尼康好兄弟 red komodo x z卡口體驗：自動對焦能打嗎？5組鏡頭實測

What's up guys, it has been a while, if you're new to this channel, my name is Brad Watanabe, and I run a production company here in Honolulu, Hawaii, and we shoot a lot of RED cameras. Recently, while I was out on paternity leave, a new camera came out, the Komodo X and the Raptor X, now with the Z mount. The Z mount is indicated by that gold lens mount lock system, as compared to the RED version that is for a Canon RF mount. If you're watching this video, no doubt you kind of already know what's going on. RED, Nikon, they had a baby, and that's this. So we're going to just do a quick lens test today to see whether or not this autofocus stuff actually works. It's probably why you're here. So we're going to test out a couple of Nikon lenses, we're going to test out a couple of Sony lenses with the MegaDop adapter. I've been using this on the ZF, on the Z6 III, it works really good on those cameras, so we'll see whether or not it's going to work on the Komodo X. So let's switch cameras, and we'll get to the test. OK, so now I am recording on the Komodo X with the Nikkor 28 F 2.8 SE lens. So this is a native Z mount lens, and this will give you an idea of what this looks like if I'm doing a straight recording. And I know a lot of people kind of use this as a litmus test to see if this is good enough. Just so you know, you can also adjust some of the focus settings in camera, and I've been playing around with some of them as well. But some of the main things that you can adjust are the speed, the sensitivity, the size of the box that your autofocus is collecting information from. You can also choose face detection, you can choose first face detected, last face detected. So if it's isolating on a face, it can remember that face, it won't try hunting for any other faces that come into frame, it'll be looking for the last one. So it's smart enough to recognize different faces. Not sure how it does that, but that's what that does. So right now I am on speed 5, sensitivity 5. So this is going to be the fastest type of autofocus you can get. And so if you're like a product reviewer, you're doing something like this, you're probably used to focus like this on a Sony or something. So if we're doing a product review, this, you know, we're talking about this lens. Here's this lens. This is the 24-70 G Master Sony lens. And it focuses back on me. And then we go back to the lens, lens, lens. How does that look? And it focuses back on me. And so now we're talking again and we're talking again. So one of the things that I did notice is that with this lens, with the Nikkor lens, there's a little bit of focus noise. So you can take that into account as we're doing some of these tests. Are there lens motor noises going on? Because using that lens on a Nikon didn't really hear any of that stuff. So that's one thing to note. Second. Speed. Focus. Speed. Focus. So this is sensitivity 5, speed 5. It'll give you an idea of how sticky that focus will be and how it'll zoom in and out to things. So you can also go like this. And you notice that it stays on my face because it's got the face detect autofocus. It's not just the thing that's in the front. When you're using something like LIDAR, it might just focus on whatever's closest to it. But when you're using like face detect, contrast, whatever, when you're doing, when you have a face priority in there, it'll try to keep the face in place. So this is the 28 Nikkor F 2.8 native Z mount on Komodo X Z mount. So let's switch this out to the 40 and see how that goes. OK. So now we're on the Nikkor 40mm F 2 at F 2. So this will give you a good idea of how this thing focuses at its shallowest depth of field. And we'll do the same thing. We're still talking about this 24 to 70 lens. So you get it right there in that focus box. You move it too far away. It's still going to try to detect my face. So you got to get it right there in that focus zone. You get you get even a little bit out. It's going to really try to get to my face. So that's that's one thing to note. If you're doing something like product reviews, you're going to really have to be careful of where you place your focus box. So the box right now I have it at a large box. I think you can actually make this bigger too. But right now it's trying to focus on my face. That'll always be its priority because that's what I've told it is the most important thing to focus on. So and you know, it's it's pretty snappy. It's pretty snappy. And so for like a 40 mil to be able to get that kind of focus. It's it's actually pretty long throw. It's it's a good distance. Yeah. So you'll have to see whether or not something like that would work for your situation. And again, listen for the focus noise because are on the original Komodo X and Komodo. So when I was using some of the autofocus it I could definitely hear the focus motors going. So I'm curious to see whether or not this 40 has that same focus noise. But you know, I think for a lot of people that I'm going to change up this situation just a smidge. So I'm still in the 40, but now more like an interview style. So I've changed the lighting just a smidge. Sorry about that. But we're looking at our interviewer and the focus speed and focus sensitivity are both set to zero. So we'll see whether or not this has any effect on like, you know, because most people who are doing an