy with it Zeiss supreme 50mm as a jack of all trades lens , though surely have to rent before , and see how it differs from good canon l series lens. Do you btw feel there’s difference between windows and Mac experience with RED? Ron
You can film 60p in HQ on Komodo. It’s 6K 60p that the Komodo X opens up. Personally, I think the V-Raptor is on a whole different level from both Komodo and Komodo X. As for windows vs Mac and R3D…I definitely feel like Davinci Resolve is optimized better for Mac OS and in turn, it handles R3D better.
I think that It would be cool if you built something like a Micro home-lab for film shots that would include an interface for controlling the camera through a keyboard,mouse, and LCD.
Personally, I think “yes” however that would come with some caveats. Are you streaming wirelessly? If so, you’d need a wireless transmitter/receiver with SDI. The other caveat is that it’s expensive. I’d assume since you’re live-streaming for a church, you’ll want a multi camera setup and you can easily get the job done with a few Blackmagic pocket 6K mark II’s. If your church has the budget for multiple Komodo’s, I say go for it! I have a lot of reasons why I WOULD use the Komodo for multi camera live-streaming :) for example, the new RED control PRO app will allow you to control multiple cameras from a laptop. You can even control the auto focus from the app if needed. Also, the Komodo’s image looks amazing straight out of camera with just the RED Film Bias output preview enabled over SDI out :) Hope this helps.
I have always liked the RED color.. but I also really like BM especially with BRAW. I am however looking to build some cinelifter drones to fly these cameras around. Do you know if there is a protective cage that isn't too heavy in weight but might absorb some ..uh.. "crashes"? I'd love to see some sort of wrapper cage with silicon bumpers of some sort around the camera to hopefully see it survive should the drone crash.
Honestly, a cage may not do much besides protect against cosmetic damage. The Komodo is an all metal body aside from the screen, which you can of course get tempered glass and even cover it up with some sort of protection like you mentioned. If you’re looking for multiple reliable cube cameras that you’re gonna put through abuse, maybe consider the z cam e2-F6 or S6. They’re much cheaper than the Komodo, although not on the same level in my opinion, but rather a small step down.
@@joenicklo Yah.. I hear you. My primary goal is BMPCC4K right now. I just much prefer the cube design. Given how drones deal with balance, having a cube that is well balanced vs the BMPCC4K design.. is ideal. If BM comes out with a cube camera on par with 4K/6K cameras.. that would be fantastic. I've not seen a lot of good reviews of the zcams.. they look great, but for only about 1/2 the price.. it almost isn't worth it especially if someone was flying a drone on a big budget.. if something were to happen.. 6K for a replacement camera is small potatoes on a mil+ type of budget. To be fair.. I would imagine they would be rented anyway with insurance. But someone like myself that would maybe want to start my own side gig.. would need all the gear ready to go (and know how to use it). Also.. it is likely that someone hired to run a RED on a drone is going to likely have some backing showing they can do so without crashing the drone. I wouldn't want to run it until I am REALLY good with a go pro and practice with a brick for a while.. but even so you sometimes can't account for say.. a bird that randomly flies by and hits your drone. :D.
I’m not an expert on testing dynamic range, but I will say that I *think* that RED counts their highlight recovery stops when they advertise the specs. That said, I’ve found that the Komodo has plenty of dynamic range for the work I do. From what I’ve seen from most people using these higher dynamic range cameras, they don’t even need those high stops because they don’t push their shots far enough to warrant it. It’s a hot take but it’s my opinion that there’s a point where these stops of dynamic range become “nice to have” but not “mandatory”…UNLESS you or the colorist you’re working with really pushes the image. I’m more than happy to share some r3d footage with you from various shoots so you can test grade the shots for yourself.
hey man! really appreciate the effort you put in this video, idk if you're going to see my comment, but I'm planning to start my own tv series in which I will mostly shoot in my house with my friends, and I'm wondering which cinema camera or dslr would you suggest is the best (even if they'll all look good with the proper equipment). thanks again man!
Alrhough both systems are too different, I wonder what your thoughts about the kinefinity vs komodo? I think this is a good idea for new review video 😄
You said it, they're two very different systems. I think that overall, the Mavo Edge is a better value since you get more for your money but it's also double the price of a Komodo. That being said, once you add accessories like batteries, monitor, cage etc., the Komodo setup can get close to the Mavo Edge. Still, it comes down to one thing....and that's REDCODE RAW. I think you know what I'll say about that ;)
anthother big thing to think about, which is a huge advantage to me... if you get the best super 35 camera with the best super 35 sensor ,vs an ok full frame, with an ok sensor..., is that not only will it look better, but will save you money down the road. how? easy, take a really popular anamorphic lens for just an example of this: super 35 50mm = $6xx. the full frame version of the exact same lens? $1400. you will see this across all lens lines. can easily make up the price difference between the Komodo and cheaper full sensor cameras. just my 2 cents
Two questions... 1) what were your thoughts on the Fujifilm Cine glass vs your others? 2) are you totally off ZCam at this point, or are you keeping the F6 around?
