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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....

Jarred Land said:
Hey Jacob you already all know the frame rates. 6k 40fps, 4k 60fps, 2k 120fps. Or are you asking about something else?
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Jared, you have just made me very happy indeed. :) The 120@2K is new info to me that I dont think you have made public before now? ( or I missed it ) either way I'm over the moon! Cant wait to take this thing off grid and into the wild places of the world mountain biking. Also the fact your so active on here is amazingly well appreciated! WOOOO! Roll on the storm troopers, I will have my trigger finger primed and ready!
 
Jarred Land said:
There never was going to be Komodo at NAB... I stopped doing product launches at NAB years ago. Might of had one or two there to take a peek at but you can always take a peek if you come see me at the studio.
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oh yes, i know, but reds were at all sorts of other booths for demos, and thought you might be doing a little show and tell in the demo room.
but ill take you up on the studio visit!
 
Andrew Dease said:
Hi Phil, What about the 2k crop factor tho? *edit. Just format compared the CF. Thats hella crop... at 2k. Have you tested that at all or with a speedbooster? Think a SB would make up for a lot of that crop since its all center frame (sharpest part of lens)?

Also: http://www.reduser.net/forum/showth...dapter-F-A-Q&p=1892281&viewfull=1#post1892281
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Once you start cropping below 5.5K, Speedboosters are your best friends!
Though it goes without saying that any additional optics on the way to the sensor will likely compromise IQ. But as we get closer to the centre of the FoV, we get the best out of the glass. (already mentioned)
 
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Phil,

Here’s a huge +1 for the Schneider Xenon FF. I think this is one of the more underrated “mid-priced” cinema lenses. The build quality is second to none, the interchangeable mounts are amazing and the clean yet organic character of the glass is so often right where I want to be.

I also really enjoy the Sigmas, especially the speed! But the image is a little too clean for me. Don’t get me wrong, sometimes that is exactly what is needed, but the Xenons have that little extra flare and warmth that always looks like it is there without seeming like I was trying too hard to make it be there if that makes any sense. Haha
 
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Jarred Land said:
Hey Jacob you already all know the frame rates. 6k 40fps, 4k 60fps, 2k 120fps. Or are you asking about something else?
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i know i may seem greedy for asking specially at this price point but would 4k 12ofps even 4k 100 be possible. I personally use high-speed very often, i wandering if i should just buy a used Raven...
 
Jarred Land said:
There never was going to be Komodo at NAB... I stopped doing product launches at NAB years ago. Might of had one or two there to take a peek at but you can always take a peek if you come see me at the studio.
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Hey Jarred is that offer for anyone I would most definitely take a trip for a sneak peak.
 
Jarred Land said:
Hey Jacob you already all know the frame rates. 6k 40fps, 4k 60fps, 2k 120fps. Or are you asking about something else?
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Do we know the framerate at 5K? Getting 50 fps at 5K gives both PAL framerates and subsampling results down to 4K. It would also able HDRx at 24 and 25 fps, if that could be implemented.

As far as I understand, the hardware is locked down for the camera? How about an official spec list based on that, in order to calm down the ongoing speculations. Doesn't have to be a full list, but the basic specs. A pinned such list in the Komodo part of the forum would help those who miss spec related posts.
 
Gregory Karydis said:
Looks like it might vignette at full frame 6K...
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That looks to be the case for sure, but the vignetting may possibly be very minimal. I previously posted this test in another thread: https://www.youtube.com/watch?v=eBywgv-4_s4&lc=z22lexyiqwqbs1enaacdp431as4ieko0veg1wqgcj1pw03c010c.1583679292682090. It's shot with a Speedbooster on an EOS R in full frame HD with stabilization set to "Enabled," which gives a horizontal crop of around 1.15x. The video is cropped to 2.4:1 and exhibits just slight vignetting. I've messed around with the images from the test a bit and with the Komodo's ~1.3x crop, it should be fine for 2.4:1 6K, but may vignette ever so slightly for full sensor 6K.
 
Hello Jarred, what is the latest news from China (or from elsewhere…)… Can we expect a delivery for April?… Or not… We know that for the Komodo, everything will be different… and we hope that it is also valid for waiting times… I bet that the Komodo will arrive in Europe before the end of April…
 
Christophe Deshoux said:
Hello Jarred, what is the latest news from China (or from elsewhere…)… Can we expect a delivery for April?… Or not… We know that for the Komodo, everything will be different… and we hope that it is also valid for waiting times… I bet that the Komodo will arrive in Europe before the end of April…
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Definitely not April.
 
IMO, the Sigma CINE primes are the reference point I use to judge the value of lens sets. All the lower cost options have compromises the Sigmas do not. The Sigmas fast apertures, color matching within the 10 primary focal lengths, small size, build quality, precise mechanics, cammed focus and consistency of rendition are class leading. Yes, they are a bit too clean and sharp for some projects - but there are filters and a host of techniques for adding flavor (I know, that is not the same thing as interactive internal flares and other analog characteristics intrinsic to some lens designs).

Sets in a similar class, like the Tokina Vistas and the CP.3s, each have caveats. The CP.3s are a mix of optical designs that don't always match well and WFO varies pretty dramatically. The Tokina Vistas are quite nice with good build quality and a consistent look across the set. They are bit more expensive - just under $50K for a 7 lens set (10 lens Sigma set is $35K). For me, the final nail is their size - with the cameras getting ever smaller and gimbals everywhere, the Tokina Vistas are larger then I want in my quiver - especially for the tiny Komodo. YMMV.

Cheers - #19
 
A wise lens wizard who lived atop a volcanic glass mountain with a molten core forging new elaborate and geometrically challenging aspherical lenses who was rumored to spit optical cement and cried mists of tiers to coat his creations once told me:

Easy to dirty up a modern lens with a clean look, impossible to clean up a funky lens to create a modern look.
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I own a fair mix of both lanes, but you know most of the time I'm filming cleaner than not for most of what I do.

Personally I don't mind the larger lenses and that alludes to where I am often swapping between the Tokinas and Sigmas is when size is a bigger consideration. They do have different looks if you are one to really run your mind though each and there is a difference in pure image quality, but they are both really good sets at very good prices. Mentioned it above, but way off the field of the look over those cleaner primes in December I started filming a project on Xenons and they once again have seduced me with their charm. That whole shoot will be on those. Likely my next hooch related commercials too.

I still whip out the Otus, though they've been more for stills in the last couples years more than anything as PL VV glass has become much more available. They've lived on my 5DsR and A7RII/III/IV when not on my VV. I've shot a couple projects exclusively on the trio of Otus prior to the 100mm launch on VV though and it's real hard to argue against that 55mm IMO.

Schneider get me closer to what I love about Leica-R-land overall with lots of matched glass in a decent range of lengths (I don't like the Leica-R 19mm f/2.8 for instance). The other sets I have are cleaner or even funkier basically.

I mean it's insane though. You can put a whole set of glass together Cine-Modded up for $1K-$2K via eBay or go with the various Kiev options. Younger filmmakers have a lot of possibilities and can grow as their needs do. It was harder when things like eBay didn't exist for sure. Interestingly the big change there too is sets like Super Speeds and K35s used to go for $3-$5K, but those days are no longer. The market grew and older glass in relationship to that is much more limited in supply considering the potential marketplace.
 
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