Buying A $30,000 RED CAMERA! Orrrrr Not?

Buying A $30,000 RED CAMERA! Orrrrr Not?

(pop music) – As some of you know, I’m
in Santa Cruz right now, I’m still here, super cool place, really nice little town. I’ve never been to Santa Cruz before, but we’ve been hanging
out with One Wheel guys, reppin’ One Wheel here. I’ve gotten a lot of hats
from different companies and this is the first hat
that I’ve actually worn. It’s kind of my style. Anyways, this place is really cool, but I want you guys to
meet someone even cooler. (dramatic instrumental intro) – What’s up, I’m secret agent. (laughing) or just, I do the camera, I shoot video and stuff with camera. – [Host] Yeah, who are
you, what do you do? – I’m Potato Jet, on YouTube, but I’m also a cinematographer, DP. – [Host] What’s your actual name? Your name is not Potato Jet. – I can’t, I’m a secret agent. I can’t tell you guys
that. (both laughing) No, Jean Nagada is my name. Yes.
– Alright. – I’m really camera shy,
I don’t know, what am I? – That does not show
in your videos at all. At all. – Matt, counting on you to cut out all the bad parts. Make me look really cool. – [Host] Matt’s pretty good
at the after effects, so. – Yeah, make me look like Lou Ferrigno, just holding this camera, cool? Counting on you. – [Host] Alright that’s a great Segway. So I thought we would talk about why you ended up going with this, this is like a $30,000 package, right? Around there? – Yeah, right around there. Once you get it set up, like, when you get the brain, you know, you can get him from, you know, this one, I think was about $12,500, but you can go all the way up to $60,000. But to get it operational, you have to, get a lot more parts. This is the RED SCARLET
Weapon, or RED SCARLET-W. It has the 5k dragon sensor, and this is one of the lower end ones, because I’m cheap, and it was
just like right at the spot where I thought it would
do the job I needed to do, but wasn’t $85,000. ‘Cause REDs can get up there, very fast. – So I did this like two years ago, where I researched all the cameras and I tried to figure out
what camera is best for me, so I thought we would talk
about why you ended up with the RED, because I
ended up with the Canon C300, mark II, from the projects
that I was shooting. So I want to hear why you
ended up with the RED, and why maybe you should or
shouldn’t buy a RED. (laughs) – Yeah, that is definitely a thing. – Let’s talk about kind
of the pros and cons of owning a RED. (groan) Um, so what the heck were you thinking buying a $30,000 camera setup? – Ooh, good question. My business partner and I
have a production company in Los Angeles and we do a lot of projects where we rent the cameras out, well we rent the cameras
from a rental house, and we use it for projects we have. And we were getting to the point where the jobs were getting so consistent, that we were spending so much
money on renting the gear and the RED just kind of made sense. It was, they released
this SCARLET-W version, which wasn’t like outrageously expensive, but kind of gave us the
dragon sensor that we wanted and the look that it produces, so we did the math on it and we calculated that as long as everything
kind of continues to flow the way it was going,
that within a few years, it would basically pay itself off, and then I’d have a free RED camera to shoot YouTube videos
with. (both laughing) – So the first reason is
because it made business sense and you were actually
gonna make more money, essentially, by getting a free camera, after a few years of renting it out, instead of just always
renting from somebody else and then you got no camera
at the end of that, right? – Right, yeah, exactly. Like, you know,
– Business sense. – It should make financial
sense for you to do it. You don’t wanna just jump into it, and hope it’s gonna work out out, and hope it’s gonna make you into Steven Spielberg.
– Do the numbers. Do the numbers. But essentially how this works is, like, you would get a day
rate, or a package rate, for shooting, you know, a
documentary, commercial, whatever, and then you could charge more for your camera for bringing that camera onto the production, because otherwise they would have to rent so they just, instead of
renting it from somewhere, they essentially rent it
from you for the production. Business. (muffled conversation) (smooth instrumental interlude) That was the most epic
intro for anybody, I think. (Jean laughs) That was awesome. So one of the things that
I at least thought about when I was considering what camera to get, and I was thinking about
maybe getting a RED, was the fact that you can
kind of future-proof yourself with REDs, because you can buy
all like the peripheral stuff and then you can swap
the brains out later. Kind of sounds weird, but can
