I bought a REAL Cinema Camera... Was it worth it?

All the parts used in this rig:

Video chapters:
0:00 - Intro
1:51 - Rig Build
11:05 - Sponsor
12:18 - Image Quality
14:42 - Global Shutter
15:51 - Lens Adapters
16:31 - How much did it cost?
16:42 - Why did I sell the BMPCC 6K?
17:26 - Why not the FX3 or FX6?
18:42 - Brand Recognition
20:18 - Was it REALLY worth it?

My Main Camera Gear:

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Did you actually read the description?

[footage]

Not a rant, just an observation. I feel like the elephant in the room when it comes to top-of-the-line cameras is: the beefed-up workstation and storage you need to have in order to process 6K/8K/12K, etc. footage. That's a steep added price to pay. Also, regarding resolution, etc. in 2022, if you're a starving/struggling indie filmmaker, be aware that most distributors still accept 1080p deliverables! For commercial work, it's a different game but I would bet that 4k is still plenty. Gear depreciates so quickly that most ad agencies and film production companies rent their cameras and bill their clients accordingly. In the end, most content is likely to be consumed on tiny screens. For indie filmmakers, a Sony/BMPCC, etc. is plenty.

[Aaron_Smith_OM]

I stopped using the term "cinema camera" to refer to my kit. It's a production camera. It's built to get me through the project and answer the demands that set brings. Good on your for finding what speaks to you.

[xjet]

So much commonsense reality in this video. Lots of folk blindly look at only the tech-specs but Ryan has nailed the importance of perceptions and the real reasons why sometimes choices and benefits far exceed what the brochure states.

[KRSchannel]

I just started shooting with this camera last week. I bought the camera then started listening to the reviews, they said you can't tell a difference between this and Sony A7sIII, I was like sheeeaaat....wasted my money, but I still wanted this camera because I love raw. But, I fell in love with this camera when I saw their orange production body, it was like a toy. Now, after filming couple of videos I can clearly say there is a big difference between this and 10 bit Sony or Canon R5, these are digital, you feel it, you can see it, but this just has that organic cinematic 35mm feel. I get it, your tripod becomes heavier, your lenses, cage, body with camera becomes heavier, but when you edit and color the footage you just feel like you want to go out and film more. This doesn't even have that BMPCC feel, that has more of a super 16mm feel, this truly has something of a 35mm film. If you bought this camera don't chug all the review on YT down in one day, just get it, shoot it, and feel the footage in front of you. I most likely won't be shooting so much with Mirrorless DSLR for my videos unless the circumstances is truly run and gun light weigh. Waiting for my cine lens to arrive as well for Komodo.

[FrameVoyager]

I have no beef towards RED but there is a reason why "clients" want RED cameras. They have traditionally marketed to your clients instead of actual filmmakers. Meaning your clients WANT RED cameras even if they aren't the best fit for the specific project. Not saying they never are, but it's tough when you get that creative decision taken away from you because of the misconceptions of clients or people who don't understand anything about cameras. But it's the world we live in so totally get it! Great video and as a BMD user, very fair assessment of the 6K camera. Was wondering though, have you tried out the URSA G2 at all?

[hughhou]

Dude congratz! Komodo is such a great little machine. Love your built as well. Can't wait to see more of your real-world footage with this.

[soundbreaker]

If it can shoot 10-12 bit color with 12-13+ stops of dynamic range & if it has log capabilities then it’s a cinema camera regardless of if it’s a Red, Arri, black magic, Sony

[mkflavvideo]

this is why i want a RED its all about perception and value. when i show up to a shoot with a RED and a small rig they gonna know its BIG TIME and then posting all about on social

[mychalfisher]

Yeah I think most of this is psychological. I got a $50K contract to shoot B-Footage & BTS for a Hulu/amazon prime series and the footage I shot on my A7s3 was used in the show next to Arri Amira and Alexa Mini. Lighting and creativity go much further than how much you spend on a camera body. Not saying there's not a time and place for a cinema camera. but more that it's all situation based.

[TheLawRival]

It’s a case by case basis: it depends on your skill level and what you can do with the camera on hand. I get what Ryan said that that Red camera gives him the motivation, and it should as well as the confidence. Further it’s the color science that sets that apart. I would get that Red camera but I’m afraid that they will come out with a upgraded version very soon.

[.mp]

Love your honesty. Youre so down to earth and say things most of the big youtubers won't admit.
Thank you 🙏

[RobertoRaymon]

If accessory overkill and contradiction was a video ...this would be it!! Lol

Love this speed booster because I don't like matte boxes ...but here's a matte box!

Quick connect, on top of base plate, on top of bigger base plate!

LOVE IT!!

[ConceptNewEra]

Yooo that camera is insane, it looks like an absolute weapon! Congratulations, can’t wait to see all the creative content we’ll see next from ya with that beast! 💯✔️🔥

[rprbeck]

Great vid! Quick tip for the rig: switch out that nucelus handle with a Handle from the nucleus m. It's compatible with the nucleus N, wireless and with a way better build quality that you can actually hold the whole camera rig with.

[mnztamnk]

Haha, in the end it basically DID just come down to perception of the client. Im sure its a superb cam, but i doubt there are many people in the world that would actually be able to tell the endresult apart from a well graded 10bit log from the sonys, panasonics or such. But sure, for some clients you just „need“ to bring a red/arri i guess…cheers!

[pdiseris]

This is why I'm still using an RZ67 Mamiya / XF / DF with a Phase One CCD sensor for my photography. The superior raw file for grading and the optics in front of the client.

[jackbynum]

The blackmagics look great in natural light because the natural light has UV, it's penetrating the skin and illuminating what's there, LED light doesn't have UV and just lays on top of the skin. Red has enough dynamic range and color bit depth to counteract this problem.

[ShotbyPicto]

16:45 - 21:50: The most objective statements a cinematographer has ever said about higher end gear on YouTube.

I cringe sometimes when YouTubers pitch notions that you don’t need this, that or the other, without understanding about client environments and expectations and the opportunities they can lead to, if you have what some type of clients consider to be pre-requisites.

It’s not all about whether or not you can get a decent image from a consumer product. The simple answer is that you can - and if you’re only working on your own projects, or those of low value clients, there’s nothing wrong with that. However, if your target audience is higher value clients, recognizable brands, and you’re pitching 5 figure deals, and including up charges for camera packages, in my experience, this makes a huge difference.

Thanks for being bold enough to share this. Not all people who watch YouTube are YouTubers - and it’s refreshing to hear.

[carreteFILMSPro]

Okay kiddo, show me your power! Where's your work reel? I'm interested on the quality of the camera...

[lancelascano]

dude your Komodo rig is soo nice and clean! love the content brother!!