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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Red Komodo Footage/ Review portal

Kauai Hawaii - Shot on RED Komodo


By Bransen Pass




"...All shot on the Komodo with a mix of the rokinon 35mm and a vintage Japanese lens called Soligor 55-135mm."
 
lil aaron - I JUST REMEMBERED I HATE YOU [OFFICIAL MUSIC VIDEO]


By lil aaron



Red Komodo/ Sony A7S III

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Jackson Michelson - Love High (Official Music Video)


By Jackson Michelson



Red Komodo/ Red Gemini/ Atlas Anamorphic

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Isco Synchrostar DIY Single Focus Anamorphic Test Shots (Isco Ultrastar) on RED Komodo


By gerald grünwald


 
Ole Crossroads - Brad Gillies (TBS)


By
tiny blue sessions




Shot on RED Komodo with Canon EF/RF 0.71x Speedbooster,
DJI RS2, Nikon 50mm @ F4, DJI 3D Focus
 
a New Day [ RED KOMODO 6K ]


By Fukushima Shohei


 
Mark


By Omar



"A quick afternoon shoot in downtown San Diego. Testing out the new RED komodo."
 
Boxing commercial


By Mikhail Anderson



Filmed on Red komodo 6k
 
Mandarin Heights | Morgan Zuch | Tampa, Florida


By Kris Spelce



Camera: RED Komodo
Lens: Zeiss 35mm
 
A Study of Diffusion Filters - H&Y Black Mist vs Black Pro Mist vs Hollywood Black Magic


By Justin Phillip



CHAPTERS:


00:00 - INTRO
00:37 - What is RevoRing?
02:05 - My Love of Filters
02:52 - Tiffen Black Pro-Mist and Schneider Hollywood BlackMagic
03:04 - Skin Quality Test
03:44 - Halation Test
04:25 - Bokeh Test
04:47 - What are these Filters Actually Doing?
04:53 - How to Squeeze Your WaveForm
05:21 - What I Think these Filters were Designed to do
05:43 - Back Light Test
06:07 - Side Glare
06:50 - Day Exterior Test
07:19 - Vintage vs Modern Lenses with Diffusion
07:50 - Biggest Drawback of Using Screw On Filters
08:26 - How to Avoid Reflections when using Filters
09:22 - RevoRings Compatibility with Matte Boxes
09:45 - Who Benefits the Most by using RevoRing?
10:32 - OUTRO
 
Maybe this is old news and I haven't read American Cinematographer in a while, but I never realizes that 95% of "Suicide Squad" which used the Red Monstros and Komodo was shot with the Leica M 0.8 lenses. The IMDB website list the Leica Thalias , Angenieux Optimo Ultra 12x Lenses and the Leica M 0.8 lenses. But I didn't know that 95% of the film were the Leica M 0.8's.


Leitz-Cine Website
https://www.leitz-cine.com/intervie...39412&utm_medium=social&utm_source=linkin.bio

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Lost Frequencies Live 2021 (Shot on Red Komodo)


By Eric Bernath


 
RED Komodo - Real Estate Video with Agent Intro


By Loud&Clear




RED Komodo @5K 48fps

Venus Laouwa 12mm Zero D
Canon 50mm 1.2 L
DJI Mavic 2 Pro
DJI RS2
Senheiser G4 wireless lav
Apeture 120D
 
rand thompson said:
Maybe this is old news and I haven't read American Cinematographer in a while, but I never realizes that 95% of "Suicide Squad" which used the Red Monstros and Komodo was shot with the Leica M 0.8 lenses. The IMDB website list the Leica Thalias , Angenieux Optimo Ultra 12x Lenses and the Leica M 0.8 lenses. But I didn't know that 95% of the film were the Leica M 0.8's.


Leitz-Cine Website
https://www.leitz-cine.com/intervie...39412&utm_medium=social&utm_source=linkin.bio

Screenshot-2492.png


csm-IMG-4157-2-4caa12fdce.jpg


Screenshot-2493.png
Click to expand...

"Komodo Imax" ?... Has Komodo been validated by Imax ? (which at this point is so weird since the sensor is "only" s35)
 
RED KOMODO 6K Test: Autofocus, Skintones, Slowmotion, LOG/LUT ...


By slashcam


 
Bastien Tribalat said:
"Komodo Imax" ?... Has Komodo been validated by Imax ? (which at this point is so weird since the sensor is "only" s35)
Click to expand...


Bastien,

I noticed that as well, still curious about IMAX designation for the Komodo. Maybe it's nothing or maybe it's something that I would personally like to know more about.
 
RED KOMODO 6K | Cinematic Short Commercial


By
Green Visual Media


 
I'll reach out to IMAX next week. I've been curious about some of the designation and certifications. Last film I shot on did receive a 1.43:1 finish. One thing you must keep in mind is most of the 1900-ish IMAX theaters in the world are DCI Aspect Ratio. i.e. 1.9:1 or the now simplified 17:9 at maximum format. A smidge over a couple hundred are 1.43:1 and what I grew up and eventually knowing as "proper IMAX".

DCI is a very, very intelligent "container" for theatrical display. 2.39, 1.85, 16x9, full 1.9:1, etc. all work within that container. Not to mention other ratios like 2:1 and 2.2:1. I've even seen 4:3 and 1:1 flagged off with the curtains.

All of that work done in the 2000s has laid the groundwork for many theatrical displays and has had a big influence on sensor aspect ratios and format sizes.

There was a moment when it looked like 16x9 was going to be the defacto standard in sensors eventually, but I'm certainly happy it didn't go that route as a simple side crop yields that from 1.9:1 and all the crazy floating point math tied to all of it.

Sensors are now pretty wild with lots of different aspect ratios, but outside of specialty exhibition and display, most screens are theatrically 1.9:1 and in home 16x9 (most computers and laptops too now). IMAX 1.43:1 giant screen work is obviously another large venue, but not the many thousands of screens worldwide that are capable of cinematic wide screen aspect ratios. Smartphones are the most common screen in the world, but they vary a bit and still aren't the most "premiere" destination for long form content for many.
 
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