Click here to go to the first RED TEAM post in this thread.   Thread: KOMODO....

Reply to Thread
Page 436 of 521 FirstFirst ... 336386426432433434435436437438439440446486 ... LastLast
Results 4,351 to 4,360 of 5202
  1. #4351  
    Member
    Join Date
    Dec 2016
    Location
    Sacramento
    Posts
    61
    Quote Originally Posted by Phil Holland View Post
    Much like the Sigma Art Primes versus the Sigma Cine Primes, the Milvus primes are more or less what's in the Zeiss CP.3s. They are different and newer than the CP.2s, which are more or less based on the older ZF/ZE glass. But in the world of Milvus you have access to the higher speed primes, and I don't know if Zeiss will do a high speed CP.3 set. The high speed Milvus glass if I recall correctly are all new/newer designs compared to the ZF/ZE. Need to double check my notes on the 85mm, but pretty sure that's the case. But the 25, 35, and 50mm are 100% new.

    I will say what's really nice about the Milvus line-up is Zeiss hardcore listened and added the de-click feature on the Nikon mount stuff. Canon uses the electronic iris, but also has the advantage of focusing the right direction.

    The Sigma glass is more or less one not down from Otus quality or bloody close to it. I mentioned earlier the 40mm in particular is more or less Sigma's prestige lens, much like Zeiss' 55mm f/1.4 Otus. The Sigma Cine version obviously is more ideal for motion picture application with the mechanics and build quality. I actually only have my Sigma Cine set now and a couple in EF still.

    The bigger step up in price and weight is really the Tokinas from there as well as few other nice features, but they are notably heavier and larger. The Vista Ones in particular are more or less what I would consider Master Primes for VistaVision.
    I appreciate the knowledge drop, Phil.

    It sounds like the Milvus line is where I'll invest in now with eyes to rent the Tokina's before making that financial commitment. After all, I still have a Komodo to buy.
    Reply With Quote  
     

  2. #4352  
    Senior Member Robert Hofmeyr's Avatar
    Join Date
    Sep 2009
    Location
    South Africa
    Posts
    713
    Quote Originally Posted by Sareesh Sudhakaran View Post
    Sometimes it's so hard to appreciate how feature-packed the Red Komodo is at this price point. I had to compare it to the Canon 1D X Mark III but there's no comparison, really: Can the Canon 1DX Mark III go toe to toe with the Red Komodo as a serious filmmaking camera?
    Thanks for this. Great comparison. I would maybe add the cost of a monitor to the Komodo price - I know it has one built-in, but in most situations we will need a smallHD or similar.
    Reply With Quote  
     

  3. #4353  
    Senior Member Blair S. Paulsen's Avatar
    Join Date
    Dec 2006
    Location
    San Diego, CA
    Posts
    5,196
    I was smiling when reading Phil's notes about the Otus 55 and Sigma 40 - couldn't agree more.

    Cheers - #19
    Reply With Quote  
     

  4. #4354  
    Senior Member
    Join Date
    Jan 2009
    Location
    New Orleans
    Posts
    1,664
    Quote Originally Posted by Phil Holland View Post
    The high speed Milvus glass if I recall correctly are all new/newer designs compared to the ZF/ZE. Need to double check my notes on the 85mm, but pretty sure that's the case
    Can confirm you're recalling correctly.

    Quote Originally Posted by Phil Holland View Post
    What's nice about the Milvus set is they inherited some of the Otus designed mentality on the body design with generally better mechanics than the previous iteration of this series.
    I definitely think it's interesting that with its differing needs this is the cine perspective, whereas in the stills work aka if you were to ask on Fred Miranda, you'd get grumbling about how needlessly larger and heavier the Milvus are (not so much in regard to the ones that are new designs [though personally I don't think the 50 is special enough insofar as falloff, CA, etc, to justify how big it got], but especially in terms of the rehoused ones like the 21).
    Reply With Quote  
     

  5. #4355  
    Member
    Join Date
    May 2015
    Location
    Pittsburgh PA
    Posts
    75
    Quote Originally Posted by Phil Holland View Post
    The Sigma glass is more or less one not down from Otus quality or bloody close to it. I mentioned earlier the 40mm in particular is more or less Sigma's prestige lens, much like Zeiss' 55mm f/1.4 Otus. The Sigma Cine version obviously is more ideal for motion picture application with the mechanics and build quality. I actually only have my Sigma Cine set now and a couple in EF still.

    The bigger step up in price and weight is really the Tokinas from there as well as few other nice features, but they are notably heavier and larger. The Vista Ones in particular are more or less what I would consider Master Primes for VistaVision.
    I've been using an Otus set with the Sigma 40 and 18-35 filling in the gaps, but I'm curious as to your thoughts on how the Tokinas compare strictly with regard to image quality. When you say the Vista Ones are the "Master Primes for VistaVision," are you talking mechanics or is the image quality in that realm as well? Would you say the regular Cinema Vistas are also in that territory being that they're optically identical?

    I've come across some Cinema Vista footage here and there and was never particularly impressed (revisiting some of it, I'd say it's more that the other aspects of the videos don't give the lenses a fair shot), so they'd never really been on my radar, but I only recently came across your Cinema Vista First Look on Youtube and I was blown away by that footage. Tokina should be giving you commission on their sales for that video...lol.
    Reply With Quote  
     

  6. #4356  
    Senior Member Alain M's Avatar
    Join Date
    Apr 2012
    Location
    Miami, FL || Maracay-Venezuela
    Posts
    423
    Quote Originally Posted by Phil Holland View Post
    Absolutely. I want to open with a moderate statement first.