I love the Fujinons! The macro mode is an awesome feature and they’re very lightweight. That being said, the 18-55 seemed to vignette a little, which was annoying. Also, I like the overall look that the Tokinas provide me with a bit more. I prefer the Tokina’s flaring. Second question, my zcam will be sold as of tomorrow. It’s not a bad camera by any means, but I don’t like the direction the brand is going. They’re doubling down on ProRes RAW, which at this moment in time, would alter my workflow severely. I’m not switching NLE’s AND operating systems just so I can work in ProRes RAW. I could go on and on about it but for now, I’ll just say that if Z Cam impresses me with the eventual E3 camera, I’ll definitely consider it.
Does the outrigger handle and wing grip come with all the parts that you need to attach it to the komodo or do I have to purchase additional 1/4 20 screws and such?
Great review. Here's my request for a rigging video for the Komodo. If I'm going to consolidate and sell my FP (for the gimbal), 6K (for handheld and shoulder rig) and S1, I think the Komodo is the only camera that keeps me in resolve (right now I only shoot BRaw) and can outperform all of my cameras (except the FP in low light).
How do you find the dynamic range compares to previous cameras you have used. You have bought it so I would assume there would be a level of bias you would have towards the red. But have you noticed a clear and dramatic difference. I have a pocket 4K and used it as a b-cam to the FX9 once which is meant to have really solid DR and it help up surprisingly well
Good question. Honestly, I have zero complaints with the footage and I've found that I can push my shots in either direction (highlights or shadows) and retain details fairly well. In comparison, I think it outperforms the Blackmagic Pocket cameras, as well as the Z Cam.
I had opportunity to buy Komodo last month, but was told it is only 70% effective regarding autofocus. I do mostly run & gun solo...so I need good autofocus. I have canon 1dxmk2 and the autofocus is great. Can you plz tell me how Komodo compares to 1dxm2 in regards to autofocus? Thx
I'm curious how you would compare the Komodo to the Zcam E2-F6. I'll be shooting some Docs. I shoot with RED for movies all the time, but not sure if I should grab one for the upcoming docs. Unfortunately, I can't score an Fx6 or Fx9 anywhere and I am on the clock.
RE: the RF mount, do you find that having a big adapter on there is secure enough when you throw the tokina vista lenses on the camera? I've always thought that the RF mount not having a lock would force you into requiring lens supports for larger lenses, but was curious what your experience has been thus far.
It’s recommended to use a support bracket or neck strap when using heavier glass. I’m using the Metabones PL adapter and it’s pretty solid, but I still use the bright Tangerine support bracket. With the support bracket, there is no play whatsoever. I also use a lens support for heavier lenses
@@joenicklo very true haha. Run and gun. Single operator. Front/Rear vehicle mount, one man operated, while someone els drives. Picking up the dji rs3 pro combo, which comes with autofocus attachment.
Love the video. I hear RED quality is amazing. If you’re shooting handheld and what to stabilize it what would you use? This wouldn’t fit on any consumer gimbal that I could think of.
It fits on the Ronin RS2 just fine. I used it that way on my last shoot with the Tokina 11-20 Cine Zoom. I shoot hand held a lot. About 90% of the sample footage in this video was shot handheld. Having a heavier rig helps.
@@joenicklo oh nice, now I know. Sony has the A1, not sure if you’re familiar with it. It’s literally around the same price, any idea if it’s even in the same ball park as a Red camera as far and imagine quality and everything else goes? I’m curious, I’m a die hard sony boy.
@@FutureBoostedMedia I wouldn’t even consider it in the same league as the Komodo. Totally different type of camera, with a totally different look, workflow and use case. The RED color science is the biggest factor. Sony…doesn’t impress me with their mirrorless line, never has.
I’m not complaining here. I’m literally saying that my concern from my initial review was wrong. That being said, I haven’t read/heard many people complain about the RF mount itself.
Allow me to compliment you on choosing to use a title for this video that was humble and informative -- You used the words "The right camera ... for me". Not "the best EVER ever ever camera", a "Game changer" or claim everything else ever and any price point is crud compared to this camera......... and so on -- So good job.
