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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 :)

KOMODO....

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Jonathan Shugarman said:
It has been said that Komodo has 4k SDI, so there’s your proxy workflow and likely the reason why Soderbergh was using an Atomos inferno.
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if the raven was able to both R3D and prores or dnxhd I am next to sure this camera will have the same or better. i could be the build he had lacked something is playback or maybe just it was the monitor avaible for this camera. they may have had many camera set ups this coukd have been a D or even E camera on the list who knows.
 
Recording via SDI to a heavy 7” onboard device kinda defeats the purpose of this camera. For me, the Komodo would be a B Cam on gimbal or run and gun A Cam for smaller projects, where size and weight matter, like convention floor or live event. I would never use this with an inferno or odyssey. Using a cell phone w/ minimal weight and power draw is very appealing. My non-cinema clients love the small file size options in my DSMC2. I’d be very sad if Komodo was limited to shooting only R3D.
 
Brandon Klock said:
Recording via SDI to a heavy 7” onboard device kinda defeats the purpose of this camera. For me, the Komodo would be a B Cam on gimbal or run and gun A Cam for smaller projects, where size and weight matter, like convention floor or live event. I would never use this with an inferno or odyssey. Using a cell phone w/ minimal weight and power draw is very appealing. My non-cinema clients love the small file size options in my DSMC2. I’d be very sad if Komodo was limited to shooting only R3D.
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I think offloading recording of video codecs to an external device, whether phone or recorder/monitor is a necessity to reduce Komodo's cost. External recording is certainly useful for more than proxies. One of the things that came up in the engineering of the Digital Bolex is that given internal processing limits the choice was to optimize for best raw quality recording only or compromise image quality in both raw and video modes. Debayer, encoding, and compression for video codecs, including DI formats like Prores, is a very processing intensive task to accomplish with high level pro quality. Circuit designs optimized for this are not optimized for raw.
It will be interesting to see what the 4K SDI output can support. It will most likely be uncompressed, but 10 bit? 12 bit? 4:2:2? 4:4:4?
 
Brandon Klock said:
Recording via SDI to a heavy 7” onboard device kinda defeats the purpose of this camera. For me, the Komodo would be a B Cam on gimbal or run and gun A Cam for smaller projects, where size and weight matter, like convention floor or live event. I would never use this with an inferno or odyssey. Using a cell phone w/ minimal weight and power draw is very appealing. My non-cinema clients love the small file size options in my DSMC2. I’d be very sad if Komodo was limited to shooting only R3D.
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100%
 
Jonathan Shugarman said:
It was in the specs that have been released so far, so dig back. Also, the inferno is a simple solution but for a movie set i imagine the odyssey or similar.
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Dig what ? THIS https://www.imdb.com/title/tt10808832/technical?ref_=tt_dt_spec
All I am saying that shooting with actors usually you need something for focus, sound, tc, wireless and so on.
On the picture it's looks like try out configuration nothing more. https://www.newsshooter.com/2019/08/13/director-filmmaker-steven-soderbergh-testing-new-red-komodo/
On last movie he spoke about a shoot with 27 takes with Meryl Streep, it doesn't look like they don't work precise .
If Michael Bay running around set holding camera as he does, it doesn't means he is not surrounded by professionals of all trades. Just look at his set.
https://www.google.com/search?q=Michael+Bay+running+after+Mark+Wahlberg+with+a+RED+camera&client=safari&rls=en&sxsrf=ACYBGNQU0l8sM7Lb4G1gjUG06Z57IYDz-Q:1577583839494&tbm=isch&source=iu&ictx=1&fir=pYSsLIymLCKoLM%253A%252CWsGapHp_BQ6-FM%252C_&vet=1&usg=AI4_-kSyXJVSgr_uHXJBpJlkYQxlismwZQ&sa=X&ved=2ahUKEwiF2-zi3dnmAhULwsQBHZJzAnAQ9QEwAHoECAEQBg#imgrc=pYSsLIymLCKoLM:&vet=1
 
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Andrew Dease said:
Pro res is smaller than R3d?

I think after 8k and at this stage in the game 6k transcoding in 2020 should be a piece of cake for any editing station.
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His non-cinema clients would love, when he will tell them to transcode everything, and if they can't go and buy a new editing station. It's 2020.
And who shoots 8k ProRes?
 
Andrew Dease said:
What?

Yes I never shoot prores. Sorry I thought he was prepping and delivering the files in which case I transcode to what the client asks. From 8k. On a 2014? Trash can Mac.
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So lets say you have three day job shooting conference interviews two three hours material a day for some youtube channel and guys are cutting over night. What you will tell them : "Wait I am purist raw shooter, I need to go home to my trash can Mac."
Horses for courses. There are different jobs out there.
Did you compare side by side some good portrait (a talking head if you want to) a shoot 8k downsampled to 2k and 2k ProRes 444 shoot inside camera. With same grade they are very close.
Roger Deakens shoot his first Alexa jobs with ProRes. Nobody from the guild did not call him to get out because there are better options out there.
 
Alex Stolpakov said:
So lets say you have three day job shooting conference interviews two three hours material a day for some youtube channel and guys are cutting over night. What you will tell them : "Wait I am purist raw shooter, I need to go home to my trash can Mac."
Horses for courses. There are different jobs out there.
Did you compare side by side some good portrait (a talking head if you want to) a shoot 8k downsampled to 2k and 2k ProRes 444 shoot inside camera. With same grade they are very close.
Roger Deakens shoot his first Alexa jobs with ProRes. Nobody from the guild did not call him to get out because there are better options out there.
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For the interview gigs an external recorder/monitor with SSD would be a better solution than adding the cost of same to Komodo to do it internally IMO. But we don't know what Komodo supports, if anything, other than RAW yet. Those DI codecs (except for Cineform) cost money to license too.
 
Did anyone mention the possibility of "Global shutter" ? Yet … ?
 
If I'm not mistaken, it's been discussed extensively after the confirmation from Jarred himself.
 
Justin Gum said:
If I'm not mistaken, it's been discussed extensively after the confirmation from Jarred himself.
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For realz ~ They built an electronically globally shuttered camera ? ???

No way … ?

(hoping ^^^ for a "WAY !" there.) .
 
Eric Lange said:
For realz ~ They built an electronically globally shuttered camera ? ???

No way … ?

(hoping for a "Way" there.) .
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Exactly!
Global and rolling shutter modes.
 
@David R

I would expect slight loss of depth / DR in a global shutter mode but you are saying that's not an issue :001_cool:

Sorry to be super lazy and stupid , do you guys have a link or reference to confirm "Global shutter' on KOMODO ?

I can comb through this thread and stalk Jared's posts etc.

Ta. / TIA

Also the narrow shoulder and form factor of the camera would or could be a Gods'-send. @Gregory K
 
Eric Lange said:
@David R

I would expect slight loss of depth / DR in a global shutter mode but you are saying that's not an issue :001_cool:
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Jarred said it isn't an issue, and he's shown himself to be an honest person.

It's hard to find his comments in the thread because it's so long, but that did come from him.
 
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