Well .... if you compress using discrete cosine transform ... it's different by nature. I don't know if that the case here but seems rather logical.
Problem with me filming the crowds is the shear risk of Covid-19 still unfortunately. Every trip to the hospital they do the 15 and 45 minute Covid-19 test, swab you deep in your nasal cavity. My priority at the moment is to stay healthy if my father needs me. Under normal conditions I would very much be out there capturing this moment in history.
Anyways.
More actual information. REDCODE RAW. The astute viewers have notices within my images and Jarred's 'gram'n we are looking at HQ and MQ. And I believe an LQ is planned. RED's been the victim of "some" over complicated concepts to a degree and having REDCODE RAW being able to go from 2:1 through 22:1 has been somewhat one of those. I mean, that's 20 settings.
Generally speaking the best way to work is always at the lowest possible compression ratio and people have discovered things that work for them. Like 8K 10:1 for a 4K finish and all that. More or less instead of 20 settings this will be simplified to 3, which is nice inside a camera like Komodo.
You'll have some flexibility, but nothing too complicated. For the curious on DSMC2 Monstro 8K VV I shoot 8K 24fps 5:1 and when overcranked to 60fps 12:1. I don't think I've filmed beyond 12:1 in I don't know, probably the entirety of DSMC2 existing really. I mean one of it's strengths was/is meatier data rates. It becomes more important as you get closer to your output resolution, like 4K for 4K should always in my opinion be done at the lowest compression ratio. It's clear RED's looking to simplify things. I'm on board for it and think it's a good move.
I suspect I won't be moving from HQ much with Komodo as the 6K data rates are very reasonable, but if I needed a longer roll time perhaps. I'm using chunky 1TB cards though.
But here's a scoop and I'm pretty sure Jarred hasn't dropped this nugget yet:
Yep. ProRes is in there. In HQ and 422 for both 4K and 2K resolutions. I'll dig into it a bit, but it looks like Komodo properly scales the footage to the appropriate delivery res. Nice for fast turnaround work. I prefer the REDCODE RAW Workflow, but when you need to be super damn fast and deliver right then and there, here you go. It is an either or situation, so you pick REDCODE RAW or ProRes and go from there.
Thoughts while I'm eating dinner.
Some of what's on my mind is just how far tech has come on a camera like this, can't stress enough how tiny this is. And this is pretty damn early on really in the Komodo journey. RED has an active development team, engineers, and programmers. I'm betting there's stuff I'm not even thinking off that will jump into firmware eventually. Even the touch screen opens up some new possibilities. So far it appears RED's put a lot of effort on image quality, as they should as a digital cinema camera company. I'm doing lighting and low light tests tonight to see where all that lands, but I'm already impressed for a camera that hits this general tier. More people will have it very shortly and start uncovering the goodness too. I've spent most of my time so far testing the camera and getting to know it rather deeply. This is what I do with every camera really. Still no noise reduction on board, which is good. You can see it in the quality of the pixel information, which is important to some of "us". Chromatic Noise Reduction in RCX is nice when you want to dance that dance and there's no performance hit there.