@@joenicklo I checked out a few of them and yup.. volume too low. Sometimes normalizing will bring the loudest parts of your audio to the correct level but thats the peaks only and the rest of your audio will be low in volume. Compression can fix that.
@@chrisw5742 yeah that’s nuts. My editor and listened to it on two different systems and two different phones and it sounded fine at all volume levels. Either way, I’ll look into it. Thank you for the heads up.
Great video. I can see where the Komodo fits your needs because of the global shutter, and this is a must for shooting cars, but for my needs I thought the camera was awful. I shoot a lot of people and felt the colors muddy and using the camera a real pain in the arse due to finicky SDI, poor monitoring options, and horrible sound preamps that makes it useless, and many more. For most people, the Pocket 6K is a superior camera with prettier color and tons of useful features out of the box. Its only achilles heel is the dreadful rolling shutter jello from the slow sensor readout.
Im sorry but I disagree with everything you said. I film people too, clearly from the footage in this video and while I’ve shot on the pocket 4K and 6k quite a bit, and they’re fine cameras…they’re nowhere near as good of a camera as the Komodo. What “poor monitoring options” are you referring to? What finicky SDI? SDI protocol is nothing new. There’s a potential for burnt SDI ports on ANY camera with SDI. Sound preamps, the Blackmagic pocket cameras don’t have amazing sound preamps. You want good preamps? Get an external recorder, that’s what most do. Not many productions record sound in-camera unless it’s true run & gun doc style. Unless you’re seeing something I’m not, the colors in my work aren’t “muddy”.
come on man... who did you made this video for? most of the stuff you said were like. unessesary? ''You can use the up and down buttons to switch settings in the menu'' ?? really.. I was hoping I could hear a more ''real-world'' opinion but it was the opposite
@@joenicklo I feel like the whole video was created for a person who's buying a Red komodo as their first camera. That's just what I felt.. I'm not saying this is bad, but considering most people who buy a camera at this price range, already know about user experience, battery life and the technical stuff.. I would've love to hear you talk about anything else. For example how would you talk about the Komodo to a person whos already in the film industry for 5-10 years? How would you review the camera to a person who's been shooting on an Alexa and wanted to pick your brain about the komodo? Sorry if i came across as rude to you, Didn't mean to
🎨 I Color Graded this footage with FilmConvert. Get 10% off FilmConvert Nitrate with code JOE10 when you click this link: www.filmconvert.com/purchase/?promoCode=JOE10
okay, I can't disagree on evrything you said :D Good review! Very objective
TY sir. Appreciate you checking out the review.
Maybe it's me, but what I like about the RED Komodo, Pocket 4K and 6K (even more than the P4K), is this the way the noise in the footage adds texture. It's pleasing. Sony and Canon are very clean. It's a nice look, but it has that hybrid clarity versus film grain. Thanks for making this video and sharing your talents.
I was literally talking to my buddy Mac Olink about this the other night
I would agree with the RED, but Ive had both the 4k and 6k and the noise in those gets really gross. It turns colorful and just looks awful.
@@conner_productions Yeah. I don't shoot anything outside of 400 and 1250. Those have the best image and use 100% of the color space of the sensor. I think Gerald Undone did a video on how ISO affects color reproduction. The noise on the 4K is just unacceptable, especially if you're using a focal reducer. It just enhances it outside of the 400 and 1250 ISO settings.
The Komodo’s noise is one of the things I like best about it, too. It is very filmic.
Excellent video bro. Good info but also your transparency is really refreshing. Thanks for taking the time!
I appreciate that. Glad you enjoyed the commentary.
Im only seven minutes in and man your work looks awesome! Love the racing footage and incredible information about this camera!
Thank you so much!!!
How would you compare the Komodo to the Pocket 6k Pro?
I've shot with both and I think the build quality of the Komodo is far better than the Pocket 6K Pro. I also think that the Komodo is just a simply superior camera in many ways. That's not saying the P6K Pro is a "bad camera", it's just not in the same class as the Komodo is. I do like that the P6K Pro has better audio connections (dual Mini XLR). I wish the Komodo had that.
@@joenicklo Cool. What lens mount for the Komodo can I get for the Autofocus?
@@joenicklo what’s do you think about the lowlight between red komodo vs bmpcc 6k pro?
this is the right way to title a video. why its best camera " for me "
you mean I shouldn't have used "IS IT WORTH IT 2022?" !!!???
Thank you for this great review - it was super helpful in informing my decision to pick this cam up!
Thanks for watching! Did you get it?
@@joenicklo I did thanks! Absolutely no regrets, what a fantastic camera.
I enjoyed the video !
