KOMODO....

[Sabovic Adis]

Dafuqe?! :rofl:

Hats off, Gregory!!! :thumbsup:

 

[Luis Boria]

There are no pre-orders for the stormtroopers... they just show up one day and we sell them till they are gone. And then they are gone. For those new to the game, When I do a special stormtrooper run they technically don't really exist. They are first ones out of the ovens and don't actually show up on RED.com ( well except for a super low key order page )

They just magically appear one day.

But I am giving you weekly updates right here until that happens, so you should have a good idea when to expect them. And I appreciate the visits and the love but you don't need to check in multiple times a day everyday for a bit still..... it won't be till May if Mexico can stay ahead of all the drama.

Nice! Fingers Crossed for May Release my birthday month it would be a great gift to me hehe... ohh by the way it’s the 13th hint hint

Thanks Jarred for the update

 

[jordan levy]

Not clear on your last couple of points, but I referenced every PL mount lens there, but he was looking for a relatively small PL lens in size.

In terms of feature film work, I haven't shot a single image of anything RF mount to end up on the big screen yet, it's too new and sort of um.... waiting for a camera to do that with

If referencing other non-PL mount lenses I've used for work that's ended up in theaters, here's the quick list of stuff I've used for plates, VFX, or just general stuff:
- Canon EF
- Nikon F
- Olympus OM
- Leica-R
- Leica-M
- Mamiya 645
- Hasselblad 500

In terms of shear optical quality as many have discovered some of the less expensive lenses outperform much, much higher end glass on an optical level, perhaps more importantly is the insane technical accomplishments some of the top tier lens manufacturers have achieved recently with high quality and hard to manufacturer aspherical or multi-aspherical designs. That doesn't mean there aren't a million reasons to shoot with a quality PL set. I use PL mostly for what I do because its' a robust and sturdy mount, cinema optics typically have much better mechanics, no image shift, build quality, consistent character ideally across a set of glass, heck if it's me I prefer a set of consistent T stops across primes too.

For me though, no matter what lenses I'm using for a shoot or even an individual shot, it starts with the look and then I go from there. I really enjoy working the Summilux-Cs for instance for their cleaner modern look, but I actually really like the Cooke S4s too because they are not that.

Like a set of Super Speeds isn't going to out resolve a set of Sigma Cine Primes for instance (<=140lp/mm versus 200+lp/mm and way better control over aberations, heh, and no plastic lenses involved *snicker*). But if you are choosing Super Speeds you are after their look more than anything these days.

There's weirder stuff in there that I have a lot of personal experience with that mirrors many DPs experiences too. Like Master Primes are phenomenal, but that 50mm is weird and most will go wider or longer as the 65mm T1.3 is a very nice lens and performs on par with the rest of the set.


I guess if you are looking for a major pro for the RF, though it sounds like that doesn't interest you, bare in mind that with the right lens your camera can be shorter than the camera with a PL Mount on there even. I don't need to repeat it really, but Komodo from the ground up is designed to be very small. That's very clear. And who knows, they might do a PL mount version for sure. But you'll have to answer if losing the possibility of going to any shorter flange distance mounts will be worth it in a camera that inspires creative use cases. It will be for some. With Komodo as it is now, RED has gone with the PL Adapter route. And ideally when it extra support is needed, rig it out with a support plate and foot. Heck leave it rigged that way if that's what you always use. In the DSMC2 world we do have interchangeable mounts and I hope that continues with DSMC3, hopefully now that the mount standard for RF exists RED can also make the bigger cameras compatible there too.