interview on this side of the camera are not, you know, standing still. They're not sitting down and just not really moving. There's just kind of heads that they kind of move and think and they're like. Yeah. So this is what it's all about. So we're trying to see how the tracking of this autofocus will be affected by something like somebody on the side who's moving a little bit. Is it tracking with me? Is it doing a pretty good job? I don't know. We'll see when I play this thing back. But hopefully this is pretty good because this would be a good standard lens for an interview setup. Yeah. So let's try another lens. Now we're going to switch it up and go to some Sony glass and see how this performs with the MegaDap adapter. I don't know how it's going to go, but hopefully it goes pretty well. So this is actually the lens that I'm really stoked about. This is the 16-35 G Master Series 2 and it's a beautiful lens. It has a different perspective because you're at that wide angle POV and it's lightweight. It's got a clickable aperture. All of those good things that I love about it and why I bought it for the Sony system. But look at this. This is the vlogging tech lens. Look at this. You get up close with all of this tech. It's right in front of you. You can be super close. The lens is right here. I can touch it. And the close focus is so good. We're still at focus speed zero, sensitivity zero. This will give you a good idea as to how this is going to react with stuff. So it's still pretty zippy on the focus. It still hits when I'm trying to get something in focus that's not my face. It goes a little bit shorter, but it gets to that point. It's a bit smoother, a little less frenetic, a little less anxious to get from thing to thing, which I think is nice. But it still tracks with my face pretty well. I'm curious to see whether or not there's some focus noise or any of that. But I really like this lens because it's going to be great for a gimbal. That's right. We threw this Komodo X on a gimbal recently. With this lens, with a small battery, we're on a Ronin RS3 Pro. And it's such a simple kit to use. When you have reliable autofocus, it's a dream to use because we're not using a big, chunky monitor on there. We're actually using an iPhone to set focus, to set all of our settings and also just record. So this is one of the cool things about using this camera is you have a great phone app that allows you to monitor pretty much in real time, see your focus and actually do all of your meters, all of your audio, all of your settings. You can even do your focus settings on here. And it's a great way to get a really compact run-and-gun gimbal setup. So this is going to be able to get us both vertical and horizontal gimbal setups with R3D's 6K, 96 frames a second, like all of the goodness that we expect from this camera. Being able to use it with autofocus in small, compact setups is going to be really, really cool. So I love this perspective. Again, it stays on my face, but I get this crazy distorted perspective on the 16 because it's got that wide field of view. I'm super stoked with that. It's a 2.8, so we have a lot of light coming into that sensor. This setup is going to be so much fun to use. Again, like, boom. So it's not super fast. It's not super that 5-speed, 5-sensitivity, but it's, like, nice, and it transitions back well. It feels a bit more human. We've also played with a couple of other settings. So when we get to our last lens, we'll change out some of these settings and see how that feels. So now we're still on 16-35, but we're on sensitivity 5 and speed 5 for our focus. So it's like zip, zip, zip, whoop. So if you're used to that really fast, punchy autofocus for product reviews and going back to your face and, like, boom, boom, boom, boom, boom, boom. If that feels more like what you're used to, maybe that's the setting that you want to be at. But let's go back to our final lens, the Sony 24-70 G Master Series 2. Final lens, final tests. Sony 24-70 G Master Series 2. And this is, like, a really interesting test because we're still at focus speed 5, sensitivity 5. We're going to go down to negative 5 and see how that affects this. But I feel like a lot of people use this lens as a portrait lens, as something that you'll do interviews on. So right now we're at 50 mil on this lens, and this should give you a good idea of what this is going to feel like if you're using this for something like an interview. So, again, we've got this, like, kind of interview set up and we're talking to somebody about this thing that's happening. And it's dramatic and it's cool and there's so much going on. And I'm kind of moving in and I'm thinking about this thing really deeply. And, you know, there's a lot going on. It's really thought-provoking. It's, like, interesting. And then I kind of sit back. And I come back in and I'm, you know, why is this happening right now? And, you know, there's so much stuff. But is this a lens you would use for something like an interview? Is this, like, the crop that you might use for something like this? If it is, this will give you a good idea of that. So let's also just change this one more time. So we're going to go now with... So now we're going to go with the focus speed of 0 and 0 and see how that changes things up. We're still at the 50mm side of this lens at 2.8. So it's still pretty shallow. You can see the stuff behind me is nice and blurry. But we're at 0, 0 on the focus speed and sensitivity. And I think this is going to give you... I mean, this is kind of how people move. They're not as frantic. And something about, like, a slower focus pull to a subject when somebody's moving in and out feels a little bit more human. So as soon as, like, those focus motors are, like, zip, zip, zip, like when somebody's moving around, you can tell that it's a digital autofocus system. If there's a little bit more of that human lag, I feel like this helps to compensate for some of that. But let me know, like, if you like that or if you don't like that. We're going to try one more thing and see how this feels when we go to minus 5, just to kind of give you guys another example. But here we go. 0, speed, 0, sensitivity. You can see that's a bunch slower than the 5, 5 setting. But maybe that's exactly what you're looking for. So hopefully this helps you with that. So here we are in our final speed test, just to give you an idea of, like, how different the focus system is at minus 5 focus speed, minus 5 focus sensitivity. So now we'll bring up a product. Bring it back down. How does this feel? Like, how does it feel with this focus being less pulsey, a little bit less immediate? Does that feel better for what you would want to use autofocus for? And having some of these things adjustable in camera is great. I think the Nikon systems have had that for a little while. I think some of the Sonys haven't. I think all of the systems are trying to figure out how they want to implement autofocus and, like, what kind of user settings they want to allow people to adjust. But, yeah, I feel like this is actually a huge step for RED in this autofocus game. I mean, when I first talked to my buddy James a year ago when the acquisition was made public, he was like, yeah, we're not going to get any Z-mount cameras for, like, three years because it takes so long to do R&D and, like, the flange distances of the existing mounts are so well designed that it's going to take a long time to architect a different type of mount to hit the sensor the right way. But, like, a year later they got cameras coming out, two different cameras with these lens mounts. And I think there's a lot that having the team at Nikon like, behind them, it's going to really amplify what a company like RED can do. And I'm really excited for that. So if you are on that same boat, I'm curious to see, like, I'm curious to hear if you're interested in this camera, you think it's, like, a waste of an upgrade path for people or, like, if you think you would really dive into this. I mean, I think this is, like, for the Nikon shooters, for the Sony shooters that are interested in repurposing your library of glass that already exists and being able to immediately put this on. I mean, I'm loving using Leica M glass on here. I'm using all this, like, funky, cool vintage lenses from Voigtlander and, like, all of these other manufacturers. The Z mount is so versatile that it allows you to do basically whatever you want, which was very different than the RF mount. It was kind of fixed to a certain amount of glass that you could use, but the Z mount is pretty cool. I'm digging it. And it's not something that we're jumping all of our cameras into yet because we have a bit invested in, like, that RF to PL, RF to EF conversion. But having this as an option for things going forward is pretty cool. Because right now, I feel like Sony and, like, that FE mount world has the most options for lensing. And being that the Komodo X is a Super 35 camera, you've got Sigma glass, you've got Tamron glass, you've got Viltrox, you've got all of these other third-party lenses that you get to play with from Laowa and Suire and whatever. Plus all of the standard stuff that Sony is already putting out. And they've got so many cool G lenses, like the new 16 mil 1.8 is cool. And I'm really interested in seeing, like, what the 11 mil 1.8 could do on this. The Sigma 10-18, 18-50, those are tiny little zooms at 2.8. Beautiful glass. So it opens up a whole new world of possibilities. And being able to pair that with something like the Nikon Z 6 III or Z 8, Z 9 that already have color pathways within, like, the RedCine-X Pro application system. And their teams are gonna work to unite the RAW workflow and all of the post-production, which is gonna be really interesting down the road. So for me, this is, like, the first camera in a bunch of potential upgrades in the future, maybe. But, yeah, really curious what everybody else thinks because it's pretty exciting to me. And I'm curious to know whether or not this autofocus is even, like, good enough to you. Like, if you're already a user of, you know, Lumix or Nikon or Sony or Canon and have had access to autofocus systems for a while, like, is this even exciting? Is this change something that you're looking forward to? Like, cinema-style cameras with autofocus. Like, we got that in the Verano. We got that in the FX6. We got that in the Canons. You know, the C80 and the C400s. But RED is catching up. I don't know if ARRI is ever going to do something like that. But it's kind of cool to see a cinema camera that I've been using for so long have the benefits of something like autofocus. Even for something like this. Super exciting times to be in the production world. We'll catch you in the next one. Hola.