swap the body of the camera, the sensor and everything, later on, kind of upgrade it, so, so you end up spending a lot of money on the different modules in the beginning, but then you can swap the brain out, and I think they, do they even
give you any kind of deals? When you?
– Yeah. – Like discounts on
the brains or whatever? Was that a big thing
for you, swapping brains for future proofing, or? – Yeah, definitely, there
is a lot of advantage to being able to swap out certain parts. So like I said, when you
buy a RED camera, you buy, most people look at the brain, but in addition to that brain, that’s still just a smaller
portion of the price. You have to add the back to it, to attach whatever batteries you want, if you want HDMI, SDI, signals out of it, and then of course what kind
of lenses you want on there, and then a cage system, so you can put on different monitors, all that stuff is interchangeable
with any DSMC2 RED camera so that’s pretty cool, ’cause RED puts out a new
brain like every two weeks, so it is nice being able
to just switch ’em out, when the time comes,
and they do always have these upgrade packages. So if you do have, like,
let’s say a SCARLET-W, which is kind of their smaller brain, you can always, they’ll
make it a little bit easier on you to upgrade to their
epics, or their other cameras. – So RED kind of allows you
to future-proof yourself. It still costs a lot of
money to swap the brains, but for example, for my C300, I can’t, I can’t swap the sensors, I’d have to buy a whole new camera if I want to upgrade it, so. So that’s one of the
benefits of having a RED. Another thing RED does pretty
well is their slow motion. Was that a big factor for you, or? – Yeah, I mean these
brains are really powerful, which it’s essentially like a
small super-computer in here, so it has the ability to
process slow motion pretty well. So this does crank up, you can still shoot in raw, you choose your compression
and then your frame size and frame rate, but
there is one big downside which I didn’t even know about until I started shooting with these, is when you go to a high frame rate, a lot of times you have to
bring your frame size smaller and every time you do that, the frame crops in, so it becomes like, you start having a crop sensor, so, for example if you wanted to crank this up to a high frame rate, all of a sudden, you’re 25 millimeter lens is
all of a sudden like a 50 mm. – So you can get a lot of
really good slow motion on the REDs, but then there
is that annoying factor of it changes the crop every
time you change the frame rate so that’s a little bit annoying, something to keep in
mind, you do get a lot of, lot of, you know,
options with the slow-mo, but a little downside there. How ’bout, how ’bout dynamic range, was that, was that a big thing for you? – Yeah, RED has also
a lot of dynamic range in the sensor, which is great, meaning that you can
record, all this bright sun coming into the frame and yet, even if my face is dark and shadowy, – [Host] Like it is now.
– yes. Like it still evens that out, so you get that latitude, I mean ideally, you get good lighting, but sometimes, you can’t find that good lighting, so you work with what you got, – [Host] For example right here, it’s, – Exactly. – [Host] It’s all blown
up around your face, – This peasant Canon.
– But then your face is, (both laughing) Yeah.
– I’m just kidding. I love Canons, okay? (laughing) Please don’t hate me. – [Host] This camera has
way more dynamic range than this one right here, and that’s gonna make
it a lot more cinematic. (man yelling in distance) Don’t die, don’t die. – This is how Matti
likes to work, you know, everyone’s calm, just like waves crashing
– In the danger zone Okay watch, watch
– I’m like, run for your,
– I just stepped in a puddle. – Oh no! You got it really wet. – Aw. This foot is completely soaked now. Well, at least it got washed. That’s a bonus, I guess. One of the reasons, for me at least, when I was starting to look at
these more expensive cameras is that when you go on
a legit commercial shoot or something, you don’t
really want to show up with a DSLR, because
you can’t build it out, you can’t put in a lot of like XLR mics, or anything like that,
you want to show up on set with a legit video
camera, not a photo camera that does video also. What are your thoughts on this, Jean? – Yeah, exactly. A DSLR, they’re great cameras, but they were designed for photography, and they were kind of
converted over to video, and video requires a lot of hands. Like usually you want
somebody manually operating the focus, and manually
controlling the camera. And one person doing this,
one person doing that, so these are meant to be built upon, so there could be one person controlling, you know, certain parts
of the camera, and, – [Matti] And if you had
a really small camera, you would need a crew with tiny hands. – Exactly. Little tiny fingers.
– Which isn’t so practical. – Exactly, exactly. Yeah, I mean these already come