It's so weird when people want less options when it comes to the creative and technical lens solutions you can come up with, but there's certainly room for "just PL" in some worlds. Likely not a sub-$10K camera though. I mean most people in that pricing tier don't own PL glass for instance. But they do own EF and others for sure.

thanks again phil, yeah, i lean towards the cooke s4's or cooke anamorphics for almost every project, but so what's with this zeiss 21mm with a leica mount i think it is in a lot of the komodo pictures? why did they go that route? size? i think you mentioned the adapter before.

i think there are 3 options i see for me;

PL mount adapter, get one high end small pl mount lens that lives on the camera, but in a pinch can throw on another lens from my A camera

just stick with RF native, hope for good AF one day, get a nice wide zoom and a nice wide to mid range prime

or get a wide, medium and tight of some lenses made for stills, like that 21mm leica zeiss pictured on it, or a few lieca R's

i think the secret is choosing one route that works for you.

 

[Alex Stolpakov]

Not clear on your last couple of points, but I referenced every PL mount lens there, but he was looking for a relatively small PL lens in size.

In terms of feature film work, I haven't shot a single image of anything RF mount to end up on the big screen yet, it's too new and sort of um.... waiting for a camera to do that with

If referencing other non-PL mount lenses I've used for work that's ended up in theaters, here's the quick list of stuff I've used for plates, VFX, or just general stuff:
- Canon EF
- Nikon F
- Olympus OM
- Leica-R
- Leica-M
- Mamiya 645
- Hasselblad 500

In terms of shear optical quality as many have discovered some of the less expensive lenses outperform much, much higher end glass on an optical level, perhaps more importantly is the insane technical accomplishments some of the top tier lens manufacturers have achieved recently with high quality and hard to manufacturer aspherical or multi-aspherical designs. That doesn't mean there aren't a million reasons to shoot with a quality PL set. I use PL mostly for what I do because its' a robust and sturdy mount, cinema optics typically have much better mechanics, no image shift, build quality, consistent character ideally across a set of glass, heck if it's me I prefer a set of consistent T stops across primes too.

For me though, no matter what lenses I'm using for a shoot or even an individual shot, it starts with the look and then I go from there. I really enjoy working the Summilux-Cs for instance for their cleaner modern look, but I actually really like the Cooke S4s too because they are not that.

Like a set of Super Speeds isn't going to out resolve a set of Sigma Cine Primes for instance (<=140lp/mm versus 200+lp/mm and way better control over aberations, heh, and no plastic lenses involved *snicker*). But if you are choosing Super Speeds you are after their look more than anything these days.

There's weirder stuff in there that I have a lot of personal experience with that mirrors many DPs experiences too. Like Master Primes are phenomenal, but that 50mm is weird and most will go wider or longer as the 65mm T1.3 is a very nice lens and performs on par with the rest of the set.


I guess if you are looking for a major pro for the RF, though it sounds like that doesn't interest you, bare in mind that with the right lens your camera can be shorter than the camera with a PL Mount on there even. I don't need to repeat it really, but Komodo from the ground up is designed to be very small. That's very clear. And who knows, they might do a PL mount version for sure. But you'll have to answer if losing the possibility of going to any shorter flange distance mounts will be worth it in a camera that inspires creative use cases. It will be for some. With Komodo as it is now, RED has gone with the PL Adapter route. And ideally when it extra support is needed, rig it out with a support plate and foot. Heck leave it rigged that way if that's what you always use. In the DSMC2 world we do have interchangeable mounts and I hope that continues with DSMC3, hopefully now that the mount standard for RF exists RED can also make the bigger cameras compatible there too.

It's so weird when people want less options when it comes to the creative and technical lens solutions you can come up with, but there's certainly room for "just PL" in some worlds. Likely not a sub-$10K camera though. I mean most people in that pricing tier don't own PL glass for instance. But they do own EF and others for sure.

Why its always "either or". Nobody is talking about no to RF mount. Its just saint idea for rental houses that invested millions in PL each have a camera without a hassle. Cameras that are rented get the most recognition. Rentals push packages aka cameras and lenses and other staff. Other users of Komodo's will benefit from that.

If it was just me, I would say hurray to RF as I own a big set of nikkors and other Nikon mount lenses.

Another point, if it's too long in making. Maybe some certified mount, that you can relay on --flange distance, shimming, no play.

