KOMODO....

[Bastien Tribalat]

Don't know if anyone posted these yet (if so, please forgive me ^^) :

Thanks to Chris Bell for this.

 

[Nick Morrison]

And I'm with Nick on this one. It's really easy to fall into the trap of acting like a dick on the internet. I've done it myself plenty! But I myself have found that I get a lot more out of my interactions if I talk to people as if they were right there in front of me.

I appreciate the support on this Joshua. People need to remember these are REAL people doing these tests. REAL PEOPLE you may MEET if/when you go to NAB. There are a number of people here on RU I've met in person, and consider colleagues. Filmmaking is a small community. We need to support each other. Falling for the illusion/delusion of "artists making art" and being savage to each other is not what I signed up for, and not how actual craftsmen/women actually behave. If you've ever spent time around true masters of their craft, you'll notice many of them are surprisingly humble and down to earth. We need to emulate and remember that.

Making movies and content is HARD. Why make it harder? It's just a waste of time. It doesn't take much effort to be nice or at least thoughtful.

 

[David Rasberry]

I appreciate the support on this Joshua. People need to remember these are REAL people doing these tests. REAL PEOPLE you may MEET if/when you go to NAB. There are a number of people here on RU I've met in person, and consider colleagues. Filmmaking is a small community. We need to support each other. Falling for the illusion/delusion of "artists making art" and being savage to each other is not what I signed up for, and not how actual craftsmen/women actually behave. If you've ever spent time around true masters of their craft, you'll notice many of them are surprisingly humble and down to earth. We need to emulate and remember that.

Making movies and content is HARD. Why make it harder? It's just a waste of time. It doesn't take much effort to be nice or at least thoughtful.

Judging any particular web sample footage as representative of the capabilities of any raw cinema camera is a mistake. You really have to pixel peep and test grade raw footage samples for yourself. These are not video cameras.

 

[Christopher A. Bell]

I appreciate the support on this Joshua. People need to remember these are REAL people doing these tests. REAL PEOPLE you may MEET if/when you go to NAB. There are a number of people here on RU I've met in person, and consider colleagues. Filmmaking is a small community. We need to support each other. Falling for the illusion/delusion of "artists making art" and being savage to each other is not what I signed up for, and not how actual craftsmen/women actually behave. If you've ever spent time around true masters of their craft, you'll notice many of them are surprisingly humble and down to earth. We need to emulate and remember that.

Making movies and content is HARD. Why make it harder? It's just a waste of time. It doesn't take much effort to be nice or at least thoughtful.

Life would be a lot easier if everyone just remembered the 11th Commandment: Don’t Be a Dick.

 

[Ben Hensley]

And here I am thinking hmmm. Clip 1 shows a fair bit of DR, good skin, some mixed lighting, and Tim even provided the REDCODE RAW files to tinker with.

Guess beauty is in the eye of the beholder.

Agreed. The DR was pretty fantastic. That's what really took me back in that clip. Made me really excited about the camera actually.

 

[Michael Hopper]

Red will never, ever, ever, release a camera with 12k 60p, 8k 140p, in a galaxy even remotely near to this price range....

It must be tough seeing the future. Could you please PM me the winning number for the next billion dollar jackpot? I'll make it worth your while...


All jokes aside take a look at how far they've come since their early days. Red One in 2007 was 4.5k30p @$17,500, DSMC Epic in 2011 brought 5k96p for $28,000, Weapon Helium ushered in 8k60p @$49,500 in 2016, DSMC2 unified lowered 8k60p to $24,500 in 2018, and Komodo is bringing forth 6k40p @6000 in 2020 (missing some steps in between, quoted framerates are for Full Format). There's been more progress in value in the last four years than the first ten.

That comparison doesn't include any important details such as improvements to dynamic range, sensor polling rates, moving to global shutter, increased data-rates, etc. though. Which for the majority of us means more than just high framerates any way.

DSMC2 can record more data in twenty minutes than was exchanged during the entire first ten years of the ARPANET (precursor to the internet circa 1969-1979), and nearly ten times the amount of Red One.

I'm a firm believer that Red will do what they have to do to stay profitable. If competition in the future dictates that they need to provide certain features at certain price points, I'm certain we'll see it in reality. Never, ever, ever is a really really long time...

 

[Christian Jadot]

For Tim's "Haley" video, I still don't see what people are complaining about. To me the video looks good, even when the video clips at points, the highlight rolloff looks pretty damn good. (And from the R3D stills posted, you can recover the highlights.)

I like the look of the video, it is stylized, but that is a choice. Also, I think a lot of the complaints about the camera are the vintage glass he was shooting with.

The noise of the camera IS there (but a lot is the glass in Tim's video), and to me it looks like film grain and does not subtract from the picture.

It's biggest asset is the global shutter, and I did not know just how much I wanted a global shutter until I saw Tim's test footage. The global shutter has always been a plus for me, I work around helicopters, prop planes and other high speed moving vehicles and even muzzle flashes and explosions from time to time. I knew a global shutter would be nice to have. I did not think it would make a difference with every day motion of people. I was wrong, it does. It is not loud or pronounced but the subtle difference between the rolling shutter and global is there, and to me, makes a huge difference.

Anyways, that is just my 2 cents. I have been sold on the camera for awhile.

My only complaint before I buy that I can think of is the heavy R3D files that have been reported. I understand the lack of frame rates as well, but I rarely shoot slo-mo. (But still, can we get 4.5K-2.4:1 @ 72 fps!!! I can keep my fingers crossed!)