with all the ports you need so it’s kind of a dream. Like when you, if you
have the crew to support a bigger production, all of a sudden everyone can just start plugging everything in, and it’s already kind
of designed for that, so it really does come down to, like, the ergonomics were
designed for a crew setup, but again, also another
good thing about this, is that RED, they are
professional cameras, but can build ’em really small, like I’ve done right here, which is why I’m at some random beach, running away, barely
dodging waves crashing, like that’s why we’re able to do that. I wouldn’t be able to do this with a fully rigged out camera. So there’s that modularity, also. – Yeah, that’s one of the,
kind of like the problems then, when you do have these bigger cameras, is that you do need bigger crews, because you need bigger
stabilizers and stuff, just like I talked in my doc gear video, a little bit ago. Yeah, it makes things
a little bit difficult, but it’s really nice
that you can pack it down to a nice small size, again, one of the benefits, I think of RED, is that you can kind of
build it out big or small, with the different modules,
so that’s kind of nice. Alright so you know,
those were the reasons why he bought it. I thought we would kinda do a side-by-side with the 1DX and the
$30,000 setup, the RED. So you guys can see the difference, if there’s any difference. There might not be. There probably will be. Alright, show me what you got, man. – Okay. (upbeat electronic music) – Alright, there we have
the side-by-side comparison. I think the big question remains, do you regret buying the RED? – Ooh, I, even though
I’ve had to send it in to RED service twice for repairs that shouldn’t really have happened in a professional grade camera like this, I still don’t regret it. I think we’ve been able to use it enough, to make it worth it, and it’s made sense, and it’s been a good purchase for us, in a business standpoint. And we’re still shooting with it, and the clients love the footage, and obviously the RED name is just like, people get really excited, when you say you’re gonna shoot it on RED. I don’t know why, but
people love shooting on RED. It’s not necessarily the best camera. You can always keep that in mind. Like, the best camera is, there’s always a good camera for the job. I mean, for example, the C300 mark II that Matti shoots on, I mean
that’s an awesome camera, and we probably get just as many requests to shoot on that as we do on this, I mean this, I really
like the specific feel that comes out of it. It’s kind of like a, it’s ultra sharp, but also kind of like a grittier, darker, like the mid-tones are generally darker, and it has a certain look to it, which I think is really cool, it has super sharp, but it’s not for everything, you know, sometimes you want like an Arri Alexa, very vibrant, very saturated look. Sometimes you want like
a documentary look, C300’s perfect for that. – Yeah, I hired my editor,
because he has a RED. (suspenseful piano) Just kidding, people actually thought, people actually thought
that I was being serious when I made that joke. – [Jean] And you haven’t hired me. Come on, Matti, what’s up? – See, I don’t,
– I want to work, – I don’t hire everybody with a RED. Matt was the right fit. I didn’t hire him just
’cause he has a RED. I hired him because he had a RED. Yeah, Jean makes a really good point. There is no best camera. The RED is not the best camera, the Arri Alexa is not the best camera, a C300 mark II is not the best camera, a 1DX2, 60, none of them
are the best camera. There’s only the right
camera for the right job, for the right kind of style. So figure out what your style is, what kind of films you want to make, what genre, what size
of camera do you need, all those things play a part in choosing the right camera for you. And don’t just spend $30,000 on a RED because it says RED, and it’s expensive, you think it’s gonna be good. Figure out if it’s actually
a good camera for you. These were some of the
reasons why Jean bought a RED, and if you’re looking
for those same things, you like those same reasons, maybe you should buy a RED, and if you’re not looking
for those same things, then don’t buy a RED, buy something else. And test it out before
you’re gonna drop $30,000 on a camera, because that’s really when you figure out what are
the things that you like and don’t like about that camera, so rent it out first, don’t just buy it right
away and spend $30,000. That’s craziness. Anyways, we’re gonna go enjoy the sunset, and yeah, just hang
out here in Santa Cruz. See you guys. Oh and go follow Jean. Potato Jet, I don’t know
why his YouTube channel is called Potato Jet, but
it’s easy to remember, so go and follow Potato Jet, I’ll link him down in the description. He’s great. Alright, see ya. (smooth electronic music)


