Heh. Don't ask me how many times I've scaled footage up in 20 years. Though I experiment with various processing methods the answer is pretty close to zero times.
I did some AI based scaling work a few months ago though. Pretty interesting. Not likely what people are going for or expecting. Will help get dated and older content up to snuff for 4K and 8K however.
Unsure if those special formats will come to Komodo as they are really off the beaten path. I'm 90% sure those exist due to military and scientific clients RED has for high frame rate analysis.
Komodo is a tighter ecosystem, but as to what formats end up in there, hard to tell.
Overall though, 2:1, though I love it, it's currently not in there and I don't know if it's fully "needed" as you can extract it so easily from the 17:9 DCI format sensor size.
Cheers Dorian, appreciate that. Some would likely argue I merely an ass to the community, but I do my best
It's a cool and unique look if you can get glass to cover it, but be careful for streaking flares. Most people like horizontal and even diagonal, but vertical flare seems to remind people of good old crappy CCD sensors
It works much the same way, you can choose to go with MQ for instance. If you are in HQ and need to go to a higher frame rate, it will automagically select MQ as well. Personally I'm truly not bothered by the move to HQ, MQ, and LQ. You can still select what you want, but it also is easier on the mind to enforce a more common workflow of just going with the higher quality/highest data rate possible. In the world of DSMC2 I pretty much shoot 2:1 through 12:1, but really what that actually means is I'm using the lowest compression ratio possible at any given frame rate and format/resolution.
Here was my early morning journal thingy.
I'm mainly using 1TB Angelbird CFast 2.0 cards, but I also film long takes and long form content often and those get me about 1 hour of roll time at 6K 17:9 REDCODE RAW HQ, about 10 more minutes in MQ, LQ as of yet, unknown. I think many will live in the 256GB and 512GB range for day to day filming. I personally wouldn't skimp on media and don't use things like cheaper 128GB and don't use 64GB at all as it doesn't have the data rates to support recording REDCODE RAW or ProRes. There's about 4-6 brands I'd say worth exploring.
The media bay has a removable hatch that reminds me of a miniature truck tailgate and it is indeed removable with a small spring loaded latch. Firstly, I'm super into a protected and contained media bay. But there's certainly some interesting opportunities to feed data out via that CFast 2.0 connection to other drives for higher capacity rolling or perhaps direct to disk workflows. I imagine I'll tinker with that later, but the potenital is there for some fun workflows.
You can see I have mics and all the goodies piped in. Komodo in my opinion is indeed quiet enough for use of an onboard mic. Ideally driven with a good preamp or something that can boost itself. Komodo has preamps and you can adjust the gain, but for lowest signal noise you want to feed it a good quality low noise signal. Traditional sound on set hasn't been a huge deal if you know what you are doing with DSMC2, but Komodo has opened up this door again and I think it's alluring for hot and fast documentary-style work for sure.
Doing weird stuff with Komodo this week. More footage likely at the end of the week once I'm done jogging around.
That's a great feature!
I find that the stuff I do tends to be a bit more sensitive to stress on data management. It's not so much hard drives-- it's losing an AC to off-loading, which has to happen right away so that the *other* card is free to use! 6:1 seems to work well for me for a standard lit dramatic kind of thing with decent lenses.
Seems to me that MQ is more like 4:1 which is why I think the difference between HQ and MQ is not significant enough... But then I remember I come from a cinema school where we shot on film (I graduated in 2011) and on a standard film mag you only get a few minutes of footage (if I remember correctly a 400 feet roll gets you around 10 minutes in 16mm and around 4-ish in 35) so I guess 10 more minutes of footage can do a lot
Seems to me that MQ is more like 4:1 which is why I think the difference between HQ and MQ is not significant enough... But then I remember I come from a cinema school where we shot on film (I graduated in 2011) and on a standard film mag you only get a few minutes of footage (if I remember correctly a 400 feet roll gets you around 10 minutes in 16mm and around 4-ish in 35) so I guess 10 more minutes of footage can do a lot
This is a terrific LUT. It's very natural, clean and film like. I really, really like this. It's so refreshing to see footage allowed to breathe, while exhibiting richness at the same time. And this sensor is just friggin' fantastic.Some simple tweaking -
Thanks for giving us the frames to check out.
That kind of image quality, from a camera of that size/form factor and functionality, at that price...
Wow.
