RED Komodo- X Sample Footage and Review Portal

[rand thompson]

Red Komodo-X Test Footage | Frame Rates


by Endure Films

 

[rand thompson]

Red Komodo-X 6K RAW and Red V Raptor XL 8K RAW in 8K HDR


by Thai@8K HDR

This time, the Red Komodo-X 6K is heavy on full RAW file quality.

I put it in DaVinci Resolve Studio 18.5 beta3 using ACES.
There are no modifications to any files.
how it came, went like that


Red V-Raptor XL 8K RAW HQ 25P
ISO 800
Lens Sigma 65mm PL

Red Komodo-X 6K RAW HQ 25P
ISO 800
Lens Cooke S4/i 32mm

 

[rand thompson]

With ACES, It could have been "PROJECT ACES" or "NODE BASED ACES"


CAMERA RAW SETTINGS

ACES PROJECT

ACES NODE BASED

INPUT

OUTPUT

For RED IPP2

RED IPP2 NODE BASED WITH IPP2 TRANSFORM IN THE LAST NODE

RED IPP2 COLOR MANAGED

Output Tone-Mapping Choices

Highlight Roll-Off Choices

 

[rand thompson]

Also the Image from a RED IPP2 Node Based Workflow with an IPP2 Output Transform of "MEDIUM/ VERY SOFT" in the Last Node of the Node Tree and the Image from a IPP2 Color Managed Workflow with the same OUTPUT TONE- MAPPING of "MEDIUM" and HIGHLIGHT ROLL-OFF of "VERY SOFT" should look exactly the Same! If not you fucked something up.


RED IPP2 WORKFLOW WITH OUTPUT TRANSFORM LUT

RED IPP2 COLOR MANAGED WORKFLOW

RED IPP2 WORKFLOW WITH OUTPUT TRANSFORM LUT

RED IPP2 COLOR MANAGED WORKFLOW

 

[rand thompson]

red komodo x test


By Mark Biscocho

 

[rand thompson]

"If you show off RED KOMODO-X to everyone at a sudden off-line party, you'll probably make more friends!" Episode 2056 (GOOGLE TRANSLATED)


By 散財小説ドリキン

 

[rand thompson]

RED TOOLS
Crop Factor (red.com)


RED Tools now supports RED KOMODO-X

 

[rand thompson]

[RED KOMODO X] Lens Supreme Prime By REDSNAPPER


by
REDSNAPPER CAMERA

 

[rand thompson]

RED Komodo X - Music Video Footage


By
ILLUMIIN

Camera settings used:

- ProRes 4444 HQ
- 4096x2160 at 24p
- Shutter: 180
- Rec. 709
- Image LUT: None

Edited and color graded in Premiere Pro

 

[rand thompson]

KOMODO-X / Weymouth Beach, Dorset


By James Miller


https://vimeo.com/842602641

Test shoot with the RED KOMODO-X in Weymouth, Dorset, UK
6144 x 2592 - 100FPS / ELQ 6K WS

Alternative grade variation of CineStill 400: vimeo.com/842811029/0af4960bca

Download R3D frames from each shot: we.tl/t-aY33y6qeod

Asahi Opt. Co. Auto Takumar 55mm 1.8
Zacuto Gratical Eye

Graded with DELUTS FILMTONE (CINESTILL 400 Base) jamesmiller.sellfy.store/p/filmtone/

Soundtrack: artlist.io/song/12196/clair-de-lune-debussy

 

[rand thompson]

Low Light Showdown: RED KOMODO X vs SONY FX3 | Which One Performs Best in the Dark?


by
cammackey

 

[rand thompson]

KOMODO X - SHOOTING IN THE DARK!! I Bet You Will Be Impressed!


by
Carlos Quintero

 

[Les Hillis]

...KOMODO-X / Weymouth Beach, Dorset

By James Miller

Test shoot with the RED KOMODO-X in Weymouth, Dorset, UK

6144 x 2592 - 100FPS / ELQ 6K WS...

Best Komodo-X R3D sample drop I've seen yet.