    It's so hard for me to give specific lens purchase advice. I'm not exactly a "this is the best and everything else sucks" sort of DPs. I own too many lenses and have a broader perspective on lenses as tools than that likely biased based mentality. At the same time I can listen to your specific wants and needs, then tackle those questions from there.

    For instance, Alain mentions he's looking at the Zeiss Milvus and Xeen CF Primes. That tells me he's focused on something small and lightweight as well as not the super hardcore motion picture workhorse-class of glass. Also this tells me the general price point he's exploring.

    What's nice about the Milvus set is they inherited some of the Otus designed mentality on the body design with generally better mechanics than the previous iteration of this series. Additionally there are newer focal lengths, optical revisions, and better coatings than the older stuff too. I actually like the look from the Milvus. They aren't Otus level, but not far off. The maintain more of a modern-classic look. Clean-ish, but not too clean really.

    The Xeen CFs are not new in terms of glass. Same glass found in the OG Xeens and Rockinon Cine DS stuff. However, with the somewhat recent absence of the Hanse Innotech Celeres, which were mostly based around this glass and focused on compact lightweight rigs, I feel this is where the Xeen CFs now land. Today they announced the 35mm T1.5 and the 16mm T2.6. And I think they are currently the most affordable/cheapest PL glass out made by a manufacturer and not a cheaper rehouse. That cost comes with some concessions however, but for the price they are not too shabby in terms of value.

    Lenses for me start with the look and I think that's something you need to sort of go with. T-Stops and/or F-Stops are a consideration here too as some of these are faster or slower than others.

    Don't know if rental is a consideration here, and you would likely go with CP.3s versus the Milvus in that case anyways, but Zeiss is still a very well known and favored brand by many. Xeens are very much an extremely entry level cinema set in my mind.
    Thanks Phil for your detailed feedback... Yes I am looking for light weight , more daily and less hardcore more motion pictures... Seems you keen towards Milvus over Xeen CF Primes in my scenario. I understand the it is a personal thing the taste of looks etc...

    But I wanted to hear about your taste if you were in my shoes which of the 2 you would pick in my case.

    The housing of the Xeen got my attention (modern) and all manual rings with same diameter & weight. Yet, since at the end of the day it is all about what's inside and the looks, to my understanding you would go towards the MILVUS...

    Correct?


    Thanks again Phil! :)
    Alain Maiki
    Director || Filmmaker
    epicinmotion.com
    alainmaiki.com
    IMDb Alain Maiki
    RED Helium 8K S35
    Hydrogen ONE
    Reply With Quote  
     

  7. #4357  
    Quote Originally Posted by Sareesh Sudhakaran View Post
    Sometimes it's so hard to appreciate how feature-packed the Red Komodo is at this price point. I had to compare it to the Canon 1D X Mark III but there's no comparison, really: Can the Canon 1DX Mark III go toe to toe with the Red Komodo as a serious filmmaking camera?
    Pretty certain the Komodo will not be weather sealed, and I would be amazed if the AF can come anywhere close to the 1DX Mk3’s performance. I feel if these features are important perhaps Komodo is not an ideal choice. Personally, it’s more about size/weight, image quality, Redcode, and that global shutter.
    Reply With Quote  
     

  8. #4358  
    Senior Member
    Join Date
    Jul 2011
    Location
    Norway
    Posts
    775
    The only downside for me is the need for a battery powered monitor that needs a cable as well. I'm hoping there will be a better solution when the camera is released. Otherwise the Komodo ticks a lot of boxes
    Reply With Quote  
     

  9. #4359  
    Quote Originally Posted by Sareesh Sudhakaran View Post
    Sometimes it's so hard to appreciate how feature-packed the Red Komodo is at this price point. I had to compare it to the Canon 1D X Mark III but there's no comparison, really: Can the Canon 1DX Mark III go toe to toe with the Red Komodo as a serious filmmaking camera?
    Interesting article Sareesh.
    You may want to include the 2K @ 120 FPS
    as mentioned here:
    http://www.reduser.net/forum/showthr...=1#post1892372
    Formerly known as "nutman"
    ||| RED ONE #1333 ||| Epic-X #1003 |||
    ||| RED Hydrogen Houdini #0034 Titanium #1014 |||
    H4Vuser
    Reply With Quote  
     

  10.   Click here to go to the next RED TEAM post in this thread.
  #4360  
    Fire Chief Jarred Land's Avatar
    Join Date
    Dec 2006
    Posts
    10,593
    Quote Originally Posted by Han Vogen View Post
    Pretty certain the Komodo will not be weather sealed, and I would be amazed if the AF can come anywhere close to the 1DX Mk3’s performance. I feel if these features are important perhaps Komodo is not an ideal choice. Personally, it’s more about size/weight, image quality, Redcode, and that global shutter.
    Canon did an awesome job with the 1DX MK3. Lots of good stuff in there. Great comparison on two different cameras designed for different applications but as we all know there will be a ton of crossover. Han you kinda nailed it.. it depends on what boxes you need checked. And yes... there isn't a chance that Komodo's continuous autofocus will be anywhere near Canons at launch. Single "momentary" AF is the first thing we are jumping on because that's how most of Komodo's targeted customers will likely use it.
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts