This is not actually Prores Raw, this is Prores 422 from in-cam. I shoot in Z-log and typically use Z-Cams own Rec709 -1 Lut for monitoring and as the conversion Lut for the grade. I'm no colourist so you'll probably find far better advice elsewhere - but my workflow with log formats is always to use a proven Rec709 conversion lut, and then go from there.
How big are the file sizes in 6k 25fps prores LT and 422? And how big are the files in h.265? If you not transcode how about grading flexibility? Thank you for your time.
The files are BIG! On a 256gb card I get 13mins of Proress 422 or 20mins of LT. Without transcoding, 6K h.265 is about as much fun as eating a cheese grater.
@@wileyvisuals5714 Oh my intention was not to say that Komodo is better or not than the Z-Cam. Nowadays, every camera is good anyways and it's just a matter of the needs of the shooter ;-) I just wanted to point out that the info in the title (I get what you did here and I fell right into the traaaaap) was slightly incorrect. As for the wider than 17:9 it's a matter of what you're shooting. I know (and worked on) a few features or TV shows that were shot in WS/2.40:1 directly. (the advantage being that since it's the look they are going for by shooting that way they use a bit less space for storage... A bit like when the Super35 2-Perf film format came out it allowed to do 2.40 without the need for anamorphic and to shoot twice as much footage on the same length of film therefore saving a bit of money on the budget)
Funnily enough, that's the exact opposite of what the Red team (and fanboys) were saying nearly a decade ago when the Sony F55 came out. Z Cam also have 2 global shutter cameras too, by the way.
@@wileyvisuals5714 I didn't know that Z Cam ha global shutter cameras. What are they called? I don't know much about RED as i've never used any of their cameras before, but I do know that a relatively affordable 35mm 6K global shutter sensor with good dynamic range and weight is nothing to be sniffed at. At that price point, there isn't really any reason to go with something like a Arri Alexa imo.
@@wileyvisuals5714 Just seen that your Z Cam Global Shutter camera is micro four thirds. That's a big no no for a lot of us. Name another camera that has a super 35mm sensor, good dynamic range, low light sensitivity, 6K resolution and an affordable price tag???
@@wileyvisuals5714 Thank you for that, I did not know about the E2-S6G. I'll definitely have a look at that as that could be a challenger. Appreciate the response.
3:03 amazing camera; you can actually tell that the model shaves. everywhere.
very informative model and inspiring video
Can you make a video on how you exposed and color graded these pro res raw clips? If not, a brief comment would work!
This is not actually Prores Raw, this is Prores 422 from in-cam.
I shoot in Z-log and typically use Z-Cams own Rec709 -1 Lut for monitoring and as the conversion Lut for the grade. I'm no colourist so you'll probably find far better advice elsewhere - but my workflow with log formats is always to use a proven Rec709 conversion lut, and then go from there.
@@wileyvisuals5714 oh okay thx. It looks amazing by the way! Keep it up brotha!
@@iwoah6751 Thanks for the kind words!
YOUR SLOWMO IN 48FPS IS SUPER SMOOTH..WHAT SHUTTER SPEED DID U USE??
I used a 180 degree shutter which in this case would've been 1/96th.
@@wileyvisuals5714 oh thank you🙏🏿🙏🏿🙏🏿
what lens did you use?
This was all with the Sigma 18-35 f/1.8.
How big are the file sizes in 6k 25fps prores LT and 422?
And how big are the files in h.265? If you not transcode how about grading flexibility?
Thank you for your time.
The files are BIG! On a 256gb card I get 13mins of Proress 422 or 20mins of LT. Without transcoding, 6K h.265 is about as much fun as eating a cheese grater.
Amazing Footage !!! Which Lens you used ?
Thanks! I used the Sigma 18-35mm f/1.8 for this test.
model name?
Yes it's true that a RED Komodo can't do 6K ProRes (at all) but it can do 6KWS Redcode Raw at up to 50 fps so... ;-) (40fps at full 17:9 sensor ratio)
I'll be honest... the title was clickbait haha. The Komodo is a great camera... but nothing wider than 17:9 counts in the real world!
@@wileyvisuals5714 Oh my intention was not to say that Komodo is better or not than the Z-Cam. Nowadays, every camera is good anyways and it's just a matter of the needs of the shooter ;-)
I just wanted to point out that the info in the title (I get what you did here and I fell right into the traaaaap) was slightly incorrect.
As for the wider than 17:9 it's a matter of what you're shooting. I know (and worked on) a few features or TV shows that were shot in WS/2.40:1 directly. (the advantage being that since it's the look they are going for by shooting that way they use a bit less space for storage... A bit like when the Super35 2-Perf film format came out it allowed to do 2.40 without the need for anamorphic and to shoot twice as much footage on the same length of film therefore saving a bit of money on the budget)
@@Bast6 Fair enough. And if 2.40 is your thing then the Z-Cam still has the Komodo beat, shooting up to 60fps.
@@wileyvisuals5714 True that !
The global shutter on the Komodo is a big big deal...you really don't need high resolution slow mo frame rates..
Funnily enough, that's the exact opposite of what the Red team (and fanboys) were saying nearly a decade ago when the Sony F55 came out.
Z Cam also have 2 global shutter cameras too, by the way.
@@wileyvisuals5714 I didn't know that Z Cam ha global shutter cameras. What are they called?
I don't know much about RED as i've never used any of their cameras before, but I do know that a relatively affordable 35mm 6K global shutter sensor with good dynamic range and weight is nothing to be sniffed at.
At that price point, there isn't really any reason to go with something like a Arri Alexa imo.
@@wileyvisuals5714 Just seen that your Z Cam Global Shutter camera is micro four thirds. That's a big no no for a lot of us. Name another camera that has a super 35mm sensor, good dynamic range, low light sensitivity, 6K resolution and an affordable price tag???
@@bluefilmsltd E2G and E2-S6G.
@@wileyvisuals5714 Thank you for that, I did not know about the E2-S6G. I'll definitely have a look at that as that could be a challenger. Appreciate the response.
The Z-cam is not bad, but Imo the highlight roll-off is better on the Red.
Yeah I think the raw on the Red just gives that little bit more headroom for smoother highlights. They each have their strengths and weaknesses!