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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 my thought :)

Bravo Les,
I was expecting this comment.
The most intelligent.
The reality is NO, no one will go that high to recover after 90% ... to destroy a good part of the image or rather to dedicate time to recover that part there.
So Komodo is where it needs to be.

This Thursday, I have some rehearsals for a TV series where we will use ALexa and Komodo, at least this is what we would like to do.
We will do tests in different light conditions with different temperatures and psotero the frames so you can play and better evaluate this Komodo.

If you have any ideas or what you want to see, just write it down and I try to satisfy you without problems;)
 
Thanks Luigi, I don't have any particular requests, but will be interested to see whatever you manage to capture. Am glad you managed to get one of the early Komodo's.
 
Impressive camera. I love what I see regarding DR.
How is the lowlight at 6400 iso?
Could you make a picture VS your Monstro?
Thanks for your test Luigi.
See you.

Pat
 
Les Hillis said:
Which is all just to say, I think the extra highlight retention you get with the Alexa isn't that huge in reality. It's there, but if you're playing in that area you're probably going to be relying on more than that to save, correct or protect your highlights anyway, so...does it really make that much of difference?
Click to expand...

That's exactly what I was trying to say above. Thanks for putting it in better words. Looking at Arri's stock LUT, I think Arri clearly knows that a more pleasing image is to not recover the highlights so much, but rather let the highlights roll off into clip nicely, much more like film. I would never put important info up that high in the signal so all I'm concerned about is the transition to clip and not the potential "detail". It seems like on either camera, I'd need to ND the window or pump in ambient light if I really wanted to see out the window, so I don't think Komodo needs any more special attention for the way I work.
 
Björn Benckert said:
Are you descussing the graded shots or the raw files. Red has 16 differrnt ways to render highlights as their default rwgrgb curves. So sure you can do a comparison between tge two for highlights but its important then to look at the raw file and see whats available and not pass judgment from looking at the images when they are graded.
Click to expand...

Björn, I was just referring to Han's reply on Rand's color grading which IMO could have been tweaked a bit more to match those two cameras even better. I'm sorry if I didn't make myself clear enough.
 
Aaron Lochert said:
That's exactly what I was trying to say above. Thanks for putting it in better words. Looking at Arri's stock LUT, I think Arri clearly knows that a more pleasing image is to not recover the highlights so much, but rather let the highlights roll off into clip nicely, much more like film. I would never put important info up that high in the signal so all I'm concerned about is the transition to clip and not the potential "detail". It seems like on either camera, I'd need to ND the window or pump in ambient light if I really wanted to see out the window, so I don't think Komodo needs any more special attention for the way I work.
Click to expand...

No worries Aaron. Here's to future days when we've got so much dynamic range we have to crank the highlights up just to make them look real.
 
nothing purely scientific ...
But I was curious to see if it could be a second Cam B without numerous efforts in post ...

Play with it.
... You will find that Komodo is amazing ... and there are 60kUSD of difference ...

This Komodo is equal and better than the superior sisters. Many will disagree but time will tell.


http://vpn.cine5k.red/s/NtaMKzm6TXbN2q5

added link in first post.
 
Patrick Tresch said:
Impressive camera. I love what I see regarding DR.
How is the lowlight at 6400 iso?
Could you make a picture VS your Monstro?
Thanks for your test Luigi.
See you.

Pat
Click to expand...

i try next week Pat ;)
 
Just checked out your test footage and it does look quite impressive. Looks like the LF has about 1 stop more in the shadows and maybe a hair under 1 stop more in the highlights, but the LF seems like overkill in a lot of situations and actually in the deepest shadows they start to look more similar. I've been a bit skeptical about Komodo thus far but this is pretty compelling as I was expecting worse from Komodo. I'd probably take Komodo over Helium and it seems like it may be pretty close to Gemini like maybe minus 0.5 stop of DR and LL mode. I assume the 7 stop exposure range you did was exactly the same exposure on both cameras and 1 stop increments on the lens?

Patrick Tresch said:
Impressive camera. I love what I see regarding DR.
How is the lowlight at 6400 iso?
Could you make a picture VS your Monstro?
Thanks for your test Luigi.
See you.

Pat
Click to expand...

You can push these samples to 6400 to see. Does seem like Komodo won't handle going past ISO1600 well unless its a high key scene or you plan for post noise reduction. Seems somewhat similar to Gemini Standard mode that I'm used to. No dual native ISO or analog gain and about a stop more noise in the shadows than Arri LF probably means go past ISO1280 with caution in my mind. But if I'm missing anything I'd be interested to know.
 
Not going concern myself with grading the Arri stuff this time, only the Red Komodo. I mean that all we want to see anyway.


1-1-2-12.jpg


2-1-3-1.jpg


8-1-16-33.jpg


9-1-19-3.jpg


11-1-4-2.jpg


15-1-15-62.jpg


14-1-20-22.jpg


13-1-18-52.jpg
 
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There is a lot more room for highlight recovery in RCX. Simple picker white balance on the half wall behind the couch solved the magenta cast. I love the fine color discrimination. The lower front of the couch picks up a little warmth from the light off the wood floor.
50226285742_8f396bafbd_k.jpg
 
Getting them in the same ballpark -



Thanks again Luigi.
 
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Patrick Tresch said:
Impressive camera. I love what I see regarding DR.
How is the lowlight at 6400 iso?
Could you make a picture VS your Monstro?
Thanks for your test Luigi.
See you.

Pat
Click to expand...



CIao PAt, shot on the fly ..
First face with Nikkor 24mm. You can see how magenta is on Komodo and how green is in Monstro. Remember that Nikkors have a lot more magenta than other lenses. ;))))
The others on the fly at night with laowa 12mm at T3.
I hope you need to understand.

I noticed now and as if Komodo loses 1 stop or maybe less .. the 6400 does not seem to match. compared to monstro .. o Maybe I'm too tired hehe

However Komodo impresses. And from what I see the highlights also correspond exactly to Monstro ...
However, everything so close and so far in the costs of the camera bodies !!!!!


I add to the first post, Monstro Komodo low light Link:
http://vpn.cine5k.red/s/bzPjjTbojCorqkK
 
Luigi,

I thought maybe the lens or whatever optical filtration you may have used could have contributed to the magenta I was seeing . Thanks for the info about the lens used.
 
rand thompson said:
Luigi,

I thought maybe the lens or whatever optical filtration you may have used could have contributed to the magenta I was seeing . Thanks for the info about the lens used.
Click to expand...

ehehe ;)
 
Some more comparisons. Trying to get them to the same point just using basic controls within a single node in Resolve -













...
 
...









I get that people might prefer the look of one over the other, but I think the Komodo image quality is good enough to stand on its own.
 
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