Joe thanks for taking time to make these types of video for the creative community ...................
Glad you enjoyed it!
@@joenicklo as always buddy your pretty damn good at what ya do from what i see 👍🏾👍🏾
@@brandonjay_gotem
One of the best reviews I have ever watched.
Thank you!
It is only me or anybody else likes this channel videos before even start watching?
You won't hear me complain :)
Awesome. First footage I've seen of a Komodo + Sigma 150-600, which is the lens I use to film surfing. Enough to get some idea on what the footage may look like, as i'm looking forward to get one soon. Great video, man! Keep it up.
Glad it helped you! Feel free to share what you create on the Discord community. Would love to see.
Hi Joe, excellent video, I was curious to know if you use autofocus at the car races? I shoot architecture, nothing to do with this, but it’s always good to learn. Thanks
Thank you so much, man. That was a very honest review. I'm got the bmpcc 6k Pro, but I've been in love with Red image for quite awhile and yes, I'm enjoying watching videos about RED cameras!
Glad I could help. Really appreciate you taking the time to watch. The look of RED is definitely something to appreciate.
You covered so much in this video. Great follow up after initial impressions. Thanks for including the pros and the short comings.
Glad it was helpful!
Thank you for a very honest & thorough review.
My pleasure!
The one area where you and I are very far apart is about codecs. I really value a high quality very compressed codec which is more or less why I've been strongly considering the move away from Z Cam F6 to the Sony FX6. I just run my camera too much and too long for a lot of events. I'm also on the road a lot . So even if I could afford to purchase a nice external RAID DAS (which will be something I do in the future), I'm limited by how much storage I can bring with me and perhaps just as importantly how much "fast" storage I can bring with me.
Global shutter and RED IPP2 are undeniably good. But both ProRes and RedCodeRAW are massive.
I personally feel like the FX6 is the best all-rounder camera currently getting manufactured under $10k. There are plenty of cameras that are better than it in one or several areas, but as a package it's pretty hard to beat. Especially for me who is mostly in events and doc land. Where audio (preamps and DACs), codec (size/quality), AF (although I don't really use this right now), size, speed, battery life, rolling shutter (the FX6 is second only to Alexa), high ISO and noise performance, sensor size, resolution (UHD is oversampled, log support in post(!!!!), and has DCI-4k), all matter - again I think as a combined package of all of those things the FX6 does incredibly well. Even if it's not #1 in any of those categories, its average of all those things is higher than basically any other camera.
And in theory if I care about it, the Ninja V would allow for 12-bit Log RAW from the 16-bit output of the camera which would rival 16-bit linear RAW (in theory. In practice I don't think the FX6 has the pipeline to pump out more than 14 stops of DR, but it would at least allow for greater than 12-bits worth of color information in a relatively compact RAW file size. And it gives the benefit of having an ARRI like sensor resolution, at a slightly higher 4.4k resolution). But I don't foresee myself moving to RAW anytime soon unless there is a massive amount of client demand for it.
Great review! Glad you found a system that makes sense for you. It's far easier said than done. Especially since it is a moving target.
Sorry for the delayed response. I think that you have a different use case than I do. Personally I dont need an HQ compressed codec since most of my work allows for the creation of proxies if needed.
It's also to keep in mind that R3D LQ has a data rate of 110 MB/s for 6K while the FX6 has XAVC 4:2:2 10bit in 4K which is also 100 MB/s. I'll take R3D LQ over XAVC 4:2:2 all day long.
There's also news floating around that RED is working on a codec below LQ for the next firmware update on the Komodo & V-Raptor.
Bro I love your videos, they hit hard for aesthetics and truth; makes watching them damn enjoyable..
Thank you!
Great video. Love how you put the lens in the corner too
Thanks! What do you mean?
@@joenicklo Every shot has the lens you used in the bottom right hand corner. Just bought a Tokina myself so it was good to see that brand
@@robertpaterson5477 Oh hahhaha!! I was considering not bothering with that anymore but it's good to see people like it. Appreciate the feedback.
Love it. You have helped me make a decision. And, thanks for sharing the types of lensing you were doing on the shots. that too has help my decision process.
No problem!
If you have callouses on your fingers that can cause issues with touch screens. I play guitar, so the fingers on my left hand often don't work on touch screens.
I’ve got baby smooth fingers. 😂
@@joenicklo I guess they are baby smooth mutant fingers then.
@@TannerGwaltney HAHA yes!!!
Great video! Informative, looks great, sounds great and awesome post! Well done Joe. I'm pretty sure I've seen you out at Sebring and/or Daytona. ~Robert
Thanks for watching! I’ve been at Sebring for sure! Never Daytona.