  • Matti Haapoja

    July 10, 2018

    Isn't Gene the best? Seriously one of my favourite youtubers for sureeeee. Go sub to him so that once hes at like 1 mill subs you can say you were subbed before he hit 100k 😁

  • yuc0n

    July 15, 2018

    If you don't know how to use the fucking RED then yeah, it comes out similar to the 1dx, but that "side by side" is one of the most unfair comparisons I've seen. RAW video means something, and it didn't here, apparently.
    Given that you can expose for the sky and then just correct the shadows so that the dynamic range is pretty much whatever you want, it seems awfully unfair to make them look like they are close, cause' they are not.
    Even with the BMPCC, which has much weaker RAW, you can get way better shots if you know how to use it than those RED ones.

  • touchtapgo

    July 15, 2018

    The RED footage looks amazing.

  • Felix Huray

    July 15, 2018

    these kinda intrigued me. do youtube really pays that well? spending $30k for camera is no small feat. ! wow. i wonder how much do these youtubers make per month

  • Ben O'Brien Smith

    July 15, 2018

    Great video though it would have been nice to see some longer cuts for those comparison shots and have them truly presented side by side.

  • Austin Steele III

    July 15, 2018

    2:21 DYNAMIC ENTRY!!!

  • AndrewMurphyWA

    July 15, 2018

    Hahaha Matt’s little cameo is so good 😂😂😂

  • Chase Rangel

    July 15, 2018

    why is the sun showing alien god beam in both cameras?

  • Jeremy Kruis

    July 16, 2018

    I love potato jet!!!

  • Rich Barrett

    July 16, 2018

    Love Potato Jet! And the red footage crushed the 1DX2.

  • Leon Ki

    July 16, 2018

    Can't help it, but you're just a copy of Peter('s channel)..
    The same position sitting in front of the camera
    The same style of gesturing
    The same style of "interviewing"
    The same humor
    The same content, but not even close to Peter's level


    July 16, 2018

    Haha I first thought he said "secrect asian" hahaha

  • Cesar Feliz

    July 16, 2018

    What’s the best camera for travel ?

  • Patrick Newman

    July 16, 2018

    With out the lens that camera might break 20k just saying.

  • Sarah Le

    July 16, 2018

    What an awesome collab!! Potato Jet makes me smile … always. Thanks Matti for sharing this!

  • Sarah Le

    July 16, 2018

    11:35 – love the shadows of you 2 here!

  • Akira Wing

    July 16, 2018

    Funny I was just there in Santa Cruz on Cliff Dr with my trusty old R-Epic the day after you uploaded this. Nice shot of Natural Bridges at the end! 🙂

  • StrandskovMedia

    July 16, 2018

    The fall of the hill – LMFAO xD

  • Hot Brass and Bullets

    July 16, 2018

    My GH5 looks better than both those cameras , especially with V log . What's with the vignette ? are you using a cheap ND ?

  • Justin Burgan

    July 16, 2018

    That looks like my Red!?

  • Dylan White

    July 17, 2018

    My eyes hurt…Why you shooting into the sun?

