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  1. #4011  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by M Harvey View Post
    I guess the question we're discussing isn't really "is Komodo an A-cam?", but "what is an A-cam in 2020?" Since its inception, RED has been one of the central players in changing the definition of what a professional camera can be, and we've since seen theatrical features shot primarily on the 5D mkII, iPhone, etc. Do you consider an A-cam anything more than the label for the camera shooting the primary angle of your coverage?

    Does it need to be designed such that it's well suited to the division of labor you'd find in a Hollywood camera team (e.g. operator and AC have their own interfaces)? With so many companies inventing clever options to rig and power and monitor cameras, leveraging technologies like 3D printing and mobile screens and processors, it's so much easier than its ever been to overcome the challenges of a particular camera...
    I think an A-Cam is, as you said, the primary camera you're shooting with but I also think that due to specs of each and every cameras, not all of them are made to be that A-cam because, and you also said it, a professional TV or Movie industry as standards that the gear is supposed to meet. BUT, anything can be an A-cam. I think my point is just to understand that even if anything can be, not everything is made with the intention to be the A-Cam.

    But at this point it's more of point of view thing ? I don't know.
    I guess the only sure thing is that if you buy something like a DJI drone camera, if you can't use it like a Ranger Monstro you can't blame DJO for that :p
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  2. #4012  
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    Quote Originally Posted by Bastien Tribalat View Post
    I think my point is just to understand that even if anything can be, not everything is made with the intention to be the A-Cam.
    You're 100% right-- and I've essentially agreed with you in earlier posts. Your comments just made me muse on that fact a bit more broadly-- when so many categories are challenged by the technology, and when ways of working change partially in response to that (for better and worse: you might light entirely off location power with LEDs, and you might also wind up with a gimbal-toting grip instead of a proper steadicam op...), what do we want to hold onto from the traditional way of thinking about an "A-cam"? I agree with a lot of the comments here about the possibilities for Komodo, just thinking about where it leads us. (Other than never again using tripods, as the images in this thread seem to suggest!)
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  3. #4013  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by M Harvey View Post
    You're 100% right-- and I've essentially agreed with you in earlier posts. Your comments just made me muse on that fact a bit more broadly-- when so many categories are challenged by the technology, and when ways of working change partially in response to that (for better and worse: you might light entirely off location power with LEDs, and you might also wind up with a gimbal-toting grip instead of a proper steadicam op...), what do we want to hold onto from the traditional way of thinking about an "A-cam"? I agree with a lot of the comments here about the possibilities for Komodo, just thinking about where it leads us. (Other than never again using tripods, as the images in this thread seem to suggest!)
    Woooow wow wow calm down ! I WANT TO KEEP USING A TRIPOD ! :p
    (even IF the global shutter and size of the camera got me thinking about my shot planning on a short film and I may or may not want to do a hell of a lot more handeld stuff)

    I get your point. And it is an interesting conversation. Coming from the post-production side of things (well, I graduated from a cinema school and so on but editing is what pays my bills) and watching and reading what's happening in our industry(ies) I think one thing that needs to stay grounded for sure is the quality of the sources. You will always see people who whant to shoot with an iPhone or whatever and output a "pedestrain" h264 but his should not become a norm. And I hope at some point, someone other that Arri will release a 65mm sensor because I looooooooooooooooooooove that !
    (nothing against the Alexa65, just that the more the merrier)
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  4. #4014  
    Quote Originally Posted by Bastien Tribalat View Post
    Woooow wow wow calm down ! I WANT TO KEEP USING A TRIPOD ! :p
    (even IF the global shutter and size of the camera got me thinking about my shot planning on a short film and I may or may not want to do a hell of a lot more handeld stuff)

    I get your point. And it is an interesting conversation. Coming from the post-production side of things (well, I graduated from a cinema school and so on but editing is what pays my bills) and watching and reading what's happening in our industry(ies) I think one thing that needs to stay grounded for sure is the quality of the sources. You will always see people who whant to shoot with an iPhone or whatever and output a "pedestrain" h264 but his should not become a norm. And I hope at some point, someone other that Arri will release a 65mm sensor because I looooooooooooooooooooove that !
    (nothing against the Alexa65, just that the more the merrier)
    Curious to hear what is it you love with a 65mm sensor?
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  5. #4015  
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    Probably the large formats characteristics: DOF, noise performance, those healthy big pixels soaking up light, etc.