Been shooting NASCAR with the Komodo for a while now, pairs up with a Gemini like a charm. Sadly I can't upload any of my work, awesome channel you have here dude!
Those Fujinons looked clean, I'm currently shooting with the Sigmas rn and the focus on the 70-200 is such a pain lol.
Thanks! Appreciate the compliment. I know what you mean about NASCAR....them and IMSA (one in the same) are brutal when it comes to rights to post stuff.
@Rayce Mortensen, What's the biggest advantages of your Gemini 5k over the Komodo. Low light shooting?
@@icecreaman2010 I actually dont have a gemini, my buddy that shoots with me uses it. I've been looking into selling my komodo and upgrading to a gemini after comparing our footage a lot. We don't shoot in low light at all, our races take place during the day here. The advantages of it are higher framerates(which is why I want one) and better dynamic range.
@@RayceMortensen would be interesting to see if you think the S35 V-Raptor is an option now.
the picture quality is really amazing . even on 720 it looked great and then i switched to 4k. the crop thing is very bad but i guess this is the price for getting a red at 6000
I think the 4K Crop is great. The 2K crop is less than I'd like but I've gotten away with it.
How do you like that Bright Tangerine Run/Stop top plate?
It’s a really nice way to still use the outrigger handle. I haven’t used the RS port on it yet.
@@joenicklo good to know.
@@joenicklo I’m trying to find a run stop solution that doesn’t have me using a cable that’s 23” long
@@BrandonTalbot I forgot the name of the company but theres one that makes custom start/stop buttons with cables.
@@joenicklo Mutiny? I'm looking for very custom. I've got a title handle that does run/stop plus focus and it's a usb-c to 9pin but the one from them is seriously 23" long. I have no freakin clue when it should only be 6" max.
I still get obnoxious touch screen lag too. Awesome video Joe!
MUTANT FINGERS!!!!!!!!!!
This was a terrific review! Thanks Bro
Thank you Carlos. Really appreciate you watching brother.
Another Fantastic review! Keep them coming.
TY!
Yea buddy! Komodo is such a little powerhouse.
I like it enough to buy a 2nd! I’m on the hunt.
I’m considering the Komodo X now, as I want to be able to work in 60fps in HQ . I was considering the raptor too, the disadvantages are the more data rates , heavier and less money for lenses. I have maybe crazy idea to buy with it Zeiss supreme 50mm as a jack of all trades lens , though surely have to rent before , and see how it differs from good canon l series lens. Do you btw feel there’s difference between windows and Mac experience with RED?
Ron
You can film 60p in HQ on Komodo. It’s 6K 60p that the Komodo X opens up. Personally, I think the V-Raptor is on a whole different level from both Komodo and Komodo X.
As for windows vs Mac and R3D…I definitely feel like Davinci Resolve is optimized better for Mac OS and in turn, it handles R3D better.
I havent seen anywhere comparison with other Global Shutter cameras, do you think you could compare it in low light with Ursa Mini 4K?
If you rent it for me, I'll compare it :)
Dude thanks for this amazing and helpful video 🙌🏽🙌🏽🙌🏽🙌🏽
No problem :)
What can you say about the image quality compared to mavo edge 8k
I wish I had used the Mavo 8k more. I don’t have enough experience with it to justify a comparison
I have only worked with RAW footage, I couldn't imagine working with anything else.
Word!!!
I think that It would be cool if you built something like a Micro home-lab for film shots that would include an interface for controlling the camera through a keyboard,mouse, and LCD.
www.red.com/red-control-pro - already exists :)
Great video, thanks!
Thanks for watching
Would this be a good camera for live stream at a church?
Personally, I think “yes” however that would come with some caveats. Are you streaming wirelessly? If so, you’d need a wireless transmitter/receiver with SDI.
The other caveat is that it’s expensive. I’d assume since you’re live-streaming for a church, you’ll want a multi camera setup and you can easily get the job done with a few Blackmagic pocket 6K mark II’s. If your church has the budget for multiple Komodo’s, I say go for it!
I have a lot of reasons why I WOULD use the Komodo for multi camera live-streaming :) for example, the new RED control PRO app will allow you to control multiple cameras from a laptop. You can even control the auto focus from the app if needed.
Also, the Komodo’s image looks amazing straight out of camera with just the RED Film Bias output preview enabled over SDI out :)
Hope this helps.
I have always liked the RED color.. but I also really like BM especially with BRAW. I am however looking to build some cinelifter drones to fly these cameras around. Do you know if there is a protective cage that isn't too heavy in weight but might absorb some ..uh.. "crashes"? I'd love to see some sort of wrapper cage with silicon bumpers of some sort around the camera to hopefully see it survive should the drone crash.
