Komodo 2 coming soon

[Remington Chase]

I've heard a updated Komodo is about to drop, besides CF Express anyone have any other info?

 

[Kemalettin Sert]

where did you hear this? in your dreams?

 

[M Harvey]

Please don’t tap on the glass or feed the animals. They get riled up!

 

[Stephen Pruitt]

One more stop of range and a truly great autofocus, and I'll be happy to upgrade.



Stephen

 

[Les Hillis]

I thought Komodo 2 was the one with 2 Komodo sensors, one on each end of the camera, with space for a battery in the middle. I heard it got cancelled though when they found out if you put a lens on each end and panned too fast it caused a photon vortex and effectively turned the unit into a mini flux capacitor. Cool if they found a way to contain the jiggawatts of power it was putting out, but not sure I'd want to use one for filming stuff.

 

[M Harvey]

I thought Komodo 2 was the one with 2 Komodo sensors, one on each end of the camera, with space for a battery in the middle. I heard it got cancelled though when they found out if you put a lens on each end and panned too fast it caused a photon vortex and effectively turned the unit into a mini flux capacitor. Cool if they found a way to contain the jiggawatts of power it was putting out, but not sure I'd want to use one for filming stuff.

Apparently all of those problems were solved by simply making the sensors full frame.

 

[Les Hillis]

Apparently all of those problems were solved by simply making the sensors full frame.

Full-frame Komodo - confirmed.

CF Express - confirmed.

Subatomic stability - confirmed.

Man this thread is really paying off.

 

[Geno Marx]

If this is true I'm a bit disappointed. I only just got my Komodos recently. Though I did hear that the Rhino is coming.

 

[Zack Birlew]

If they go full frame 8K then they've killed Raptor for a lot of people that just need 23.98/24fps and a nice RED image. The question would be then if they do that, what would be coming for the high end? In any case, if they did make a Komodo 2 with full frame 8K and kept the same price, I think RED could have the camera of the year for many people.

 

[Han Vogen]

Of course a Komodo Mk2 is coming. The question is when? The OG Komodo was released October 13, 2020, so the Mk2 might not be too far off.

My wish list:

• Built-in vND
• CFExpress Type B
• Increased Dynamic Range
• Higher frame rates
• A 4:3 sensor (for anamorphic 2x)

 

[M Harvey]

Man this thread is really paying off.

I also heard somewhere that commenting on this thread secures your place in the pre-order line for the version that comes with the “Komodo Too” hologram sticker. So I guess you’re one ahead of me. Can’t wait!

 

[Les Hillis]

I also heard somewhere that commenting on this thread secures your place in the pre-order line for the version that comes with the “Komodo Too” hologram sticker. So I guess you’re one ahead of me. Can’t wait!

That's what I was counting on.

Holographic stickers. That's how you win right there.

It's not sculpted chunks of metal or plastic medallions, but I think everyone understands times have changed and the global situation calls for some re-adjustment of expectations.

I still need people to confirm more of these rumours here, or at least see some solid speculation and gossip before I can seriously consider joining the Komodo Too movement, but yeah it's looking good so far.

I'm not on social media, so I hope people post links here on REDUSER if there are any official announcments or low-key celebrity endorsements before the camera's ship en-masse.

In the meantime...

 

[Mendes Nabil]

Given the release history schedule of Red, Komodo 2 should come this year.
And if the two following points are addressed, this camera will be something special..

1 : A more reliable SDI port (I'm sure this issue is already addressed in their prototype)

2 : A more cinematic image, and this one is essential..

Graeme did a tremendous work on color science, but something is missing somewhere else..
Call it a lack of 3d pop, a thin image than has no weight to it, flat or whatever, if the team could focus their effort on making it "Cinematic", more filmic and organic, something that can compete with Arri or Venice in terms of pure image quality, in such a tiny box with global shutter, that could be very special..


@ Graeme : Being a film shooter and owning a drum scanner, i know a drum scanning service owner in UK from who i learned a lot, Tim Parkin, he has a scarily extensive knowledge in film colors, he's a regular author for a British photographic revue called Onlandscape and each time i read an article of his, i tell to myself that his film color knowledge applied to digital cinema cameras could be the beginning of a real breakthrough..

Here are 1 article and 1 interview of him :

- What are HUE on about : https://www.naturephotographers.network/what-are-hue-on-about/

- Understanding color management and color spaces : https://www.youtube.com/watch?v=qxj7hgTHkjk&t=10s

I can hook you up..

 

[Phil Holland]

colors

I'll write an unusual book/web-post on this topic at some point. But the first thing people need to know is there's a difference between RED's IPP2 Color Science Output Transforms to say Rec.709 and going straight to Rec.709.

Graeme's color science and applied look there is very, very good rather than the straight transform.

I loathe self promoting, but you really should checkout what color related work I've been up to and it tackles essentially what you're on about for years now.

 

[Mendes Nabil]

I’m well aware of your work Phil and i appreciate what you are doing for the Red community, so in the name of all of us, Thank you.
But color is not the issue anymore, like i said in my previous post, something is off somewhere else and i can’t put my finger on what it is exactly..

And if you listen closely to all the whispers on Komodo, you’ll hear the words « video-ish » or « plasticky » or thin..


Komodo is a technological wonder and i know the effort it takes to achieve such a feat, but if the Red team goes hard on « achieving the cinematic look », or brings it back in a way, Komodo 2 could be very special..

A « more mature image » is what comes to my mind..

 

[Jonathan Keane]

I dont think we will see a komodo 2 but maybe paid hardware upgrades? Makes sense to say " hey you can pay x amount of dollars to upgrade your komodo to this sensor with a more powerful processor".

I rather pay and send my camera in for upgrades than have to buy an entire new camera.

But who knows what the future brings.

 

[Ryan Chernin]

I dont think we will see a komodo 2 but maybe paid hardware upgrades? Makes sense to say " hey you can pay x amount of dollars to upgrade your komodo to this sensor with a more powerful processor".

I rather pay and send my camera in for upgrades than have to buy an entire new camera.

But who knows what the future brings.

Jarred confirmed Komodo 2 (Komodo XL) on a Balkum livestream several months back

 

[Jon Pais]

Jarred confirmed Komodo 2 (Komodo XL) on a Balkum livestream several months back

He did no such thing.

 

[Leonardo Newman]

2 : A more cinematic image, and this one is essential..

Graeme did a tremendous work on color science, but something is missing somewhere else..
Call it a lack of 3d pop, a thin image than has no weight to it, flat or whatever, if the team could focus their effort on making it "Cinematic", more filmic and organic, something that can compete with Arri or Venice in terms of pure image quality, in such a tiny box with global shutter, that could be very special.

Is this how you feel about all Reds or just the Komodo, in terms of lacking a “3d pop”?

 

[Kemalettin Sert]

Given the release history schedule of Red, Komodo 2 should come this year.
And if the two following points are addressed, this camera will be something special..

1 : A more reliable SDI port (I'm sure this issue is already addressed in their prototype)

2 : A more cinematic image, and this one is essential..

Graeme did a tremendous work on color science, but something is missing somewhere else..
Call it a lack of 3d pop, a thin image than has no weight to it, flat or whatever, if the team could focus their effort on making it "Cinematic", more filmic and organic, something that can compete with Arri or Venice in terms of pure image quality, in such a tiny box with global shutter, that could be very special..


@ Graeme : Being a film shooter and owning a drum scanner, i know a drum scanning service owner in UK from who i learned a lot, Tim Parkin, he has a scarily extensive knowledge in film colors, he's a regular author for a British photographic revue called Onlandscape and each time i read an article of his, i tell to myself that his film color knowledge applied to digital cinema cameras could be the beginning of a real breakthrough..

Here are 1 article and 1 interview of him :

- What are HUE on about : https://www.naturephotographers.network/what-are-hue-on-about/

- Understanding color management and color spaces : https://www.youtube.com/watch?v=qxj7hgTHkjk&t=10s

I can hook you up..

3D pop? and filmic organic colors?
really? sorry but i can show you 1000 different projects shot on Venice or Arri looks like a videoish.
whats filmic and organic for you? fake film grain?