    I think it's safe to assume RED is probably working on larger format sensors/capture as well. Digital still has ways to go to match the experience of something both captured and projected in 15 perf true IMAX film.
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    Quote Originally Posted by Carlos_Crespo View Post
    It's clear that Komodo started as a completion to the DMSC2 line. But gradually, it has evolved into its own position. Hence, I'm still hoping that Jarred lets the camera grow to its own full camera line putting it next to DSMC2 and Ranger. Not just being a 'utilitarian add on' camera.

    Meaning, will Komodo get:
    1. RED specific accessories like a foldable display that's attached cable free to the pins, rotatable and tiltable EVF also cable free connected through the top pins etc...
    2. a little more fps without hurting the investment of DSMC2 owners (4K 75p)...

    I know it's all a gamble between price range of Komodo and functions you can get realistically for that price. What about a fix entry price for those DSMC owners who want to buy several Komodo's to be used in Multicam or just because they don't need extra functions. And than, for the indy filmmaker for instance who will most likely buy only one Komodo offering the possibility to access through payed licenses more functions (like 4K75p, Canon's DPAF, etc...)?
    Komodo's spec is actually not defined by a price point. Our implementation of a global shutter is what is defining the FPS this first time and Komodo is not artificially "neutered" to avoid cannibalizing it's bigger brothers. We like disruption and sometimes that includes disrupting ourselves.

    Price point did need to be low purely because we needed Komodo to be able to be blown up in use... and when it did get destroyed not cause financial tears. Zack Snyder blew up 2 custom Monstros on his film and even though it was planned expected, it was still a sad day and we had a little funeral and had a little cry. We blew 2 Komodos up last night separately on 2 different productions and everyone cheered.

    The price point is much lower for Komodo because we are not inventing everything on the camera this time around like we always do and we are leveraging a global supply chain instead of just trying to make them all in Southern California.
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  7. #4017  
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    Jarred will Komodo have IPP2 built in?
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  8. #4018  
    Quote Originally Posted by Darius Lyles View Post
    Jarred will Komodo have IPP2 built in?
    Feature No. 1 for me: image IQ. Everything else, while nice, is secondary. Well, having a release date/price/actual features offered would also be nice, but nothing precedes IQ. And that is why I tend to stay ashy from some Sony cameras (great features/ergonomics but that plasticky/sony videos look, looking at you FS7/FS9). Not a fan (and I have an F3, which an anazing HD camera, beautiful footage out of that old workhouse). But I digress.
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  9. #4019  
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    Quote Originally Posted by Carlos Garcia-Diaz View Post
    Feature No. 1 for me: image IQ. Everything else, while nice, is secondary. Well, having a release date/price/actual features offered would also be nice, but nothing precedes IQ. And that is why I tend to stay ashy from some Sony cameras (great features/ergonomics but that plasticky/sony videos look, looking at you FS7/FS9). Not a fan (and I have an F3, which an anazing HD camera, beautiful footage out of that old workhouse). But I digress.
    Exactly. Sony from 2014-2018 (not so much the last couple of years) packed all sorts of specs and features into their cameras at great price points but the image still sucked in comparison to anything Canon or Panasonic were putting out with inferior specs but similar price points. So, yes: IQ is #1.

    With that said, Red has my favorite IQ I've ever used, so I'm not worried about that.
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  10. #4020  
    Quote Originally Posted by Jarred Land View Post
    Komodo's spec is actually not defined by a price point. Our implementation of a global shutter is what is defining the FPS this first time and Komodo is not artificially "neutered" to avoid cannibalizing it's bigger brothers. We like disruption and sometimes that includes disrupting ourselves.

    Price point did need to be low purely because we needed Komodo to be able to be blown up in use... and when it did get destroyed not cause financial tears. Zack Snyder blew up 2 custom Monstros on his film and even though it was planned expected, it was still a sad day and we had a little funeral and had a little cry. We blew 2 Komodos up last night separately on 2 different productions and everyone cheered...
    That brings up the next obvious question...
    How secure is that CFast card (and the footage) in there?
    And when you say "blown up", do you mean to pieces, or just in close proximity?

    That opens up a world of possibilities for extremely risky takes!
    Which is something I will try to avoid with my Stormtrooper, but the regular production baby dragons will be fair game!
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