Honestly, a cage may not do much besides protect against cosmetic damage. The Komodo is an all metal body aside from the screen, which you can of course get tempered glass and even cover it up with some sort of protection like you mentioned.
If you’re looking for multiple reliable cube cameras that you’re gonna put through abuse, maybe consider the z cam e2-F6 or S6. They’re much cheaper than the Komodo, although not on the same level in my opinion, but rather a small step down.
@@joenicklo Yah.. I hear you. My primary goal is BMPCC4K right now. I just much prefer the cube design. Given how drones deal with balance, having a cube that is well balanced vs the BMPCC4K design.. is ideal. If BM comes out with a cube camera on par with 4K/6K cameras.. that would be fantastic. I've not seen a lot of good reviews of the zcams.. they look great, but for only about 1/2 the price.. it almost isn't worth it especially if someone was flying a drone on a big budget.. if something were to happen.. 6K for a replacement camera is small potatoes on a mil+ type of budget. To be fair.. I would imagine they would be rented anyway with insurance. But someone like myself that would maybe want to start my own side gig.. would need all the gear ready to go (and know how to use it). Also.. it is likely that someone hired to run a RED on a drone is going to likely have some backing showing they can do so without crashing the drone. I wouldn't want to run it until I am REALLY good with a go pro and practice with a brick for a while.. but even so you sometimes can't account for say.. a bird that randomly flies by and hits your drone. :D.
Great review. 👍
Thank you!
This is the best review on the Komodo
I really appreciate that! I try my best.
Was trying to tell you this all along :-) There's no better camera for what we do.
Hey! I knew, I just had to get past the scalpers. LOL
Hello Joe, a lot pf people are saying the 16 bit dynamic range on the Red Komodo is not true. As an owner of the camera, is it true?
I’m not an expert on testing dynamic range, but I will say that I *think* that RED counts their highlight recovery stops when they advertise the specs. That said, I’ve found that the Komodo has plenty of dynamic range for the work I do.
From what I’ve seen from most people using these higher dynamic range cameras, they don’t even need those high stops because they don’t push their shots far enough to warrant it.
It’s a hot take but it’s my opinion that there’s a point where these stops of dynamic range become “nice to have” but not “mandatory”…UNLESS you or the colorist you’re working with really pushes the image.
I’m more than happy to share some r3d footage with you from various shoots so you can test grade the shots for yourself.
Komodo Gang! 😬
YESSSSSS
Great! Thanks for sharing
What compression did you use on that car race shooting ? HQ, MQ, LQ ?
Which shot in particular?
@@joenicklo in general.
Or did you just use all 3?
Subscribed. Thanks for making this video. It has really been helpful.
Thanks for the sub!
Anytime
What would you suggest that’s more pocket friendly
Sigma FP
hey man! really appreciate the effort you put in this video, idk if you're going to see my comment, but I'm planning to start my own tv series in which I will mostly shoot in my house with my friends, and I'm wondering which cinema camera or dslr would you suggest is the best (even if they'll all look good with the proper equipment). thanks again man!
Can’t go wrong with Komodo
Alrhough both systems are too different, I wonder what your thoughts about the kinefinity vs komodo? I think this is a good idea for new review video 😄
You said it, they're two very different systems. I think that overall, the Mavo Edge is a better value since you get more for your money but it's also double the price of a Komodo. That being said, once you add accessories like batteries, monitor, cage etc., the Komodo setup can get close to the Mavo Edge. Still, it comes down to one thing....and that's REDCODE RAW. I think you know what I'll say about that ;)
anthother big thing to think about, which is a huge advantage to me... if you get the best super 35 camera with the best super 35 sensor ,vs an ok full frame, with an ok sensor..., is that not only will it look better, but will save you money down the road. how? easy, take a really popular anamorphic lens for just an example of this: super 35 50mm = $6xx. the full frame version of the exact same lens? $1400. you will see this across all lens lines. can easily make up the price difference between the Komodo and cheaper full sensor cameras. just my 2 cents
Agreed!
yea just take that one lens, and imagine you get like a 35, a 50, and a 75 or something... super 35=$1800-1900. Full frame=$4,200!
Two questions... 1) what were your thoughts on the Fujifilm Cine glass vs your others? 2) are you totally off ZCam at this point, or are you keeping the F6 around?
I love the Fujinons! The macro mode is an awesome feature and they’re very lightweight. That being said, the 18-55 seemed to vignette a little, which was annoying. Also, I like the overall look that the Tokinas provide me with a bit more. I prefer the Tokina’s flaring.
