KOMODO....

[David Rasberry]

Commodity batteries and media are cost savers, for sure. That said, if you are putting together a Komodo based package for professional shoots, I'd budget $10K and be happy if it's less.
I'd also consider your lensing options. Huge fan of going RF on Komodo, but since it's still a "new" standard the universe of cinema grade optics is small and I doubt much of a resale market will exist for at least another year or two. That means I'd budget for a R>EF and/or R>PL mount adapter to put in the kit. FWIW, I'd actually suggest shelling out for an adapter that is also an ND turret. Being able to swing that little lizard around sans matte box/front filters is a great option to have.

Cheers - #19

Aftermarket friendliness is a big plus for me. Minolta MD to RF adaptor plus media is all I will need for starters. Have batteries and Beachtek XLR pre from my old Canon GL2 kit still in good condition. Hope the batteries are beefy enough.

 

[Maik Müller]

Yeah but what about a Mamiya style EVF ?

As stylish as it looks, I would find this design limiting - unless RED makes it tiltable like the Fuji GFX EVF with that way overpriced little adapter.

 

[Maik Müller]

Monochrome Komodo definitely on the radar, but not till we get past the first swell of orders and get caught up a bit.

Very happy to hear that.

 

[Bastien Tribalat]

As stylish as it looks, I would find this design limiting - unless RED makes it tiltable like the Fuji GFX EVF with that way overpriced little adapter.

Yeah, it should be tiltable. Even with the physical buttons.

 

[Blair S. Paulsen]

To be clear, I'm not saying you have to spend $10K. Just trying to provide a reality check for people who see Komodo as a 6K for $6K camera ready to shoot.

Cheers - #19

 

[Ash Worth]

Yeah, it should be tiltable. Even with the physical buttons.

I think you missed the point of this camera, compact and remote operated. Adding a tilt screen makes it way more complicate [and more expensive] but I get the request... RED builds for a very specific use and many just wanting a RED camera use it for their everyday A cam.

 

[Jay A. Kelley]

Unlike when we all started, there is a LOT of competition out there now. The higher the price point gets to 10K the stiffer the competition gets.

Sony FS7
Canon 300
Panasonic EVA1

You get the idea. What IS missing is a Sub $5,000 cine camera. We'll see.. RED has been doing this a while now.. I'm sure they know where to place this.

 

[Bob Gundu]

Unlike when we all started, there is a LOT of competition out there now. The higher the price point gets to 10K the stiffer the competition gets.

Sony FS7
Canon 300
Panasonic EVA1

You get the idea. What IS missing is a Sub $5,000 cine camera. We'll see.. RED has been doing this a while now.. I'm sure they know where to place this.

I feel its its own category with it comes to competent Gimbal/Drone cam with global shutter.

 

[Zack CC]

Only thing I'm missing from my wishlist build right now is a "booster seat" or whatever gets me into 15mm LWS. Whatever goes under that breakout adapter plate that got teased. Although i guess we still haven't seen the other side of that thing, maybe it's one and the same.

I understand that PDAF is the way to go, for an ultra compact footprint and mobility, but in my previous experience part of a really tight mobile build is wireless, and motors. Ultimately its about making focus someone else's problem. Plus internal AF doesn't fly on cinema lenses anyway.

Phil? Played around with rails yet?

 

[Ryan Genova]

Unlike when we all started, there is a LOT of competition out there now. The higher the price point gets to 10K the stiffer the competition gets.

Sony FS7
Canon 300
Panasonic EVA1

You get the idea. What IS missing is a Sub $5,000 cine camera. We'll see.. RED has been doing this a while now.. I'm sure they know where to place this.

I know they're marketed as "cinema" cameras and maybe it's just me or maybe it has to do with the fact that I'm used to seeing a RED image in a ton of mainstream movies and shows, but I've never really felt that the offerings from Sony, Canon, or Panasonic in that price range produce a particularly cinematic image or considered them as true competition for RED. I may be wrong, but I'd assume there isn't much overlap in the markets for cameras that record 4K MPEG-4 and those that shoot 6K RAW with global shutter.

 

[Aaron Lochert]

128GB is likely not going to be very much record time

Hence my next paragraph

 

[Tim Daust]

Hence my next paragraph

I get it you were saying - absolute lowest but I just couldn't imagine 128gb these days myself. lol

 

[Jarred Land]

I get it you were saying - absolute lowest but I just couldn't imagine 128gb these days myself. lol

Boy we've all gotten spoiled . I remember when we went from 8gb to 16gb on the R1 and were celebrating that we beat the 11 minutes run time of a film mag

 

[Tim Daust]

Boy we've all gotten spoiled . I remember when we went from 8gb to 16gb on the R1 and were celebrating that we beat the 11 minutes run time of a film mag

its true man - some people still really like to have smaller media with more swaps so options are good.

 

[Phil Holland]

Boy we've all gotten spoiled . I remember when we went from 8gb to 16gb on the R1 and were celebrating that we beat the 11 minutes run time of a film mag

You and likely anybody here know my strong feelings on some of the advantages digital has provided over the years.

One of the things digital has allowed over film in my world has been the exploration of very long form takes and content. Taking into account adding slow motion into the mix and it's been so bloody empowering.

Most people have seen my work with 2-16 minute takes, but the ones that hold for 30-45 minutes are just unreal and have a special place in my heart knowing that just wasn't possible until recently and certainly not at the visual quality levels we're able to achieve today.

Adding the larger formats into the mix and it's even more of a stunning advancement. Then taking the size of the gear we use into account and it's just nuts.

We used to be able to load up with 2000 feet S35 for about 20 minutes of actual roll time with some padding for start/stop, but now with 1TB and 2TB mags a whole new world has opened up and there's also no media waste getting to speed.

At 60fps you could barely get 7+ minutes out of a 2000 foot mag. VistaVision? Half that. And we actually ran I think mostly at 72 or something max for VFX work.

It's truly stunning what's possible now.

 

[Mendes Nabil]

Boy we've all gotten spoiled . I remember when we went from 8gb to 16gb on the R1 and were celebrating that we beat the 11 minutes run time of a film mag

Some of us are still in this dark side Jarred, Red one MX + 16Gb cards..

 

[Jonathan Shugarman]

Has Jared said if the komodo will have any adaptor(s) for DSMC2 Lemo A or B, so we can use current RED screen tech with it? That would really be nice to have the ecosystems work together, as it's supposed to be a combined workforce with DSMC2.

 

[Jason Diamond]

Ideally you could make that using the top body pins and get a HQ solid monitor path, using a mirror to bounce that small screen up might be less than ideal but certainly useful.

 

[David Rasberry]

Ideally you could make that using the top body pins and get a HQ solid monitor path, using a mirror to bounce that small screen up might be less than ideal but certainly useful.

The pogo interface will work with phones via USB-C adapter, but the signal format would not work with DSMC monitors. Komodo is not DSMC.
Pretty radical departure from past designs in many aspects. Both more open to and more dependent on third party accessories.

 

[Jay A. Kelley]

Jarred,

I am assuming the Komodo does not require a "custom RED" monitor to control the camera. If that's the case, I have a few 5" and 7" SDI monitors that should be just fine.