 

[Brian Pascale]

Some possible captions:

"Is that a stormtrooper in your hand or you just happy to see me?"

"Surrender the stormtrooper and one on gets hurt!"

"You see NOTHING!"



How about "caption this!" eh?

Sorry for the blue shirt Jarred, I am printing you a black one, but it's gotta come out perfect if I am going to use it.[/QUOTE]

 

[Andy Roberts]

CAPTION: "As a matter of fact, this IS the camera you're looking for."

 

[Luke Marcus Rosen]

Can't wait for that magical moment...!
And in the meantime we can stay creative and have a good time while we wait!

How about "caption this!" eh?

Greg you are wild. Here's my caption.

Jarred - "Hey guys, check out my new --"
1st AC Stormtroopers - "No! No no!! Cover the sensor!" "You're getting dust in the--"

 

[James Sielaff]

“It isn’t technically a weapon, but it can shoot Sith K.”

 

[Farbod Green]

“It isn’t technically a weapon, but it can shoot Sith K.”

haha, that was the best

 

[Julian Ogans]

Hello Phil... I am buying this week 2 to 3 lenses for a more day by day use (Not Film projects).... So I was thinking in the range of $1200 to $2500 each. My top in the head is MILVUS Line but I wanna to hear from you if you had any suggestions about any other brand you think might be good too.

I was also peaking at the new XEEN CF Prime Lenses but no idea what to choose... heheheh

Thanks a lot!

+1 for this recommendation. I'm in the market to make similar purchases.

 

[Alain M]

+1 for this recommendation. I'm in the market to make similar purchases.

I am sure Phil will give us a couple of suggestions well worth it...

 

[Phil Holland]

Hello Phil... I am buying this week 2 to 3 lenses for a more day by day use (Not Film projects).... So I was thinking in the range of $1200 to $2500 each. My top in the head is MILVUS Line but I wanna to hear from you if you had any suggestions about any other brand you think might be good too.

I was also peaking at the new XEEN CF Prime Lenses but no idea what to choose... heheheh

Thanks a lot!

+1 for this recommendation. I'm in the market to make similar purchases.

Absolutely. I want to open with a moderate statement first.

It's so hard for me to give specific lens purchase advice. I'm not exactly a "this is the best and everything else sucks" sort of DPs. I own too many lenses and have a broader perspective on lenses as tools than that likely biased based mentality. At the same time I can listen to your specific wants and needs, then tackle those questions from there.

For instance, Alain mentions he's looking at the Zeiss Milvus and Xeen CF Primes. That tells me he's focused on something small and lightweight as well as not the super hardcore motion picture workhorse-class of glass. Also this tells me the general price point he's exploring.

What's nice about the Milvus set is they inherited some of the Otus designed mentality on the body design with generally better mechanics than the previous iteration of this series. Additionally there are newer focal lengths, optical revisions, and better coatings than the older stuff too. I actually like the look from the Milvus. They aren't Otus level, but not far off. The maintain more of a modern-classic look. Clean-ish, but not too clean really.

The Xeen CFs are not new in terms of glass. Same glass found in the OG Xeens and Rockinon Cine DS stuff. However, with the somewhat recent absence of the Hanse Innotech Celeres, which were mostly based around this glass and focused on compact lightweight rigs, I feel this is where the Xeen CFs now land. Today they announced the 35mm T1.5 and the 16mm T2.6. And I think they are currently the most affordable/cheapest PL glass out made by a manufacturer and not a cheaper rehouse. That cost comes with some concessions however, but for the price they are not too shabby in terms of value.

Lenses for me start with the look and I think that's something you need to sort of go with. T-Stops and/or F-Stops are a consideration here too as some of these are faster or slower than others.

Don't know if rental is a consideration here, and you would likely go with CP.3s versus the Milvus in that case anyways, but Zeiss is still a very well known and favored brand by many. Xeens are very much an extremely entry level cinema set in my mind.

 

[Julian Ogans]

Absolutely. I want to open with a moderate statement first.

