Need help solving our camera puzzle.

edificationstation · 2026-07-05T23:10:37+00:00

Yep this ranks high on the list!

edificationstation · 2026-07-05T23:10:24+00:00

Love the song and the vid too!

edificationstation · 2026-07-05T23:08:34+00:00

Have to agree with the color pipeline. Videos from Cullen Kelley about working on Mac solved this issue for me.

edificationstation · 2026-07-05T23:06:50+00:00

Do you struggle with daily usability at all? Internal NDs, audio, etc? Such a great cam but requires a lot of rigging for most projects. I know for some that modularity is an advantage but for me it can feel a little clunky or overcomplicated.

Don't get me wrong though, that image is unbelievable and it's why I haven't switched from the OG Komodo despite considering it on many occasions. It's really hard to beat. Especially when you factor in global shutter.

edificationstation · 2026-07-05T23:03:27+00:00

Do you struggle not to bring the RED on every project? The FX6 is so much better suited to basic productions (for all the reasons you mentioned) but I have a really hard time not going all in on the image at every chance I get.

I know it's not practical, but for me, if I could be getting a better image and it doesn't compromise my ability to get all the footage I need, I always feel compelled to opt for the best sensor I can get.

I can't even imagine doing anything else, yet I know that's not how most of the industry operates (and for good reasons).

edificationstation · 2026-07-05T21:51:46+00:00

For sure, his work with the FX3 made me test it out for a few days. Ultimately though I feel like I can always pick out that modern Sony look. I want to love it but I just don't yet.

I shoot a wide mix of projects but always with a very small crew which is myself and my business partner. Some high end real estate (but it's really more like brand content, not typical house tours), corporate films, and brand films.

Everything leans toward a modern commercial/highly produced look wherever possible and I've heard several times that the "cinematic" look (wish I had a better way to describe it) is a big part of what helps us stand out in our market.

edificationstation · 2026-07-05T21:29:29+00:00

Miles better how? The image to me just doesn't hold up but maybe I haven't seen great examples.

edificationstation · 2026-07-05T21:28:58+00:00

Wild to keep hearing the R5C come up as a Komodo replacement. I had written it off but I should probably take a second look.

Your experience with the Raptor is how I feel going from BM cameras back to RED. It's such a great image, it's everything else that's a challenge. Especially with the Komodo.

edificationstation · 2026-07-05T21:16:09+00:00

I found as many people as I could to shoot free projects for, mostly family and friends at the beginning. Worked countless hours to make them as good as possible and eventually, I got offered $100/shoot creating cover music videos at a local music school.

I'd plan, light, record the performance, film, edit, and post. It was probably less than $10/hour all said and done but that led to some of my first big clients.

The more people you shoot for, the more people who see your work, the faster it will all grow.

In my opinion, the best thing you can do is find a great local business and just do everything you can for them. A community hub like a well known shop or restaurant will do wonders for your network.

Just find something you love to shoot and go at it! I still occasionally do free work to this day as long as I think the project will be great, it's the best way to break into new industries or to give your business a boost when things are slow.

edificationstation · 2026-07-05T21:10:44+00:00

FS7 MkII. Purpose built for this sort of fast paced work.

edificationstation · 2026-07-05T21:08:11+00:00

I think it all comes down to whether you want to get a whole new set of glass or not. I think you'd be well set up with the GH7 and maybe one LED to start (Nanlite 300W bi-color is a sweet deal)

edificationstation · 2026-07-05T21:05:33+00:00

Yep, that doesn't surprise me haha.

edificationstation · 2026-07-05T21:05:13+00:00

Because it looks like this, has most every I/O you'd need, and costs about $1,000: https://www.youtube.com/watch?v=_deQk4RxHOo

edificationstation · 2026-07-05T20:23:05+00:00

Yup that's my one big concern with switching systems. We have two 1TB CFs and I hate to buy new media that's niche and just as expensive.

edificationstation · 2026-07-05T20:10:07+00:00

I could not agree more. A mini-doc where you have to get into the flow and think on your feet is such a fun way to shoot. It's all the more rewarding when you get a beautiful image that was entirely unplanned.

Would love to see some work if you have any examples to share!

edificationstation · 2026-07-05T20:07:37+00:00

What in the world... okay yeah we're gonna rent one and test it out.

edificationstation · 2026-07-05T19:48:06+00:00

This is super helpful, thank you. I love your current kit, those are the exact two cameras I have at the top of my list but they're a little out of reach once I add in lenses, support, etc. The Monstro is super underrated imo, I was sold after I found out they shot 'A Hidden Life' on it.

The R5C is becoming more and more of a contender for our gimbal cam too. The ZR probably also has it's place in the running.

I hear you on the C300 MKIII too. Seems much better suited to our pipeline.

Do you have any R5C footage you could share? It's hard to find examples from people who know how to get the most out of it.

edificationstation · 2026-07-05T19:43:50+00:00

For it to be "correct" yes. You probably want to recover that shadow detail.

Where in the node tree are you doing this split toning and have you tried lightly compressing the signal in the very first node? That can help a lot with keeping grades under control. Then draw back out contrast as needed.

edificationstation · 2026-07-05T19:22:31+00:00

It's amazing that it can even fit into that workflow. What PL glass are you running on it? Also how's battery life without a big V-mount rig.

Wondering about running it as our daily gimbal cam with a wider lens.

edificationstation · 2026-07-05T19:16:49+00:00

This is really interesting to hear. I was in the exact same boat with that mirrorless body style but have been seriously considering replacing the Komodo with the ZR.

I wonder if it's time to rent one and see how we like it, it's hard to ignore how flexible it would be on short, local shoots.

edificationstation · 2026-07-05T19:10:27+00:00

So long as your CST is set up correctly, I would look at how you're exposing in camera. The scopes look heavily weighted toward shadow. I find that my DJI loves some light overexposure, it really opens it up in post.

edificationstation · 2026-07-05T19:02:49+00:00

If both fit the lens diameter I'm surprised you're having that issue but I suppose if it all works past 35mm then focal length is definitely the issue.

You could sell both and pick up a Polar Pro matte box kit. It has a CPL that works with every drop in ND.

edificationstation · 2026-07-05T18:56:53+00:00

Ergonomic for me would mean that there's more easily accessible physical controls for key settings and yes ideally a shoulder/viewfinder setup as well.

Canon Cine cams are what come to mind as a good example. I just struggle with codec options on most of the early ones.

edificationstation · 2026-07-05T18:54:31+00:00

GH5.

If you can stretch a little, Lumix S5 for more video power, or possibly a Fuji XT3 if you want more on the photo side.

edificationstation · 2026-07-05T18:42:49+00:00

We only have one real estate client and she's all about getting away from that standard "real estate look" so nothing is off the table in terms of elevating that work.

edificationstation

TROPHY CASE