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  1. #2351  
    Member RaphaŽl_FR's Avatar
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    Et si ce níťtait pas une antenne wifi mais plutŰt 4G intťgrťe avec sim slot ou eSIM ???
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  2. #2352  
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    Quote Originally Posted by Christoffer Glans View Post
    This is why Arri's still king of digital color science. And asking for having a color science closer to that of Arri's are always met with the criticism and "suggestion" that digital cameras are like different flavors of film stock. To that I say no, it isn't. Film stocks have had their development based on certain goals and as a whole, chemical film has had over a hundred years of development. Arri aimed to match up as close to film as possible and it shows. So doing the same with Redcode is not a bad thing. We don't even need to match up to Arri's color science, just match up to films like Mendes here points to. I don't think it's about being organic, I think it's about getting harmony in how colors interact. People talk about skin tones, but it's not really about that, it's about how colors behave over the DR spectrum. This is why matching shots to something shot on an Alexa often gets hard, since as soon as the shot changes, the color on the Alexa changes, just like they do chemically on film. I hope for a more film-like color science on Komodo. I doubt that it will happen for this specific camera, but I hope, now that there's a new sensor and all, that this happens.
    So, while not actually disagreeing with how you see it or looking for an argument, here's a different interpretation/opinion -

    The RED sensor and colour-science development is actually more in line with the history and intent of photo-chemical film advancements than its competitors.

    While the ARRI sensor and colour-science development is more of an attempt to replicate in the digital format where photo-chemical film was at a particular stage of its development. It's more of a caricature of film than a progression for or advancement of it, compared to RED.

    What-you-see-is-what-you-get was the aim of photo-chemical film. Kodak hit a wall that could have been pushed further back with nano-technology, but the money ran out, digital technology became more viable and most of the world moved on.

    RED picked up the image-quality-advancement 'ball' and started running with it, while ARRI put their effort into keeping the ********* and wanna-be-********* safe and happy with their cherry-picked, low-res, sugar-coated digital caricature of what 'film' should look like.


    Seeing it that way, I'd prefer it if RED keep going in the direction they've been going by aiming for something that hasn't been done before, rather than start painting themselves into a corner imitating something else.


    Which it looks like RED is doing anyway, by pushing the boundaries with the Komodo, while the competitors keep cutting corners to get in front or keep up, or maintaining the pretense they're above it all and don't even have to.


    BTW, as the question keeps coming up, looking at the Komodo in terms of where it fits into the DSMC3 line-up might help with understanding where it fits into the market-place.
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  3. #2353  
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    If RED makes a wireless control app for Komodo, I hope itís compatible with their other cameras. Thatíd be a nice little ancillary bonus for existing RED Users.
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  4. #2354  
    Senior Member Jonathan Stevenson's Avatar
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    She's small alright.


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  5. #2355  
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    Quote Originally Posted by Jonathan Stevenson View Post
    She's small alright.


    Are you sure that's accurate? I measured my RED and found it to be smaller than I thought-- close to Komodo in some dimensions.
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  6. #2356  
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    Quote Originally Posted by Les Hillis View Post
    I'm not an expert on such things, but the UI looks alright as it is to me. With tools and devices I generally do prefer a very basic and utilitarian design though. I also like the idea of having the choice of being able to use alternative UI designs if possible.
    While I agree, this will possibly be the most used Red camera by pro pro-sumers. The design screams expensive. That quality on a display UI, is very cool!
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  7. #2357  
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    Quote Originally Posted by Les Hillis View Post
    So, while not actually disagreeing with how you see it or looking for an argument, here's a different interpretation/opinion -

    The RED sensor and colour-science development is actually more in line with the history and intent of photo-chemical film advancements than its competitors.

    While the ARRI sensor and colour-science development is more of an attempt to replicate in the digital format where photo-chemical film was at a particular stage of its development. It's more of a caricature of film than a progression for or advancement of it, compared to RED.

    What-you-see-is-what-you-get was the aim of photo-chemical film. Kodak hit a wall that could have been pushed further back with nano-technology, but the money ran out, digital technology became more viable and most of the world moved on.

    RED picked up the image-quality-advancement 'ball' and started running with it, while ARRI put their effort into keeping the ********* and wanna-be-********* safe and happy with their cherry-picked, low-res, sugar-coated digital caricature of what 'film' should look like.


    Seeing it that way, I'd prefer it if RED keep going in the direction they've been going by aiming for something that hasn't been done before, rather than start painting themselves into a corner imitating something else.


    Which it looks like RED is doing anyway, by pushing the boundaries with the Komodo, while the competitors keep cutting corners to get in front or keep up, or maintaining the pretense they're above it all and don't even have to.


    BTW, as the question keeps coming up, looking at the Komodo in terms of where it fits into the DSMC3 line-up might help with understanding where it fits into the market-place.
    Digital cinema cameras can certainly mimic the aesthetic characteristics of film in most meaningful ways. But I don't think that should prevent exploring and inventing new aesthetic techniques that are unique to the digital medium. We can pay homage to the past without being constrained by it.

    A global shutter in a wide dynamic range HDR capable high resolution camera is a significant step forward in this respect.
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  8. #2358  
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    Quote Originally Posted by Andrew Dease View Post
    Are you sure that's accurate? I measured my RED and found it to be smaller than I thought-- close to Komodo in some dimensions.
    YUP, I thought is was closer too, slightly taller and deeper. Who has the exact dimensions for DSMC2
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  9. #2359  
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    Quote Originally Posted by Mestizo Devon View Post
    YUP, I thought is was closer too, slightly taller and deeper. Who has the exact dimensions for DSMC2
    LxWxH = ~4" x ~4.96" x ~5.67"

    Bare in mind, that's without a module needed to power it/turn it on (which adds ~2" of length), without a means to control the camera, without a means to view the image, and without a lens mount (all of which are included in the Komodo's 4x4x4 "brain")
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  10. #2360  
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    Quote Originally Posted by David Rasberry View Post
    ...A global shutter in a wide dynamic range HDR capable high resolution camera is a significant step forward in this respect...
    The more I find out about the Komodo the better it gets. The global shutter (high-speed readout) feature is a big deal for me personally.
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