Komodo and ProRes, 12G SDI and recording times.

[Samuel Bignell]

Hey Everyone

I'm in the market for a new camera system and The Komodo has my Full attention and to be my first RED camera.
I love the image from this camera so so much especially compared to sony, the only issue is a lot of what RED camera systems actually offer like .R3D 16-bit raw files is actually stuff I just don't actually need or want for regular shooting purposes... but I love the image from the RED family of cameras.

I hear this system has ProRes 422 but files are as large as the .R3D due to a second missing compression algorithm due to size?

• Is ProRes stuck at 4K & cropped in the sensor?
• Are the ProRes Files smaller at all?
• Has anyone tested the 12G SDI out for recording the same lovely RED images to a 10-bit Format?
• What are cording times for MQ format at 6k and 4k? lastly, if anyone could test LQ that comes out soon would love to know how much that helps!

Cheers!
-Samuel

[Christoffer Glans]

I hear this system has ProRes 422 but files are as large as the .R3D due to a second missing compression algorithm due to size?

• Is ProRes stuck at 4K & cropped in the sensor?
• Are the ProRes Files smaller at all?
• Has anyone tested the 12G SDI out for recording the same lovely RED images to a 10-bit Format?
• What are cording times for MQ format at 6k and 4k? lastly, if anyone could test LQ that comes out soon would love to know how much that helps!

Not sure what you mean by missing second compression? ProRes 422 is already compressed, it's not RAW or uncompressed.

1. 4K ProRes is a full sensor subsample in-camera. But as far as I know, you can change to whatever resolution you want up to 4K and 422HQ compression.
2. ProRes files are just as any other ProRes. If you want to check the file size, just encode a 4K 422HQ file on your computer and see. It's the same.
3. Not sure what they did on "Let Them All Talk", but I believe that the first test model Soderbergh used didn't have R3D, but instead used the Atomos for SDI recording. In any case, you can use that to record ProRes externally, which, if you are to use the Komodo with ProRes in higher than 422HQ quality is what you want.
4. I would actually suggest that if you aren't shooting 4K in order to get more FPS in R3D, there's nothing to gain doing that over ProRes 422HQ, since if you are distributing in 4K you don't get any subsample in R3D. Stick to 6K, it's meant to be shot in RAW at full resolution and then subsampled to 4K distribution. I would assume that LQ will be the go-to quality for long takes and stuff that doesn't require super high quality. It will be better to shoot LQ R3D at 6K than 4K ProRes 422HQ.

But if you are actually doing long takes and doesn't need a small form factor, a regular DSMC2 would be better since the file sizes and compression options are far greater. It all depends on what you need the camera for.

Here's my suggestion.
Get the Komodo with an Atomos monitor and whenever you need long takes in high quality you shoot with its internal recording over SDI. But whenever you're shooting shorter takes that require better quality, shoot 6K R3D at MQ. However you do with Komodo, just as any other high tier cinema camera, you will have to have an infrastructure around handling material. I started a thread around storage here in the Komodo section, which might guide you to archival and storage solutions. Because getting a camera like Komodo requires so much more around it in order to work: a good computer for editing and color grading, good archival and storage solution for post, side-gear and location handling of material etc. So if you plan to put $5000 to get the Komodo, with everything else around it, including archival and storage solutions, you will probably be set back around $15000.

[Samuel Bignell]

Thank for this!!

Ill check out your posts!