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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Full Spectrum Komodo with Drop-In OLPFs

GrahamClark

GrahamClark

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I love the otherworldly look of IR, so as a personal project today I finished converting a couple Komodo's to full spectrum to shoot IR, and a drop-in Komodo OLPF so I could return to default color in seconds, check it out:


For my photography cameras I've had to commit to converting a camera (5D's) to IR and then it’s dedicated to IR.

I had bought a couple Komodo’s just for this purpose. Then it occurred to me that converting it to full spectrum and doing drop-in OLPFs (I’ll call them CSFs for Color Science Filter, since it’s a drop-in filter, going forward) would be faster and way less expensive.

The result of the experiment is being able to shoot in IR, and within seconds switch back to default Komodo color science.

The DSMC1/2 has a user replaceable CSF – when I saw that I thought that was one of the greatest camera inventions. I wish stills cameras had that!

Being able to switch between various CSFs is great, being able to shoot in IR or Skin Tone, Low Light, Standard is so cool.

The Komodo has a non-removable fixed CSF, so I manufactured a full spectrum CSF of identical dimensions (SCHOTT B270/Clear) and installed this in place of the existing CSF. (Warranty voided.)

The Komodo became a Full Spectrum Komodo. Shooting natively it has IR pollution, as the built-in CSF eliminates all IR, even into a bit into visible.

Next, I made a “Komodo Drop-In CSF”, matching the spectral curve of the default built-in CSF, so I can return it back to default color with a simple drop-in filter.

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The experience switching between IR & visible feels kind of like 2 cameras in 1, it’s really fun.

It’s just a personal project, IR is not for everyone.

IR can add an otherworldly quality to black & white landscape photography, so I can’t wait to film in IR alongside when I shoot stills.

I love being able to quickly switch lenses between my R5 / Komodo, keeping a wide angle on one, and a telephoto on another, all in a small 20L backpack.

Since it’s a possibility someone may ask, I cannot convert cameras, this was just a fun project, I had no idea if it was even going to work, but I'm glad it did!

NOTE: This was in no way connected with RED, approved by RED, and yes I knew before converting my camera it would void my warranty.
 
It’s very cool to see this being done, the ability to drop back into Visible especially seems fitting and almost better than the DSMC1/2 way of doing things (at least in a test environment where going back and forth quickly is desirable). I just tested out Xelmus Apollos in IR last week and as there wasn’t a way to switch back to STH easily just had to make due with grabbing a full spectrum shot for comparison.

For actual filmmaking use, I wonder if it makes more sense to use rear-ND and front IR filters, or the opposite. I suppose if you have the quick ability to switch back to visible, probably Rear-IR and front NDs’ just to keep it simple. I can’t help but think front IR seems like a more appealing choice in most instances, as NDs’ could change for each and every shot, and something small could be good for quicker filter swaps, but during a scene you’re likely not to change IR filters unless the sequence demands it.

A lot of the time with IR I find I’m just trying to grab stills or stitch panoramas, where shutter speed doesn’t need to be at 1/48, and in those instances this definitely seems like a great system for that. For really large front diameter glass, rear IR definitely has its appeal since nobody is making 6.6”x6.6” sized IR filters anyway. I also could see a rear UV bandpass being extremely useful, assuming Komodo in full spectrum mode can similarly pass UV from 300-380nm’s like the DSMC sensors. The Kolari 58mm filter has been quite limiting in this regard, even though it’d still be a hunt for a cine lens with good UV transmission even if it was 4x5.65”.

I will say this does feels like a missed opportunity to engrave a slightly script/italic typeface “infra” on top of the RED logo ala the signature primes. I’m glad to see it working though, I don’t doubt this allows for much more agile shooting compared to a 14 lb DSMC rig.
 
Brandon Veen said:
I wonder if it makes more sense to use rear-ND and front IR filters, or the opposite. I suppose if you have the quick ability to switch back to visible, probably Rear-IR and front NDs’ just to keep it simple.
Click to expand...

either way, or they can be combined into a single glass element, such as IR CPL, either circular or drop-in, for convenience sake.

or even a IR 720 VND with a yellow CPL on the front.

cross-polarization is surprisingly effective with ND in IR

what effect would you go for from 300-380?
 
DC Chavez said:
Very cool Graham...

Maybe its time to reshoot this- with a global shutter... :)

Click to expand...

Wow, you KILLED it with that shot in IR

clouds seem too have more clarity , even ones which aren't visually perceptible

looks like the same holds true of the smoke
 
Damn!!
 
DC Chavez said:
Thanks Graham. This was with the Kipper Tie DSMC1 OLPF and I believe a 890nm filter...
Click to expand...

awesome!

one of the best inventions, removable CSFs

great effect at 890nm - 910nm, with a yellow filter the sky looks polarized in IR in that range

now how do we get removable CSFs in photography cameras?
 
To tie back to that other thread. Do you offset backfocus when going between infrared and visable light or is that done in the filter?
 
Now, that's a thing of beauty!
Maybe some day when I have an extra baby dragon I will attempt the same.
Curious what the results would be if you tried this with a Komodo Monochrome... :)
 
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