Second question, my zcam will be sold as of tomorrow. It’s not a bad camera by any means, but I don’t like the direction the brand is going. They’re doubling down on ProRes RAW, which at this moment in time, would alter my workflow severely. I’m not switching NLE’s AND operating systems just so I can work in ProRes RAW. I could go on and on about it but for now, I’ll just say that if Z Cam impresses me with the eventual E3 camera, I’ll definitely consider it.
@@joenicklo Follow up on the question. Are you off the Zcams?
@@johnharris4936 For the time being, yes. My Z Cam E2-F6 is up for sale.
Nice video with a good point of view !
Glad you think so!
Does the outrigger handle and wing grip come with all the parts that you need to attach it to the komodo or do I have to purchase additional 1/4 20 screws and such?
Yes, they come with hardware
Thanks man
No problem
Are you up for sharing where you got your film burn transition you used throughout this edit? Thanks man.
Sure! Cinemarkers by Acidbite. www.acidbite.com/products/cinemarkers
@@joenicklo Thanks brotha! Love your videos.
What's the conversion lut you're using?
RED's IPP2 LUT which can be exported from RED Cine X.
@@joenicklo how come you don’t use color managed advanced in resolve? You can set the IPP2 for whatever contrast/roll off you want as well
Best Komodo review Ever!!!
Thank you!!!!
Thanks for honest review)
My pleasure 😊
awesome overview
Appreciate it!
Great review. Here's my request for a rigging video for the Komodo. If I'm going to consolidate and sell my FP (for the gimbal), 6K (for handheld and shoulder rig) and S1, I think the Komodo is the only camera that keeps me in resolve (right now I only shoot BRaw) and can outperform all of my cameras (except the FP in low light).
My rig is definitely gonna meet your needs! However my shoulder pad isn’t here yet.
How do you find the dynamic range compares to previous cameras you have used. You have bought it so I would assume there would be a level of bias you would have towards the red. But have you noticed a clear and dramatic difference. I have a pocket 4K and used it as a b-cam to the FX9 once which is meant to have really solid DR and it help up surprisingly well
Good question. Honestly, I have zero complaints with the footage and I've found that I can push my shots in either direction (highlights or shadows) and retain details fairly well. In comparison, I think it outperforms the Blackmagic Pocket cameras, as well as the Z Cam.
Not sure if it's the colour grading but the footage looks like it was not shot on RED, more like a7s- ish.
First person to say that. /shrug
I had opportunity to buy Komodo last month, but was told it is only 70% effective regarding autofocus. I do mostly run & gun solo...so I need good autofocus. I have canon 1dxmk2 and the autofocus is great. Can you plz tell me how Komodo compares to 1dxm2 in regards to autofocus? Thx
Ive never shot on a 1DX, but if you’re looking for good AF, stick with the Canon. Maybe go C70.
it doesn't :)
R5c is you better choice if reliable AF for you is a must
@@welldone8235 Only problem is, R5C isn't out...yet. I have my eye on it.
I'm curious how you would compare the Komodo to the Zcam E2-F6. I'll be shooting some Docs. I shoot with RED for movies all the time, but not sure if I should grab one for the upcoming docs. Unfortunately, I can't score an Fx6 or Fx9 anywhere and I am on the clock.
I’d taken the Komodo over the E2-F6…in fact I have. I’m selling my E2-F6. Just doesn’t fit my needs.
thank you !!
You're welcome!
RE: the RF mount, do you find that having a big adapter on there is secure enough when you throw the tokina vista lenses on the camera? I've always thought that the RF mount not having a lock would force you into requiring lens supports for larger lenses, but was curious what your experience has been thus far.
It’s recommended to use a support bracket or neck strap when using heavier glass. I’m using the Metabones PL adapter and it’s pretty solid, but I still use the bright Tangerine support bracket. With the support bracket, there is no play whatsoever. I also use a lens support for heavier lenses
First lens to get for the Komodo?
Loaded question. It depends on the type of work you're doing ;)
@@joenicklo very true haha. Run and gun. Single operator. Front/Rear vehicle mount, one man operated, while someone els drives. Picking up the dji rs3 pro combo, which comes with autofocus attachment.
Love the video. I hear RED quality is amazing.
If you’re shooting handheld and what to stabilize it what would you use? This wouldn’t fit on any consumer gimbal that I could think of.
It fits on the Ronin RS2 just fine. I used it that way on my last shoot with the Tokina 11-20 Cine Zoom. I shoot hand held a lot. About 90% of the sample footage in this video was shot handheld. Having a heavier rig helps.
