KOMODO....

[Phil Holland]

Have you used the Otus? Wonder how that'd quiver your arrow.

If you are looking for a hard fight between the two, comparing the Zeiss Otus 55mm f/1.4 to the Sigma Art 40mm f/1.4 (or Sigma Cine 40mm T1.5) is a hard decision if you need to choose just one.

And of course the Sigma is available in PL with a proper cinema housing as well as a part of much fuller cinema-minded set.

The Supremes are sort of that for Zeiss in this playing field.

 

[paulcurtis]

I know... I have one. It does have great image quality, even though it doesn't have log encoding yet. I haven't tried the 8 bit raw yet, because my SD cards aren't fast enough, and I just leave it on 12-bit when I have my T5 connected. Even the All-I footage looks very good though.
Beautiful yes, but it doesn't fit well into a film production. Not having timecode is a drag.
Yep... lots of gotchas for professional work. It also has no 24fps mode, and I don't like that Sigma doesn't think that 24fps is important, or DCI aspect ratios...
I hope so also. If it does, I'll sell my Sigma as soon as I get my Komodo.

You don't want or need log encoding if you can record RAW. The 8 bit RAW files have a tone curve in them for compression anyway.
There's no point recording anything other than RAW off these things - i don't think any of the mov formats are worthwhile.
It does have timecode, but it's not ideal. You can do an audio thing with a tentacle. The DNG files retain the timecode though (the WAV files don't which is a bug)
You can do 24p in 10 bit or 8 bit. Just the 12 bit is limited. I believe this will be addressed in time though. Get a fast SDXC card and do side by sides, you will be surprised.

One thing about the sigma is that it is quite difficult finding a camera that works well with wide angle M lenses because of the filter stacks. I don't know what the stack is on the sigma but it *appears* to work well. I suspect that on Komodo the stack is thicker because it *will* have an OLPF and is designed for motion. So we will need to wait to see how M mount lenses work on it - that would prevent it being a stills combo for me.

Cheers
Paul

 

[Brett Pedersen]

That custom for Lana Wachowski is incredible man! It reminds me of a custom 'RED TACO CAM' that we designed last year in C4D for my agency. What are the odds of getting custom orders in for the Komodo? 5:1, 10:1? maybe 10000000:1?

https://www.instagram.com/p/B9g9oornrSE/

 

[Robert Hofmeyr]

Boot time is looking pretty good. Under 30 sec - assuming it only takes a couple seconds to load the ice cream graphic: https://www.instagram.com/p/B9eurzOBtij/?utm_source=ig_web_copy_link

 

[Carlos_Crespo]

One thing about the sigma is that it is quite difficult finding a camera that works well with wide angle M lenses because of the filter stacks. I don't know what the stack is on the sigma but it *appears* to work well. I suspect that on Komodo the stack is thicker because it *will* have an OLPF and is designed for motion. So we will need to wait to see how M mount lenses work on it - that would prevent it being a stills combo for me.

Cheers
Paul

The Leica SL and now the new Leica SL2 handles perfectly the M wide angle lenses (with the M-L Adapter). In fact, that sensor has been specifically adapted to. The SL2 has a really gorgeous image and pops in a unique way I haven't seen in any DSLM so far. It doesn't shoot RAW, but at least you get 4K 10Bit 4:2:2 up to 30p and 4:2:0 up to 60p internally and 4K 10Bit 4:2:2 60p externally through a Ninja V for example. All that by using almost the whole FF sensor width.
Jarred mentioned that Komodo has a fixed OLPF, so the filter in front of the sensor is likely going to be thicker than the one on the SL. If that's the case, the wide M lenses could become indeed problematic...we'll see.

 

[Carlos_Crespo]

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

I have rented once the Sigma FF cine primes and they had quite some focus breathing. Maybe I just had tough luck and I should give it another try since so many here seem to like them. I do like the Tokina Vistas look and build quality. But for Komodo they would make the combo quite front heavy..I gave up the plan to use my Otus set for the same reason...

 

[Carlos_Crespo]

It's possible I'm not fully understanding your question. But if I have your question right then the answer is that global shutter footage won't have the wobble from rolling shutter and makes stabilization potentially easier/better, depending on the circumstances.

Thanks Nik. Yup, you got my question right..

 

[Blair S. Paulsen]

Have you used the Otus? Wonder how that'd quiver your arrow.

The Otus lenses are fantastic, some of my favorite Monstro shots were with the 55. Came very close to buying a set.

For me; the size, stills mechanics and limited number of focal lengths just wasn't a practical choice. In my world I need at least 6 focals, cine mechanics and fast apertures in a prime set. Moreover, having lenses small enough for gimbals and ultra compact rigs is a common request - so part of it is serving my clientele.

Can't wait to put that Sigma 40mil on a Komodo. Image quality per pound should be ridiculous.

Cheers - #19

 

[Blair S. Paulsen]

According to Sigma, the CINE line uses the same optical formula as the Art series. Having shot with both on the same project, I see no reason to doubt them. The cine style housing enables the use of techniques common in motion imaging and uses materials more appropriate for the rough and tumble of production.

Cheers - #19

 

[Jiri Vrozina]

Sigma is good value glass but that cheap plastic around does not last.

 

[Mestizo Devon]

Jarred,

Has the official list come together yet and solidified pricing? Is it possible to get a blacked out “stormtrooper” ya know the other way... there are a few of those guys floating about too:tongue_smilie: All those bright colors has me wishing for a smoked out Komodo. Anyrate, anything else you care to share.... hint accessories, love to see how this guy is going to build out with RED/GDU hardware. And I know damn well you are tired, but I just can’t help myself today...

 

[Jarred Land]

Jarred,

Has the official list come together yet and solidified pricing? Is it possible to get a blacked out “stormtrooper” ya know the other way... there are a few of those guys floating about too:tongue_smilie: All those bright colors has me wishing for a smoked out Komodo. Anyrate, anything else you care to share.... hint accessories, love to see how this guy is going to build out with RED/GDU hardware. And I know damn well you are tired, but I just can’t help myself today...

The normal Komodos will be black

Pricing for normal Komodos is holding steady... The Stormtroopers we are fighting to stay within that $1k premium as we keep throwing money at a broken supply chain.. miraculously we have so far... I just don't want to commit to that just yet because it's a pretty massive shit-show out there right now, and the next couple weeks will be telling.

 

[Paul Kalbach]

I just want a black Komodo...a white one will show up more readily in glass, car, etc. reflections, cast unwanted bounce in ECU closeups, etc...
Givemestealth...

 

[Gregory Karydis]

The normal Komodos will be black

Pricing for normal Komodos is holding steady... The Stormtroopers we are fighting to stay within that $1k premium as we keep throwing money at a broken supply chain.. miraculously we have so far... I just don't want to commit to that just yet because it's a pretty massive shit-show out there right now, and the next couple weeks will be telling.

That's so good to hear!
Keeping my fingers crossed
Kudos to Aaron and the Manufacturing Team!!!

Here's a question Jarred,
What is the average life expectancy of a Komodo?
Taking into account the purpose the Komodo was designed for, how many of these baby Dragons make it back home after they've been to an explosion or any other high-risk adventure?
We've all seen the pics, but besides the peripherals taking a hit, what about the little beast itself?

 

[paulcurtis]

The Leica SL and now the new Leica SL2 handles perfectly the M wide angle lenses (with the M-L Adapter). In fact, that sensor has been specifically adapted to. The SL2 has a really gorgeous image and pops in a unique way I haven't seen in any DSLM so far. It doesn't shoot RAW, but at least you get 4K 10Bit 4:2:2 up to 30p and 4:2:0 up to 60p internally and 4K 10Bit 4:2:2 60p externally through a Ninja V for example. All that by using almost the whole FF sensor width.
Jarred mentioned that Komodo has a fixed OLPF, so the filter in front of the sensor is likely going to be thicker than the one on the SL. If that's the case, the wide M lenses could become indeed problematic...we'll see.

Except they don't! If you look at some of the more in depth reviews (Sean Reid for example or Jono Slack) then the SLs don't perform as well as M at the edges because the stack is still too thick. This is the whole Kolari stack replacement market.

Having said that the SLs perform well compared to most other cameras and we could be splitting hairs, but no RAW and i'm not interested. I can so much more with RAW.

But the inter webs are full of people proclaiming their a7s do well then posting pictures which clearly show the opposite!

So i am still waiting to experiment with the fp or find someone that breaks one down to see what the stack is!

Jarred mentioned the ms optics 28mm and that would have some pretty shallow rays out the back of it - so that's a positive sign!

cheers
Paul

 

[vincent kardasik]

Will the Komodo be splash proof or at least weather and dust resistant?

 

[Bastien Tribalat]

Will the Komodo be splash proof or at least weather and dust resistant?

I doubt it judging by the huge vents on the body.

 

[David Rasberry]

I doubt it judging by the huge vents on the body.

I disagree. The vents look like they are on both ends of a cooling tunnel straight through the body with fans on one end. The walls of the tunnel are heatsinks for the electronics sealed off behind them on all four sides, sensor electronics on the front, power on the rear, I/O across the bottom, control and display across the top ( more or less). Only the fans are exposed. The fan tunnel is probably a solid casting with no seams.
I’m sure the circuit boards are conformally coated, so dust and moisture proof. Connectors and controls that pass through the skin are the weak points, but it should be as dust and splash proof as most high end DSLR’s and runs hot enough to evaporate the occasional stray droplet pretty quickly.
All this is speculative until we see the inevitable YouTube tear down, but it would make good engineering sense.

 

[Brian F Kobylarz]

The normal Komodos will be black

Pricing for normal Komodos is holding steady... The Stormtroopers we are fighting to stay within that $1k premium as we keep throwing money at a broken supply chain.. miraculously we have so far... I just don't want to commit to that just yet because it's a pretty massive shit-show out there right now, and the next couple weeks will be telling.

On the not-too-serious side, should the supply chain present any new hiccups, perhaps leave a prototype KOMODO alone to see what happens...
https://www.cnn.com/2020/03/09/us/komodo-dragons-parthenogenesis-scn-trnd/index.html

 

[Bastien Tribalat]

I disagree. The vents look like they are on both ends of a cooling tunnel straight through the body with fans on one end. The walls of the tunnel are heatsinks for the electronics sealed off behind them on all four sides, sensor electronics on the front, power on the rear, I/O across the bottom, control and display across the top ( more or less). Only the fans are exposed. The fan tunnel is probably a solid casting with no seams.
I’m sure the circuit boards are conformally coated, so dust and moisture proof. Connectors and controls that pass through the skin are the weak points, but it should be as dust and splash proof as most high end DSLR’s and runs hot enough to evaporate the occasional stray droplet pretty quickly.
All this is speculative until we see the inevitable YouTube tear down, but it would make good engineering sense.

You're maybe right. Alexa Mini is weather sealed. (at least splash and dust resistant) so Komodo might be.