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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

Phil Holland said:
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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Thanks for the Info above Phil! Whatever you an find out about that "IMAX" Komodo designator would be great and much appreciated !
 
Andrew Dease said:
That is some very good autofocus.
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Andrew,

Yeah, especially the scene with her running toward the camera. Red has improved the auto focusing capabilities of the Komodo dramatically and I assume it will continue to improve.
 
RED Komodo Ronin RS2 Footage with CINEMA Lens! (DJI Ronin RS2 Setup)


By Film Jams


 
Sigma 50-100mm 1.8 ART EF lens review | Footage from RED Komodo & my experience using the lens


By Reach Films


 
rand thompson said:
RED Komodo Ronin RS2 Footage with CINEMA Lens! (DJI Ronin RS2 Setup)


By Film Jams


Click to expand...
Really depends on the cinema lenses. My DFOFILM Pictor lens won't work on that RS-2. Also in the experience I have had with Cinema lenses on this camera is the EF to RF mount is not good if you are using a follow focus system, it just jerks that mount around. PL mount solved all those problems but added more weight. I might have to but the Crane 3S, but hoping that DJI comes out with a RS-3 to handle larger cameras and more weight. I like the fact that it all works with the Tilta accessories. But great informative video none the less.
 
Lars Wikstrom said:
Really depends on the cinema lenses. My DFOFILM Pictor lens won't work on that RS-2. Also in the experience I have had with Cinema lenses on this camera is the EF to RF mount is not good if you are using a follow focus system, it just jerks that mount around. PL mount solved all those problems but added more weight. I might have to but the Crane 3S, but hoping that DJI comes out with a RS-3 to handle larger cameras and more weight. I like the fact that it all works with the Tilta accessories. But great informative video none the less.
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Lars,

Thanks for your input and conveying your experience with the RS2 with the Komodo and your lens.
 
The Unpacking of the RED KOMODO


By Digital Dinosaur Company


 
My New on Set Video Master Tool


by Brandon Washington



 
August 2021: Issue 109

Download link
https://www.fdtimes.com/pdfs/free/109FDTimes-150m-Aug2021.pdf

Screenshot-2511.png



Contents

Pierre Angénieux Tribute to Agnès Godard, AFC 4-14

Frames from La Ligne 11

Pierre Angénieux Tribute to Agnès Godard, AFC 12

Agnès Godard, AFC 13-14

Angénieux Optimo Ultra Compact Zooms 15

Business of the Business at ARRI: Dr. Michael Neuhaeuser & Markus Zeiler 16

Michael Neuhaeuser & Markus Zeiler at ARRI 17-20

Stephan Schenk on ARRI Camera Systems, Lighting and Solutions 21-24

ARRI Hi-5 25-27

ARRI Hi-5 Radio Modules, RIA-1, etc. 28

Hi-5 and OCU-1 Handoff 29

AJA Pak Dock Pro 30-31

Configuring KOMODO 32-33

RED KOMODO 34-35

RED KOMODO – Minimal Mode 36-37

RED KOMODO and SmallHD Focus Pro LCD Monitor 38

SmallHD Focus Pro KOMODO Control 39

Anton/Bauer Titon Micro & KOMODO Battery Bracket 40

Wooden Camera Battery Slide Pro for KOMODO 41

Handgrip on KOMODO 42

Bright Tangerine LeftField System for KOMODO 43

VOCAS PL to RF Mount for KOMODO 44

RED Accessories for KOMODO 44

Sebastien Gonon with Sony FX9, FX6, FX3 45

Sony FX9, FX6, FX3 — Cinema Line 46

Sony Airpeak S1 Drone 47-49

Mikiya Takimoto on URSA Mini Pro 12K and Cooke 35-140 Anamorphic 50

Mikiya Takimoto 51

Toyotaro Shigemori on niko and … WINTER BOOK 52-53

Andre Dupuis and Scott Wilson with URSA Mini Pro 12K 54-56

Camlist: Order your Equipment 57

Musashi Optical TL-FFX2 57

Teradek Bolt 4K LT MAX 58-59

Teradek Bolt 4K Monitor Module TX 60-62

Larry Thorpe Takes Off 63-67

artemis anniversary 20 68-69

20 years of artemis camera stabilizer systems 70-71

SIGMA 60-600 mm Full Frame Zoom 72-73

Blackwing7 News on 7/7 74

AbelCine is Blackwing7 North America Distributor 75

Second Reef is Blackwing7 European Distributor 76

CVP is Blackwing7 UK Distributor 77
 
RED Komodo Cinema Rig - Ultimate Setup


By Justin Phillip


 
Vazen 1.8X Anamorphic RF Lenses on RED Komodo


By Scott Balkum


 
We got a final cut of our Music video "The Pills" for Russian Rock singer Zemfira. Red Komodo and Sigma 18-35mm F1.8 DC HSM together. Please welcome:

and here a Making Off - Behind the scene film -

 
KOMODO | NO DAYS OFF | 4K


By RED Digital Cinema



 
Feroza- Technological constructions


By Adam Pavelka




Camera: Red Komodo with canon 0.71x Adapter
Lenses: Leica R 35mm and Laowa 12mm Zero-D
 
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