 

[Chris Letcher]

For Tim's "Haley" video, I still don't see what people are complaining about. To me the video looks good, even when the video clips at points, the highlight rolloff looks pretty damn good. (And from the R3D stills posted, you can recover the highlights.)

I like the look of the video, it is stylized, but that is a choice. Also, I think a lot of the complaints about the camera are the vintage glass he was shooting with.

The noise of the camera IS there (but a lot is the glass in Tim's video), and to me it looks like film grain and does not subtract from the picture.

I thought similarly. I loved the film look of that first clip. My takeaway was, depending on what look I wanted, I could take it there. In this case I got two different looks from the same sensor. I thought it was a good way to show inherent flexibility which I think would sell a camera.

 

[Christian Jadot]

I thought similarly. I loved the film look of that first clip. My takeaway was, depending on what look I wanted, I could take it there. In this case I got two different looks from the same sensor. I thought it was a good way to show inherent flexibility which I think would sell a camera.

Maybe it is part of the problem and why this camera is so divisive? It does have a very filmic look to it. In some cases that seems to be outdated and many have moved beyond "the film" look, especially for commercial and advertisement production. And others love the look. I am just guessing at this point, but it is weird why this camera has had such a divide between people. (RED fan or not.)

 

[Patrick Bishop]

Just an FYI

Stormtrooper Komodos DO NOT come with a P-Tap cable.

Only the colored versions.

They still come with the RF to EF adapter though.

 

[Bob Gundu]

Just an FYI

Stormtrooper Komodos DO NOT come with a P-Tap cable.

Only the colored versions.

They still come with the RF to EF adapter though.

Correction. My Yellow one didn't come with the cable either.

 

[Nick Morrison]

Nick, someone asked for more info that’s what I responded to.

I was pretty clear in saying evrything about the video was good, except the actual sensors image.

Out of the four excuses I have for that none were on Tim. “Model looks good, music is good, video is good.”

I am a red supporter and have been waiting for Komodo for what feels like years, as I have many red cameras. Those first images made me seriously reconsider/ doubt even purchasing one. Noisy, gray (not lifted blacks, noise).

Tim has nothing to worry about going by the second clip, in people critiquing his work, which I was not.

Please reread MY post and WHAT they were responding to before trying to have some virtue signaled social media fiasco.

The image OF THE SENSOR in that clip did not look good. Had Tim used another camera like his usual red or probably anything else it would have looked fantastic, sensor wise. It would be GREAT to understand WHY the sensor looked so noisy in those tests. I saw similar discussions on other sites and Facebook. Since the second clip looked buttery smooth and beautiful I can overlook whatever was wrong WITH THE SENSOR on the sunlit footage.

These are preproduction (now production?) cameras so this is the time to comment on the IMAGE coming out of the camera.

Andrew, it's all good. Thanks for responding. Its OK to have opinions. I think we just need to be careful how we talk to each other. Tim is on this forum, and we have to imagine may end up reading these comments. I like to use the "face to face" rule. If you can't imagine saying something to someone's face, then maybe don't post it online and especially on a community forum like this.

These are hard times. Especially for filmmakers. Its important we take care of each other, and be supportive. That doesn't mean an absence of constructive criticism, it just means being thoughtful about it. Taking some care with it.

Thanks again for responding. I appreciate it.

 

[Johannes Helms]

Andrew, it's all good. Thanks for responding. Its OK to have opinions. I think we just need to be careful how we talk to each other. Tim is on this forum, and we have to imagine may end up reading these comments. I like to use the "face to face" rule. If you can't imagine saying something to someone's face, then maybe don't post it online and especially on a community forum like this.

These are hard times. Especially for filmmakers. Its important we take care of each other, and be supportive. That doesn't mean an absence of constructive criticism, it just means being thoughtful about it. Taking some care with it.

Thanks again for responding. I appreciate it.

:thumbsup::thumbsup::thumbsup::thumbsup:

 

[David Rasberry]

Maybe it is part of the problem and why this camera is so divisive? It does have a very filmic look to it. In some cases that seems to be outdated and many have moved beyond "the film" look, especially for commercial and advertisement production. And others love the look. I am just guessing at this point, but it is weird why this camera has had such a divide between people. (RED fan or not.)

I think people mistake the look of a particular combination of exposure and grade as representative of the camera as a whole. Plus we would do well to remember that the color science and firmware are still under development. Early users are pushing limits to the breaking point intentionally, and that can show up in the samples. Without knowing the exact scene conditions, camera settings and exposure, and post process, we don't have a basis for sound judgement of potential quality.

 

[Alvise Tedesco]

What is it that makes it impossible to get two more frame so that the sweetspot is hit for all people in PAL countries? I think 48 fps maximum at 5K is the biggest flaw the camera has at the moment.

Deja vu
I remember asking those 2 frames for the Scarlet mx @3K, and Jarred answering "I hear you, Alvise.."..

 

[rand thompson]

Handheld with Continuous AF - RED Komodo in Nashville



By Philip Grossman

 

[Nick Korompilas]

does anyone know if Komodo at 2K will crop in for super 16mm coverage (@ 24fps)? I have an old Ang 12-120 HEC that is one of my favorite lenses, it covers R16 through the whole range and S16 from about 40-120. It would be amazing to throw it on a small body.

 

[Gregory Karydis]

Nick, depends how you want to play it. At 24fps, you can easily shoot 6K FF and record a 2K ProRes.
Or you can crop down to 3K which yields an image circle that covers S16 and shoot REDCODE RAW.

 

[Nick Korompilas]

Thank you, Gregory. That's good to know.

 

[Jay Hall]

Anyone else praying for a run of Matte Black KOMODOs? Just saw the mkbhd KOMODO :tongue_smilie: