KOMODO....

[David Rasberry]

You will be able to through a phone, but I would say that mp4 is a terrible format for "quick edits". Mp4 is very taxing on the system and you would be better off having a lower ProRes format instead. Even on my high end machine, I usually transcode mp4s to ProRes or DNxHR before editing. Never go for high taxing long GOP formats when doing something fast. Mp4 is better as a distribution format.

+1! Long GOP codecs developed for streaming are not very efficient for editing. DI formats, Prores, DNXHD/HR, Cineform, are designed for high quality efficient editing. DI master grade transcodes also produce higher quality exports than long GOP MP4 originals. I transcode everything to Cineform for editing(PC).

 

[Luke Marcus Rosen]

Our preferences won't survive history.

Glad I can discuss with an educated fella... I enjoyed your predictions - and they seem very reasonable to achieve right now, and yes some have been done already. RIP HMU dept... LOL (but yet still there will be those who will want HMU no matter what!!!)

Tempera is just as painstaking to utilize as film perhaps but it gives a specific look. That can be emulated. And yet, it's still around. Same as whether you choose to eat real beef or new, grown in a lab fake beef that tastes exactly like the real thing. There'll be new options. Because we're headed towards world destruction, perhaps it's best to leave the meat industry out of this discussion. LOL

Everything in digital is quantified, therefore there is less unpredictability as there is in film. Not yet, I guess... perhaps there'll be invariability measures that can be added to each image you take to simulate unpredictable things to happen to your image during capture, not in the post process. But yet, it must be programmable, whereas in film there are more chances for error, more serendipity. Also, the definition of "corrupt media" translates differently across the two forms, and there are certain things such as digital cameras' and electronics' intolerance and resistance to water that film is far superior in. Maybe technology will get to a point that everything is waterproof, but for now, if you accidentally submerge a digital camera, you will most certainly lose your footage versus accidentally submerging a film camera -- the media may still be safe. So of course there advantages and disadvantages.

We talk about the end result of a digital image vs a film image and call it a look, but think about your subject looking into the lens of a DSLR versus looking into a camera from the mid 20th century, or even earlier. Their expression probably will LOOK at least a little different. Our pupils open and close like apertures to let in more or less light, depending on what we're looking at in front of us is enjoyable/pleasing to us or not. So the final image WILL look different depending on the medium you choose, no if's and's or but's about it.

"Our preferences won't survive history." Interesting... I'll refrain from comment.

 

[Mestizo Devon]

Can you point out, where it was sad about it? I thought the question is still open about it.

I took it as opinion as no quote was given.

 

[Curren Sheldon]

I guess we'll find out soon enough, but I really hope the Komodo comes with ProRes at least in 2k (but also preferably 4k), so we can use the full width of the sensor for those projects that only need to be 2K (or HD).

 

[Zack CC]

ProRes is a weird feature. It makes sense for a camera at the supposed price point to be able to shoot to an intermediate codec because the editing rigs that would be purchased at that budget level for a filmmaker whose primary camera is the Komodo might not be specd to handle RAW. However, licensing ProRes and having the computational power to encode it in real-time are both potentially expensive propositions.

I think the ultimate answer lies in implementations of the new SDK. It should become pretty seamless very soon to online edit RAW even at full res with most modern graphics cards. The offline edit isnt something that should be desirable. I understand that it makes sense for some projects, but really, its possible we are on the tail end of that era.

 

[Gavin.Benjamin]

ProRes is a weird feature. It makes sense for a camera at the supposed price point to be able to shoot to an intermediate codec because the editing rigs that would be purchased at that budget level for a filmmaker whose primary camera is the Komodo might not be specd to handle RAW. However, licensing ProRes and having the computational power to encode it in real-time are both potentially expensive propositions.

I think the ultimate answer lies in implementations of the new SDK. It should become pretty seamless very soon to online edit RAW even at full res with most modern graphics cards. The offline edit isnt something that should be desirable. I understand that it makes sense for some projects, but really, its possible we are on the tail end of that era.

I agree, at the same time the raven had the option. I dont feel this camera will be less then the raven at this point even tho the price point is at half the cost things have just changed there is no way that it will only do just R3D in 2020

 

[David Rasberry]

I agree, at the same time the raven had the option. I dont feel this camera will be less then the raven at this point even tho the price point is at half the cost things have just changed there is no way that it will only do just R3D in 2020

The design paradigm for Komodo is different from DSMC. Expect it to require an external recorder for anything other than R3D.

See the picture from Soderburgh’ shoot above.

http://www.reduser.net/forum/showthread.php?180372-KOMODO&p=1890293&viewfull=1#post1890293

 

[Nick Morrison]

The design paradigm for Komodo is different from DSMC. Expect it to require an external recorder for anything other than R3D.

See the picture from Soderburgh’ shoot above.

http://www.reduser.net/forum/showthread.php?180372-KOMODO&p=1890293&viewfull=1#post1890293

Interesting thing about this paradigm is because Komodo has 4K out, it will presumably be able to record 6K R3D and 4K Prores (as a backup) at the same time.

This level of redundancy will be very useful.

 

[M Harvey]

I agree that I'd find internal ProRes a very useful feature-- significantly as a way to deal with sensor crop for jobs where 6k is vast overkill. That would be a reason to use the Komodo for everything, rather than switching to an FS7 (or even something lesser) for shooting corporate interviews and the like. But I get it-- Komodo is not designed to be a general-use A camera, it's a specialized tool that looks like it just might be a very capable A cam in certain situations.

Setting that aside, the R3D format is already one of the main attractions of Komodo (compared to Blackmagic or Sony offerings in the same size class). I'm really hoping for a pretty robust capability to record at lower compression ratios;I'd ideally like to be able to record 6k at 6:1, for example. (I'd thought about jumping on board the Scarlet-W, but felt I couldn't quite get what I wanted out of the 5k 8:1 image, versus the Epic Dragon at 6:1. Of course, there are probably lots of other differences in the cameras and my technique that could have been responsible, so maybe my thing on compression is just superstition...)

 

[Nick Morrison]

I agree that I'd find internal ProRes a very useful feature-- significantly as a way to deal with sensor crop for jobs where 6k is vast overkill. That would be a reason to use the Komodo for everything, rather than switching to an FS7 (or even something lesser) for shooting corporate interviews and the like. But I get it-- Komodo is not designed to be a general-use A camera, it's a specialized tool that looks like it just might be a very capable A cam in certain situations.

Setting that aside, the R3D format is already one of the main attractions of Komodo (compared to Blackmagic or Sony offerings in the same size class). I'm really hoping for a pretty robust capability to record at lower compression ratios;I'd ideally like to be able to record 6k at 6:1, for example. (I'd thought about jumping on board the Scarlet-W, but felt I couldn't quite get what I wanted out of the 5k 8:1 image, versus the Epic Dragon at 6:1. Of course, there are probably lots of other differences in the cameras and my technique that could have been responsible, so maybe my thing on compression is just superstition...)

Komodo is not designed to be A level camera on high end productions.

I'm sure for many people it can and will be an A camera.

 

[WesG]

Komodo is not designed to be A level camera on high end productions.

I'm sure for many people it can and will be an A camera.

I'm looking to downgrade from a Monstro to this as my A cam rogar-Smoke(DBG): - run'n'gun light weight style.

To me a low res, small file size for immediate offline editing will b an important feature - smaller file size the better as I'll always online with the R3Ds.
That, combined with battery life, hopefully a speedy boot up time and it's size will make this an important documentary camera.

 

[Jean-Charles Myrand]

Komodo is not designed to be A level camera on high end productions.

I'm sure for many people it can and will be an A camera.

Indeed its gona be an A cam for some. Not every one has the budget for a 40K Helium or ever 20K for a Dragon. The Komodo will be the only accessible Red for many.

 

[Christoffer Glans]

Komodo is not designed to be A level camera on high end productions.

I'm sure for many people it can and will be an A camera.

What is a high-end production? Is Soderbergh high end? I also think that the capabilities this camera has for camera moves and new ways of shooting make it possible to be an A-cam for many productions. For example, why would any independent movie, that wants to be flexible during shoot, choose a DSMC2 over Komodo? For the price and flexibility, it's perfect for such films because whenever you end up with budgets that can cover larger productions with larger demands in equipment and post, you will have the money to rent a larger camera. This camera is gonna do wonders for indie-filmmakers as an A-cam.

 

[Jarred Land]

Indeed its gona be an A cam for some. Not every one has the budget for a 40K Helium or ever 20K for a Dragon. The Komodo will be the only accessible Red for many.

Yeah.. if you own both you probably will choose a DSMC2 for your A cam on larger shoots if you need Aux power outputs, lens motors, multiple monitors, etc. etc. etc. because to build Komodo up to do all that your size for size getting to be the same ballpark. And remember framerates... if you need high framerates you will pick up a DSMC2. And at least with Monstro and in some cases Gemini you are gonna have more latitude.

But.. many people don't need all that for run and gun or discreet or pop off shots, and obviously what the camera was designed for ( Gimbals and Crash rigs , Drones etc ) komodo is gonna win. And for those that want smallest package possible and do most everything themselves it will most definitely will be an A cam. I am seeing people do that a lot already.. Even some that have ALL of our cameras lined up to chose from.

I gotta say things changed for me personally when we turned that little tiny top screen on as a preview monitor last week.. I thought it would be completely useless to use as a monitor but I was wrong. I mean you of course want a proper monitor for focus until we get at least focus confirmation working but shooting like that with nothing else but a lens is so powerful and o so small with such a big image.

Yeah... I know It's my baby. And I'd be proud of it even if it was an ugly duckling and of course I am going to say good things about it.... but I gotta say... this camera really feels special.

 

[Karim D. Ghantous]

I gotta say things changed for me personally when we turned that little tiny top screen on as a preview monitor last week..

I just assumed that this would be a feature, so I didn't even think to ask. ;-)

 

[Sergio Perez]

Yeah.. if you own both you probably will choose a DSMC2 for your A cam on larger shoots if you need Aux power outputs, lens motors, multiple monitors, etc. etc. etc. because to build Komodo up to do all that your size for size getting to be the same ballpark. And remember framerates... if you need high framerates you will pick up a DSMC2. And at least with Monstro and in some cases Gemini you are gonna have more latitude.

But.. many people don't need all that for run and gun or discreet or pop off shots, and obviously what the camera was designed for ( Gimbals and Crash rigs , Drones etc ) komodo is gonna win. And for those that want smallest package possible and do most everything themselves it will most definitely will be an A cam. I am seeing people do that a lot already.. Even some that have ALL of our cameras lined up to chose from.

I gotta say things changed for me personally when we turned that little tiny top screen on as a preview monitor last week.. I thought it would be completely useless to use as a monitor but I was wrong. I mean you of course want a proper monitor for focus until we get at least focus confirmation working but shooting like that with nothing else but a lens is so powerful and o so small with such a big image.

Yeah... I know It's my baby. And I'd be proud of it even if it was an ugly duckling and of course I am going to say good things about it.... but I gotta say... this camera really feels special.

Jarred man you're seriously making me rethink on the Canon 1D Mark III purchase... Having a Monstro already, I was thinking of waiting for DSMC3 for my next red purchase, but here we are. You guys are killing me!

 

[Andi Loor]

The film vs digital discussion seems a bit theoretical to me, about digital being able to emulate film as if film was one. Film, as well as digital has always been a combination of things, like light, lens filmstock and whatnot. I used to prefer Kodak Tri-X before Ilford black & white still camera stock. I only used to work with Leica or Canon lenses. I do prefer Grahams IPP2 colour science before let's say Sony or Panasonic. What I'm sure of is that we are getting more options, and we are making personal preferences with our choices. That's at least why I have stayed with RED for nine years. The outcome of a film vs digital "war" will be decided from economic reasons, and not to forget, enthusiasts. Very much like the predictions about the death of analog LPs.

 

[Andy Roberts]

In 2011, I jumped into "cinematography" for the first time, buying a used Red Epic-X. I understood RAW for stills and knew I needed the flexibility of RAW for video since I was such a newbie. Loved it and rented it out to subsidize my camera that I couldn't afford. Ultimately I got in line for a Scarlet-W, only to leap frog to an Epic-W Helium 8K, thanks to Jarred's generous upgrade policy. I had learned a ton about the craft from the generous Red community but soon my need for this very expensive camera diminished. I sold all my Red gear, paid off some debt and bought 2 Panasonic GH5's. They've served me well for my client needs but I constantly miss Red RAW. I've looked at the Nikon Z7 and the Atomos RAW solution, but it doesn't seem to me to be as flexible and good as Red RAW. My Red rep contacted me out of the blue and I said, "I'm out of the Red ecosystem." He said, "Have you heard about Komodo?" And so here I am, waiting for the release of Komodo, looking forward to the day I can hopefully own a Red again, and once again enjoy what has always been the best part of Red... .r3d, Redcode, Red RAW. Thanks for making a camera Jarred so that us little guys can tap into the genius of Red. You'll sell a ton of them. (Anyone want to buy some Panasonic cameras and some good Nikon glass? :thumbup1

 

[Carlos_Crespo]

It's clear that Komodo started as a completion to the DMSC2 line. But gradually, it has evolved into its own position. Hence, I'm still hoping that Jarred lets the camera grow to its own full camera line putting it next to DSMC2 and Ranger. Not just being a 'utilitarian add on' camera.

Meaning, will Komodo get:
1. RED specific accessories like a foldable display that's attached cable free to the pins, rotatable and tiltable EVF also cable free connected through the top pins etc...
2. a little more fps without hurting the investment of DSMC2 owners (4K 75p)...

I know it's all a gamble between price range of Komodo and functions you can get realistically for that price. What about a fix entry price for those DSMC owners who want to buy several Komodo's to be used in Multicam or just because they don't need extra functions. And than, for the indy filmmaker for instance who will most likely buy only one Komodo offering the possibility to access through payed licenses more functions (like 4K75p, Canon's DPAF, etc...)?

 

[Bob Gundu]

It's clear that Komodo started as a completion to the DMSC2 line. But gradually, it has evolved into its own position. Hence, I'm still hoping that Jarred lets the camera grow to its own full camera line putting it next to DSMC2 and Ranger. Not just being a 'utilitarian add on' camera.

Meaning, will Komodo get:
1. RED specific accessories like a foldable display that's attached cable free to the pins, rotatable and tiltable EVF also cable free connected through the top pins etc...
2. a little more fps without hurting the investment of DSMC2 owners (4K 75p)...

I know it's all a gamble between price range of Komodo and functions you can get realistically for that price. What about a fix entry price for those DSMC owners who want to buy several Komodo's to be used in Multicam or just because they don't need extra functions. And than, for the indy filmmaker for instance who will most likely buy only one Komodo offering the possibility to access through payed licenses more functions (like 4K75p, Canon's DPAF, etc...)?

Sounds like DSMC3.