KOMODO....

[Mike P.]

If RED makes a wireless control app for Komodo, I hope it’s compatible with their other cameras. That’d be a nice little ancillary bonus for existing RED Users.

 

[Jonathan Stevenson]

She's small alright.

 

[David Rasberry]

So, while not actually disagreeing with how you see it or looking for an argument, here's a different interpretation/opinion -

The RED sensor and colour-science development is actually more in line with the history and intent of photo-chemical film advancements than its competitors.

While the ARRI sensor and colour-science development is more of an attempt to replicate in the digital format where photo-chemical film was at a particular stage of its development. It's more of a caricature of film than a progression for or advancement of it, compared to RED.

What-you-see-is-what-you-get was the aim of photo-chemical film. Kodak hit a wall that could have been pushed further back with nano-technology, but the money ran out, digital technology became more viable and most of the world moved on.

RED picked up the image-quality-advancement 'ball' and started running with it, while ARRI put their effort into keeping the ********* and wanna-be-********* safe and happy with their cherry-picked, low-res, sugar-coated digital caricature of what 'film' should look like.


Seeing it that way, I'd prefer it if RED keep going in the direction they've been going by aiming for something that hasn't been done before, rather than start painting themselves into a corner imitating something else.


Which it looks like RED is doing anyway, by pushing the boundaries with the Komodo, while the competitors keep cutting corners to get in front or keep up, or maintaining the pretense they're above it all and don't even have to.


BTW, as the question keeps coming up, looking at the Komodo in terms of where it fits into the DSMC3 line-up might help with understanding where it fits into the market-place.

Digital cinema cameras can certainly mimic the aesthetic characteristics of film in most meaningful ways. But I don't think that should prevent exploring and inventing new aesthetic techniques that are unique to the digital medium. We can pay homage to the past without being constrained by it.

A global shutter in a wide dynamic range HDR capable high resolution camera is a significant step forward in this respect.

 

[Mestizo Devon]

Are you sure that's accurate? I measured my RED and found it to be smaller than I thought-- close to Komodo in some dimensions.

YUP, I thought is was closer too, slightly taller and deeper. Who has the exact dimensions for DSMC2

 

[Mike P.]

YUP, I thought is was closer too, slightly taller and deeper. Who has the exact dimensions for DSMC2

LxWxH = ~4" x ~4.96" x ~5.67"

Bare in mind, that's without a module needed to power it/turn it on (which adds ~2" of length), without a means to control the camera, without a means to view the image, and without a lens mount (all of which are included in the Komodo's 4x4x4 "brain")

 

[Les Hillis]

...A global shutter in a wide dynamic range HDR capable high resolution camera is a significant step forward in this respect...

The more I find out about the Komodo the better it gets. The global shutter (high-speed readout) feature is a big deal for me personally.

 

[Hrvoje Simic]

Depends on the gain structure applied to the sensor data, it would also modify the metadata associated with the file.

Yes, with dual analog gain ISO equivalent, such as in Gemini, the captured result differs since the sensor is pushed electronically, unlike software compensation ISO emulation, where sensor data is the same, just presented differently, as if pushed in post. So the higher the "ISO" the reduced bits per distributed luminance, so consequently reduced fruther manipulation range in post. So - not to be taken as "free ride apart from noise levels" exposure feature.

So, while not actually disagreeing with how you see it or looking for an argument, here's a different interpretation/opinion -

The RED sensor and colour-science development is actually more in line with the history and intent of photo-chemical film advancements than its competitors.

While the ARRI sensor and colour-science development is more of an attempt to replicate in the digital format where photo-chemical film was at a particular stage of its development. It's more of a caricature of film than a progression for or advancement of it, compared to RED.

There is no further progression or advancement from a natural looking consistent image.

There is no "caricature" with Arri.
Whatsoever.

Digital cinema cameras can certainly mimic the aesthetic characteristics of film in most meaningful ways. But I don't think that should prevent exploring and inventing new aesthetic techniques that are unique to the digital medium. We can pay homage to the past without being constrained by it.

Natural looking image properties are not related to film medium only but primarily to properties of human vision. Using that as a reference is not being "constrained by the past", it is harmonization of image properties with human visual apparatus.

A global shutter in a wide dynamic range HDR capable high resolution camera is a significant step forward in this respect.

HDR is an image presentation thing and has nothing to do with the camera, apart from recording bit depth sufficent for gamma/gamut transformation without the image falling apart. "HDR capable" sticker on a camera is mostly marketing fancy wrapper.

 

[Russ Fill]

I Just thought about Red's partnership announcement with Atomos which I believe was around January of this year. Will that factor into encoding into additional New/Other Raw Codecs from the 4K SDI output of Komodo into an Atomos external recorder?

Sorry but Im not so technical some times. But could you record via the 4K SDI our 120fps externally via the Atoms?

 

[rand thompson]

Sorry but Im not so technical some times

Russ,


You and me both, I'm not to sure myself. I had come across a "bookmark" I'd saved a while back about the subject. I was just wondering about the potential for a 4k SDI output other than for monitoring.

 

[Aaron Lochert]

We need an accurate overlay. There are some very slim red batteries. Slim 3rd party PL mounts, and a very slim Canon mount. 4in monitor is tiny as well.

This should give you some idea. Same lens.

The Komodo (assuming nearly 4"x4"x4") is going to be like DSMC2 brain with the bottom inch and a half cut off and the SSD module shaved.

The beauty is that everything is internal, no need for an additional module for power and I/O. Media is inside the body too. It's like half the volume of a DSMC2 with a battery module.

 

[Ryan Genova]

Sorry but Im not so technical some times. But could you record via the 4K SDI our 120fps externally via the Atoms?

Russ, You and me both, I'm not to sure myself.

While some cameras may have internal codec limitations that cap frame rate (oftentimes arbitrarily imposed so as not to cannibalize higher end models à la Canon and Sony), this isn't the case here. The max frame rates are constrained by the sensor readout, so you won't be able to record higher frame rates over SDI than the sensor can actually provide.

 

[rand thompson]

Ryan, Thanks!

 

[Ryan Genova]

Ryan, Thanks!

Sure!

 

[Peter Fiorino]

Odds we will see 120fps at 1080p?

 

[Ryan Genova]

Odds we will see 120fps at 1080p?

The crop factor for 1080p is likely to be around or more than 4X, so I’m not sure how useful it would be for a lot of people anyway.

 

[Adam Johnson]

Killer. If the sensor is Full-Frame I will be over the moon and will no longer purchase the C500 MKII. If they had an RF Mount and REDCODE it would be my perfect camera...until someone makes a Medium Format Cinema Camera I can purchase

This camera could disrupt the industry.

 

[Matt Beardsley]

Awesome, I'm so excited for this camera. So many fewer compromises for drone and gimbal work!

 

[Bob Gundu]

Killer. If the sensor is Full-Frame I will be over the moon and will no longer purchase the C500 MKII. If they had an RF Mount and REDCODE it would be my perfect camera...until someone makes a Medium Format Cinema Camera I can purchase

This camera could disrupt the industry.

Not full frame.

 

[Bérenger Brillante]

hey small question, will we be able to buy several Komodos at the discounted H1 owner if we only have one H1 ?

 

[Marcus Gelhard]

Komodo on the Ronin-S, can't wait for that. Say goodbye to my bmpcc4k as a c-cam