It's so hard for me to give specific lens purchase advice. I'm not exactly a "this is the best and everything else sucks" sort of DPs. I own too many lenses and have a broader perspective on lenses as tools than that likely biased based mentality. At the same time I can listen to your specific wants and needs, then tackle those questions from there.

For instance, Alain mentions he's looking at the Zeiss Milvus and Xeen CF Primes. That tells me he's focused on something small and lightweight as well as not the super hardcore motion picture workhorse-class of glass. Also this tells me the general price point he's exploring.

What's nice about the Milvus set is they inherited some of the Otus designed mentality on the body design with generally better mechanics than the previous iteration of this series. Additionally there are newer focal lengths, optical revisions, and better coatings than the older stuff too. I actually like the look from the Milvus. They aren't Otus level, but not far off. The maintain more of a modern-classic look. Clean-ish, but not too clean really.

The Xeen CFs are not new in terms of glass. Same glass found in the OG Xeens and Rockinon Cine DS stuff. However, with the somewhat recent absence of the Hanse Innotech Celeres, which were mostly based around this glass and focused on compact lightweight rigs, I feel this is where the Xeen CFs now land. Today they announced the 35mm T1.5 and the 16mm T2.6. And I think they are currently the most affordable/cheapest PL glass out made by a manufacturer and not a cheaper rehouse. That cost comes with some concessions however, but for the price they are not too shabby in terms of value.

Lenses for me start with the look and I think that's something you need to sort of go with. T-Stops and/or F-Stops are a consideration here too as some of these are faster or slower than others.

Don't know if rental is a consideration here, and you would likely go with CP.3s versus the Milvus in that case anyways, but Zeiss is still a very well known and favored brand by many. Xeens are very much an extremely entry level cinema set in my mind.

Thanks for the response, Phil. What about the Milvus in relation to the CP.2 or possibly expanding the budget to the Sigma's FF High Speed Prime Lenses? I'm particularly interested in the 35mm and 50mm focal lengths.

Regards,
Julian

 

[Phil Holland]

Thanks for the response, Phil. What about the Milvus in relation to the CP.2 or possibly expanding the budget to the Sigma's FF High Speed Prime Lenses? I'm particularly interested in the 35mm and 50mm focal lengths.

Much like the Sigma Art Primes versus the Sigma Cine Primes, the Milvus primes are more or less what's in the Zeiss CP.3s. They are different and newer than the CP.2s, which are more or less based on the older ZF/ZE glass. But in the world of Milvus you have access to the higher speed primes, and I don't know if Zeiss will do a high speed CP.3 set. The high speed Milvus glass if I recall correctly are all new/newer designs compared to the ZF/ZE. Need to double check my notes on the 85mm, but pretty sure that's the case. But the 25, 35, and 50mm are 100% new.

I will say what's really nice about the Milvus line-up is Zeiss hardcore listened and added the de-click feature on the Nikon mount stuff. Canon uses the electronic iris, but also has the advantage of focusing the right direction.

The Sigma glass is more or less one not down from Otus quality or bloody close to it. I mentioned earlier the 40mm in particular is more or less Sigma's prestige lens, much like Zeiss' 55mm f/1.4 Otus. The Sigma Cine version obviously is more ideal for motion picture application with the mechanics and build quality. I actually only have my Sigma Cine set now and a couple in EF still.

The bigger step up in price and weight is really the Tokinas from there as well as few other nice features, but they are notably heavier and larger. The Vista Ones in particular are more or less what I would consider Master Primes for VistaVision.

 

[Sareesh Sudhakaran]

Sometimes it's so hard to appreciate how feature-packed the Red Komodo is at this price point. I had to compare it to the Canon 1D X Mark III but there's no comparison, really: Can the Canon 1DX Mark III go toe to toe with the Red Komodo as a serious filmmaking camera?

 

[Julian Ogans]

Much like the Sigma Art Primes versus the Sigma Cine Primes, the Milvus primes are more or less what's in the Zeiss CP.3s. They are different and newer than the CP.2s, which are more or less based on the older ZF/ZE glass. But in the world of Milvus you have access to the higher speed primes, and I don't know if Zeiss will do a high speed CP.3 set. The high speed Milvus glass if I recall correctly are all new/newer designs compared to the ZF/ZE. Need to double check my notes on the 85mm, but pretty sure that's the case. But the 25, 35, and 50mm are 100% new.

I will say what's really nice about the Milvus line-up is Zeiss hardcore listened and added the de-click feature on the Nikon mount stuff. Canon uses the electronic iris, but also has the advantage of focusing the right direction.

The Sigma glass is more or less one not down from Otus quality or bloody close to it. I mentioned earlier the 40mm in particular is more or less Sigma's prestige lens, much like Zeiss' 55mm f/1.4 Otus. The Sigma Cine version obviously is more ideal for motion picture application with the mechanics and build quality. I actually only have my Sigma Cine set now and a couple in EF still.

The bigger step up in price and weight is really the Tokinas from there as well as few other nice features, but they are notably heavier and larger. The Vista Ones in particular are more or less what I would consider Master Primes for VistaVision.

I appreciate the knowledge drop, Phil.

It sounds like the Milvus line is where I'll invest in now with eyes to rent the Tokina's before making that financial commitment. After all, I still have a Komodo to buy.:smiley:

 

[Robert Hofmeyr]

Sometimes it's so hard to appreciate how feature-packed the Red Komodo is at this price point. I had to compare it to the Canon 1D X Mark III but there's no comparison, really: Can the Canon 1DX Mark III go toe to toe with the Red Komodo as a serious filmmaking camera?

Thanks for this. Great comparison. I would maybe add the cost of a monitor to the Komodo price - I know it has one built-in, but in most situations we will need a smallHD or similar.

 

[Blair S. Paulsen]

I was smiling when reading Phil's notes about the Otus 55 and Sigma 40 - couldn't agree more.

Cheers - #19

 

[Lee Saxon]

The high speed Milvus glass if I recall correctly are all new/newer designs compared to the ZF/ZE. Need to double check my notes on the 85mm, but pretty sure that's the case

Can confirm you're recalling correctly.

What's nice about the Milvus set is they inherited some of the Otus designed mentality on the body design with generally better mechanics than the previous iteration of this series.

I definitely think it's interesting that with its differing needs this is the cine perspective, whereas in the stills work aka if you were to ask on Fred Miranda, you'd get grumbling about how needlessly larger and heavier the Milvus are (not so much in regard to the ones that are new designs [though personally I don't think the 50 is special enough insofar as falloff, CA, etc, to justify how big it got], but especially in terms of the rehoused ones like the 21).

 

[Ryan Genova]

The Sigma glass is more or less one not down from Otus quality or bloody close to it. I mentioned earlier the 40mm in particular is more or less Sigma's prestige lens, much like Zeiss' 55mm f/1.4 Otus. The Sigma Cine version obviously is more ideal for motion picture application with the mechanics and build quality. I actually only have my Sigma Cine set now and a couple in EF still.

The bigger step up in price and weight is really the Tokinas from there as well as few other nice features, but they are notably heavier and larger. The Vista Ones in particular are more or less what I would consider Master Primes for VistaVision.

I've been using an Otus set with the Sigma 40 and 18-35 filling in the gaps, but I'm curious as to your thoughts on how the Tokinas compare strictly with regard to image quality. When you say the Vista Ones are the "Master Primes for VistaVision," are you talking mechanics or is the image quality in that realm as well? Would you say the regular Cinema Vistas are also in that territory being that they're optically identical?

I've come across some Cinema Vista footage here and there and was never particularly impressed (revisiting some of it, I'd say it's more that the other aspects of the videos don't give the lenses a fair shot), so they'd never really been on my radar, but I only recently came across your Cinema Vista First Look on Youtube and I was blown away by that footage. Tokina should be giving you commission on their sales for that video...lol.