If you want to know how the Komodo-X handles Caucasian skin-tones in direct English sunlight, there it is.

Looking at the files in RCX, I'd say the default colours and the dynamic range of the camera are easily among the best there is.

The ELQ level of compression is noticeable in the deepest shadows, but wouldn't be if you've got no reason to try and zoom in on them or brighten them up more than they were naturally exposed for. And even then, it's not a total mess of blotchy artifacting like you might get from other cameras.

Komodo-X really is an amazingly capable camera.

Thanks James for the test footage and Rand for the links.

 

[rand thompson]

Best Komodo-X R3D sample drop I've seen yet.

If you want to know how the Komodo-X handles Caucasian skin-tones in direct English sunlight, there it is.

Looking at the files in RCX, I'd say the default colours and the dynamic range of the camera are easily among the best there is.

The ELQ level of compression is noticeable in the deepest shadows, but wouldn't be if you've got no reason to try and zoom in on them or brighten them up more than they were naturally exposed for. And even then, it's not a total mess of blotchy artifacting like you might get from other cameras.

Komodo-X really is an amazingly capable camera.

Thanks James for the test footage and Rand for the links.

Les,


Yeah I really appreciate James taking the time to upload so many . R3D stills from the Red Komodo-X. I've been checking all around the internet including RED' s Sample Footage page for any updated Komodo -X sample footage to test out. I hope RED and any current owners of the Komodo-X at their earliest convenience will post some additional Komodo-X .R3D file footage for us non Komodo- X owners to examine.

 

[rand thompson]

Here are some of the graded James Miller .R3D sample Red Komodo-X with people in the shot. The tiny Black dots in the images are from a DCTL Demo program that I have not decided if I want to purchase yet. Graded in ACES.

EDIT:

Redone in the correct Aspect Ratio instead of The ARRI Alexa 35 4.6K aspect ratio which the previous images were in.

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[Les Hillis]

Went through those R3D frame grabs and made some basic adjustments to give them all a similar 'normalized' kind of look.

Here are a few of them, the rest can be seen here - https://imageshack.com/a/rZFW7/1













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[Les Hillis]

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[Les Hillis]

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I think the Komodo-X handles all that direct sunlight and bright colourful subject-matter pretty well, even using its lowest quality compression level.

Thanks again for the real-world samples.

 

[Josef Gatti]

Very curious that these are ELQ. With MQ or HQ, can anyone elaborate on where the improvements would noticeably lie? In the shadows I'm noticing some red/green patchiness, when pixel peeping of course. Impressed overall, but still not sure how it stacks up against Dragon-X.

If anyone has both of these cameras and can summarise their experiences using both, I'd be curious to hear about it. Surprised to learn about the significant difference in sensor size between the KX and Dragon 6k

 

[Les Hillis]

According to Phils FormatCompare tool, the Komodo-X has its 6K in a smaller sensor area than the Dragons 6K, giving a narrower FOV. The significance of that is a bit subjective. For example if you crop the Dragon down to 5K, it already has a narrower FOV than the Komodo-X at 6K.

I've been looking at a fair bit of Dragon imagery lately, at all its resolutions, in direct comparison to the Helium. Got to be careful how I phrase this, but what I'm seeing in these Komodo-X images is kind of in a different ball-park. Noticed the same thing to a different extent when the OG Komodo came out, and also with the limited Raptor files I've looked at. They really are different beasts. All still high quality with excellent colour, all still useable, but not doing the same thing. Some of that's a result of the differences between the sensors and between DSMC1,2 & 3 as well.

The differences I'm seeing between the different DSMC3 compression levels is still just a basic loss of detail and a lossy, messier kind of noise, but with a slightly different look and behaviour too than what the earlier RED cameras had, beyond the newer cameras just performing better in low light. It turns up in the same places, being most noticeable in underexposed areas that require a level of detail the data-level just isn't there for.

Best bet is to just get a hold of one of the camera's and have a look, should be pretty obvious where the differences are and how significant they are to you in actual practice.