@@joenicklo oh nice, now I know.
Sony has the A1, not sure if you’re familiar with it. It’s literally around the same price, any idea if it’s even in the same ball park as a Red camera as far and imagine quality and everything else goes?
I’m curious, I’m a die hard sony boy.
@@FutureBoostedMedia I wouldn’t even consider it in the same league as the Komodo. Totally different type of camera, with a totally different look, workflow and use case.
The RED color science is the biggest factor. Sony…doesn’t impress me with their mirrorless line, never has.
Funny that, Komodo users complain about RF mount, while Blackmagic 6K users complain about EF mount. : )
I’m not complaining here. I’m literally saying that my concern from my initial review was wrong. That being said, I haven’t read/heard many people complain about the RF mount itself.
Allow me to compliment you on choosing to use a title for this video that was humble and informative -- You used the words "The right camera ... for me". Not "the best EVER ever ever camera", a "Game changer" or claim everything else ever and any price point is crud compared to this camera......... and so on -- So good job.
Haha you got it! I feel the same way about other videos ;)
You should normalize your audio tracks. I gotta crank up the sound in my headphones to hear you :-P
Subbed BTW
Weird. I did Normalize it. Used Loudness control in Izotope RX9. Do any of my other recent videos do the same?
Appreciate it.
@@joenicklo I checked out a few of them and yup.. volume too low. Sometimes normalizing will bring the loudest parts of your audio to the correct level but thats the peaks only and the rest of your audio will be low in volume. Compression can fix that.
@@chrisw5742 yeah that’s nuts. My editor and listened to it on two different systems and two different phones and it sounded fine at all volume levels. Either way, I’ll look into it. Thank you for the heads up.
Great video. I can see where the Komodo fits your needs because of the global shutter, and this is a must for shooting cars, but for my needs I thought the camera was awful. I shoot a lot of people and felt the colors muddy and using the camera a real pain in the arse due to finicky SDI, poor monitoring options, and horrible sound preamps that makes it useless, and many more. For most people, the Pocket 6K is a superior camera with prettier color and tons of useful features out of the box. Its only achilles heel is the dreadful rolling shutter jello from the slow sensor readout.
Im sorry but I disagree with everything you said. I film people too, clearly from the footage in this video and while I’ve shot on the pocket 4K and 6k quite a bit, and they’re fine cameras…they’re nowhere near as good of a camera as the Komodo.
What “poor monitoring options” are you referring to?
What finicky SDI? SDI protocol is nothing new. There’s a potential for burnt SDI ports on ANY camera with SDI.
Sound preamps, the Blackmagic pocket cameras don’t have amazing sound preamps. You want good preamps? Get an external recorder, that’s what most do. Not many productions record sound in-camera unless it’s true run & gun doc style.
Unless you’re seeing something I’m not, the colors in my work aren’t “muddy”.
@@joenicklo Can you explain what you mean by proper SDI protocol? I must be in the dark, you are the first person Ive heard this from. Great video BTW
Damn he sold his F6, that means my zcam is garbage 😭
Not at all. The Komodo just makes far more sense for me and my business.
Canon and sony do not provide the filmic look. They are way to digital. They are nice for documentry work but not the look most of us want.
I've seen a few dudes on Sony FX6's putting out some really nice work that I'd consider filmic. Julian Jarry for example.
Try the F3. That has the film look
@@robertpaterson5477 FX3?
@@joenicklo Sony PMW F3. It's old and only 1080p but it's Super 35 and has a great image
@@robertpaterson5477 Got ya!
Can you v pack it
Yeah core makes a v-mount adapter
FIRST!
and only.
@@joenicklo give it time
come on man... who did you made this video for? most of the stuff you said were like. unessesary? ''You can use the up and down buttons to switch settings in the menu'' ?? really.. I was hoping I could hear a more ''real-world'' opinion but it was the opposite
So let me get this straight. You chose ONE thing out of a 22 minute long video to complain about? What do you want me to talk about?
@@joenicklo I feel like the whole video was created for a person who's buying a Red komodo as their first camera. That's just what I felt.. I'm not saying this is bad, but considering most people who buy a camera at this price range, already know about user experience, battery life and the technical stuff.. I would've love to hear you talk about anything else. For example how would you talk about the Komodo to a person whos already in the film industry for 5-10 years? How would you review the camera to a person who's been shooting on an Alexa and wanted to pick your brain about the komodo? Sorry if i came across as rude to you, Didn't mean to
You should’ve just said exactly this in the first place. I’ll take that into consideration on the next camera I review.