  • William Stewart

    July 17, 2018

    What is the point of recording on a RED camera to upload the episode in 1080p xD

  • Enid torres

    July 17, 2018

    Don't buy it stay humble🙏

  • Prime Perspectives

    July 18, 2018

    That entry down the bank though…

  • Just Jacob

    July 18, 2018

    What is the name of the song at 10:16? Please tell me

  • Mark Evans

    July 19, 2018

    Damn, the footage is not that different…

  • Carsonous

    July 19, 2018

    WOAH! Tutorial needed on that face warp!

  • TheConnorSmithFilms

    July 20, 2018

    So tired of Vimeo ads.

  • Maxi Moon

    July 20, 2018

    the way he holds the camera makes me so nervous that he might drop it

  • Tony Glaser

    July 21, 2018

    I bought an URSA mini 4.6K and I've gotten so much use out of it. Don't regret it at all.

  • Keanu Haumahu

    July 21, 2018

    10:32 🤤dat shottt

  • Trilobyte

    July 21, 2018


  • American Patriot

    July 22, 2018

    What’s the point

  • Almee Alacam

    July 25, 2018

    Very informative, Matti! Great stuff!

  • Michael Kulakovski

    August 2, 2018

    The Neistat Brothers sold their show for 2Mil to HBO. They recordet it with point and shoot cameras, 720p. Story is GOLD. And now there are Cameras like the sony a7III.. are these Cameras not enough for almost every job one can do?

  • Fabio Aneto

    August 3, 2018

    If you’re not cheap, you buy an Alexa 😂

  • Rubin lopez

    August 3, 2018

    When apple was advertising the iphone 5. The biggest thing they kept repeating was that it was future proof lol! Love ur channel. But no camera is future proof. So bay sah cah ly bmcc pocket 4k camera absolute killer

  • Michael Dulovich

    August 7, 2018

    For anyone asking about the into track: Pretty Awkward by Blaeker, feat. Willow (you can find on Epidemic). And a huge compliment to Matti for producing such uplifting and overall awesome content!!

  • FancyShoesVlogs

    August 8, 2018

    Im going to just hire some MIT engineer graduates to design me the perfect camera!

  • David Evans

    August 22, 2018

    I have a 1984 Polaroid Instamatic. Its the right camera for the job.

  • Benny Rebel Torres

    August 23, 2018

    Liked only because Gene rolled down the hill the enter the explanation scene

  • Joana Ferro

    September 3, 2018

    Well that wasn't a side by side comparison so I felt lost

  • Shahaaim

    September 17, 2018

    it seems that 11:06 is EXACTLY why he bought the RED camera. 😛 Haha

  • Zachary Smith

    September 17, 2018

    You should do a video about black magic cameras

  • Glen & Friends Cooking

    September 19, 2018

    Love Gene's channel! I also love shooting with my RED's in a studio – I've taken them out for VLOG type shoots, but waaaaay to cumbersome for that. They also attract too much attention if you want to be stealthy. For the most part I'd say Cinema Cameras are a rental for the jobs that must have them.

  • Stéphane S.

    September 22, 2018

    i'm surprised but I prefer the colors of the 1DX…

  • Joshua Archibald

    September 24, 2018

    It's a bit distracting shooting into the sun for most of the video. Try to have the sun on the side of the face at least. Great content though. Keep it up!

  • ply3

    September 26, 2018

    If you need the perfect camera, why don't you buy all cameras because they all are perfect. 🤔

  • Hanif Zahidin

    October 2, 2018

    why it is soooo washed out ?:(


    October 10, 2018

    He shoot commercial and other stuff with the red…but some other people only shoot youtube video with red…crazy

  • IdeasAnimation

    October 12, 2018

    2:25 that was real smooth right there 👏

  • Point5 Production

    October 13, 2018

    I don't agree with the DSLR rigging comment on commercial shoots. I have footage from the Red Raven and Sony A6500 and C200 that almost match perfectly. With the new cameras coming out in 2018 -19 the quality gap between cine cameras and DSLR – hybrid cameras is closing. If I was shooting a real movie or tv production of course we would rent the big cameras. Be nice to DSLR type cameras and camera snobs aren't cool in 2018.Good video with good information though.

  • The diary of Fharish Ahmed

    October 13, 2018

    POTATO JET!!!!

  • Neha Vikas

    October 13, 2018

    You should have shown comparison video… Let ppl decide. Problem solved

  • Scott Starr

    October 13, 2018

    Hey guys… how’d you handle audio on this? It’s incredible. No waves or wind. Mic? Pre?

  • Matt Sezer

    October 14, 2018

    It's not easy to make a camera truly pay for itself before it's time to upgrade to another camera. It's one thing to have work that you get because you have a camera, but in order to have a camera truly pay for itself, you need to be able to charge that much additional to the rates that you're already getting. In this market, with the over-saturation of DPs that own cameras, it's a lot more difficult than it sounds.

  • YoungBlaze

    October 14, 2018


  • Tendencias Tech

    October 15, 2018

    That got to hurt…

  • LAGuna FILMS

    October 18, 2018

    I use canon 5d mark 3 for my shortfilms lol

  • Kyle Quiachon

    October 22, 2018

    Matt's reaction xD

  • Caranthir Romanoff

    October 24, 2018

    Ok, Potato Jet is in here?! Take my thumbs up!

  • Sunset Chasers

    October 27, 2018

    This is why I gave up 4K raw and high frame rate on my FS700, for the “measly” eight bit 4:2:0 1080p on the C100. Sure the FS700 has a bit more dynamic range, but I could only use it in a tripod for my one man band work. The better image quality didn’t mean better shots from a single operator perspective. I will probably stay in the canon cinema line for this reason. My city’s market is to small to own a camera that needs a crew to operate. I get better shots despite the camera having technically “worse” image quality and specs.

  • Noah B

    October 29, 2018

    Dude I love his channel

  • KoozieTV

    October 31, 2018

    Anybody catch that Snake 🐍 on the rocks in the intro at 0:05 Pretty Epic Matti!

  • JustinDoesTriathlon

    October 31, 2018

    One day, I'd love to see some actual films people make. Seems everyone just makes films about making films.

  • Phillip Brown

    November 5, 2018

    can a C300 shoot a nice film? also this vid is nice, thank you much

  • Gsk

    November 13, 2018

    went down like a sack of potatoes.

  • Maxwell Ridgeway

    November 15, 2018

    I bought one dangit.

  • Nick archy

    November 18, 2018

    Reds are just so sexy😍

  • TheBrandonLeeCook

    November 19, 2018

    That epic roll down the hill to begin the interview 😂😂😂😂😂😂

  • Dylan Gill

    November 30, 2018

    Arri Alexa is the best digital camera. Only thing better is a Panavision or Arriflex film camera with Kodak film stock.

  • SplitRockCreativeTV

    December 5, 2018

    don't get it – save the bands and spend it on marketing your business!

  • Bob Coco

    December 7, 2018

    Ok thx for the delightful advices, now I know what I'm gonna do…

    I'm going to buy a RED bc it says RED & since it's that pricy, it must be the best anyway. All other brands are for peasants, axcept Alexa, my next bae when I'll make millions with my RED ! 😀

     I got it right, right?


  • Dmogul

    January 7, 2019


  • nomorestar1

    January 16, 2019

    Potatoes entrance at 2:22 is the reason why I liked this video.

  • Ed Schirra

    January 17, 2019

    Guys, nice job but your clips in comparison were far too SHORT. Before you got close to screen to compare – BANG, it was gone. What replaced it by contrast was loads of Blah Blah Blah. SO more footage, less talk. You're not exactly Conan or Kimmel. Yet. What do I know? 20 years in the business. Other than that, great camera and the good bits were … good.

  • Dad_Ace

    February 7, 2019

    I suggest a ND filter when shooting directly at the sun.

  • chuang lenny

    February 17, 2019

    Sure the Red can looks equally bad as a Canon.
    but the Canon can never looks equally good as the Red,not even close……

  • Krane

    February 23, 2019

    A "hand" into the lens is not an appropriate transition. It's amateurish and frankly insulting to an audience. Stop it. Now on to the video. As for a RED on youtube, it is excessive overkill. The equivalent to buying a Porsche to use for your pizza delivery. In the case of Potato, he is a cinematographer (who the camera is designed to accommodate) who also produces youtube videos.

    Good advice on choosing the "best" camera. The best camera is the one best suited for the job. Now for the rules:
    Rule 2, never shoot into the sun — without a good reason.
    Rule 3: never shoot in bright/harsh sunlight

  • Stephane Gregory Dan

    March 3, 2019

    I am really sorry but i cannot take you serious as dp,s.i believe you are far, very far from being real good dp,s. Shooting against sunlight? Seriously?even dor youtube and breaking the rules… Thos cannot be. So ince i learn a little bit about photography and stuff i am a do too?

    Please do not take me wrong, i am not bashong your work or talents but i would like to see your pro stuff then maybe i could see you as dp,s.

  • Robert Ruffo

    March 8, 2019

    One many Epics you can go up to 96ps without cropping at all. On most you can go up to at least 60

  • Sean Tredway

    March 11, 2019

    Totally thought his hat was the symbol on your camera that marks where the sensor is… Exactly the same and made me want the hat haha Either way, nice hat!

  • No-Conspiracy No-Jobs

    March 18, 2019

    30K RED for YouTube is a positive step

  • No-Conspiracy No-Jobs

    March 18, 2019

    YouTube Premium is a rip off. No pop up. Just use ad blocker

  • G Martin

    March 21, 2019

    But…you can buy a whole new camera for the price of a red brain. I think they are overpriced, especially compared to the BMPCC4K. But, the red gives you that gear cred with customers. That definitely has value.

  • tominfhl

    April 7, 2019

    Hi Matt,
    Curious … was this shot in the C300?

    Edit: 1 Dx ii


    April 9, 2019

    the best entrance on youtube till this day in 04-2019

  • Yashwanth Patta

    April 12, 2019

    2:20, potato jet. superhero landing. i'll leave it here

  • Codak Chris

    April 13, 2019

    they dropped your camera

  • ft. Gal Pardo

    April 13, 2019

    Are you going to or do you want to vlog on the Nikon Z6??

  • c2aus

    April 15, 2019

    10:08 speaking in front of a giant :)))))))))))))

  • mageefilms

    April 19, 2019

    Thank you for your interesting feedback. – We own 3 Cameras, Canon C 300 MK I, C 300 MK II and RED Gemini and made with the 3 cameras a day scene test at 25 fps. A neutral audience in the studio had clearly the same opinion of the graded look: Rank 1. C 300 MK I, 2. C 300 MK II, 3. RED Gemini. Having worked a few month with the 3 cameras, I personally love them all. The C 300 MK 1 for it's look. The C 300 MK II for the resolution of 4 K if required, quick working with sound for imagefilms and documentaries, the RED Gemini allows to achieve more emotional/abstract images with higher framerates (e.g. 100 fps 5 K 2:1 – 8:1 – no crop loss ) and fabulous natural shooting in low light. Conclusion – there is never a perfect camera – but the right one for each filmproduction.

  • GameingUboxings+

    April 29, 2019

    is no one gonna talk about 2:22 bruh i died laughing

  • Mad Mustang Film

    May 2, 2019

    The Budget chooses the right camera for me 😀

  • Dean Paauw

    May 5, 2019

    Intro song please please please

  • jake Profitpunks

    May 10, 2019

    What lense was used on the red?

  • King Azar

    May 26, 2019

    2:21 This part of the video killed me! I was laughing for a good 15 minutes… Freaking Christ Potato Jet xD

  • mahir korkmaz

    June 16, 2019

    bla bla bla much talking not working

  • Fred RM

    July 12, 2019

    Does Potato Jet have a website of his work, would like to hire him for a commercial in Vegas but can't seem to locate his site.

  • Prophetli

    August 10, 2019

    Of course the RED isn't the best camera. There's only the perfect camera for the job, like he said. Additionally, not every camera can be an ARRI Alexa…


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