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  1. #2641  
    Member Juan Francisco Calero's Avatar
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    Quote Originally Posted by Bastien Tribalat View Post
    The real question to me is more "would you choose Komodo over Dragon-X 5K" ?
    The real question to me is more "would you choose Komodo over Dragon-X 6K ?
     

  2. #2642  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by Alex Stolpakov View Post
    SO how you see it possible, relatively using the same optics like CookeS5. What configuration for the Komodo cage wise YOU recommend. Did you ever put cinema optics with radio focus on something like Sony A7 ?
    Well, no one said you HAD to put optics like that on the camera. Even if you totally can.
    Soderbergh is using what looks like a Summicron-C lense which is slightly smaller than a Cooke S5 (and lighter too) but still


    And on this photo I don't know what the lense is but seems light enough too. EDIT : seems to be a Sigma Cine Prime.


    But the fact that it's using an RF Mount teels that it's most likely intended to be used with smaller lenses. As for action shoots, you don't really need radio focus. I never used radio focus I've always used a good old manual follow focus and it's totally doable on an A7III. And without a cage for that matter. Juste a baseplate with 15mm rods (and a Xeen 24mm T1.5 with the infamous Sigma MC-whatever EF to E-Mount converter in that specific case) to attach the FF. Worked like a charm. I expect Komodo to be the same in that aspect. I don't see why it wouldn't be.


    Quote Originally Posted by Juan Francisco Calero View Post
    The real question to me is more "would you choose Komodo over Dragon-X 6K” ?
    Haha !
    Strickly as a B or C cam, yes I would. It's cheaper.
    If you ask in a 'you can have only one camera' type of scenario, maybe not. I don't know. I can't know until I have seen footage. I edited and color graded a show shot on Dragon 6K (and obviously saw a lot of films and tv series shot with it) so I already know how it can perform and that I love the images it can produce, but Komodo in that aspect is still a big unknown. My only wish so far is that it does at least as good as an F55 did back in 2014 (2012 ? I can't remember when Sony released it) because it's the best global shutter camera I can think of right now. :p
    Last edited by Bastien Tribalat; 12-03-2019 at 06:50 AM.
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  3. #2643  
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    On the other end of the scale, one could mount an RF 24-105 f/4 and have a very good lightweight run and gun setup with little rigging needed.

    I would love to see a pistol grip with record trigger for a handheld rig similar to this:

    https://flic.kr/p/N5WYir

     

  4. #2644  
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    Quote Originally Posted by Bastien Tribalat View Post
    Yes and no. RED was doing 6K sensors well before everyone else.


    And don't forget that RED is NOT making it to compete with Z-Cam or Blackmagic or whoever : it's intended to be used as a B or C cam on shoots with bigger REDs (or other brands). And YES, a huge part of the userbase will use the camera as an A-cam... Soderbergh is already doing so after all.

    But the fact that it's using an RF Mount teels that it's most likely intended to be used with smaller lenses. As for action shoots, you don't really need radio focus. I never used radio focus I've always used a good old manual follow focus and it's totally doable on an A7III. And without a cage for that matter. Juste a baseplate with 15mm rods (and a Xeen 24mm T1.5 with the infamous Sigma MC-whatever EF to E-Mount converter in that specific case) to attach the FF. Worked like a charm. I expect Komodo to be the same in that aspect. I don't see why it wouldn't be.
    Quote Originally Posted by David Rasberry View Post
    On the other end of the scale, one could mount an RF 24-105 f/4 and have a very good lightweight run and gun setup with little rigging needed.

    I would love to see a pistol grip with record trigger for a handheld rig similar to this:

    https://flic.kr/p/N5WYir

    ON which productions you saw cameras rigged like that?
    How you will tell the DP his beloved HAWK ANAMORPHIC needed to be changed to 24-105 F/4 for the gimbal camera?
    What kind of insurance focus puller need to have while shooting on cars, boats, running shots etc and how small he or she supposed to be for cranes and drones (speaking of action shoots without radio focus)?
    Radio focus gives a lot of torque without a locking mount, a plane of focus can be shifted while operating. Also some elegant cage needed as even top handle cannot be usual as there is a monitor underneath... On scripted shows its always sound, sender, TC, and so on.
    Last edited by Alex Stolpakov; 12-03-2019 at 08:32 AM.
     

  5. #2645  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by Alex Stolpakov View Post
    ON which productions you saw cameras rigged like that?
    How you will tell the DP his beloved HAWK ANAMORPHIC needed to be changed to 24-105 F/4 for the gimbal camera?
    What kind of insurance focus puller need to have while shooting on cars, boats, running shots etc and how small he or she supposed to be for cranes and drones (speaking of action shoots without radio focus)?
    Radio focus gives a lot of torque without a locking mount, a plane of focus can be shifted while operating. Also some elegant cage needed as even top handle cannot be usual as there is a monitor underneath...
    Obviously, IF the shots put the focus puller in danger or on a drone or crane, you have to go radio.
    And if you need any sort of radio focus pulling, where is the problem ? There is already a 'cage' (as seen on the second picture) which I assume is the infamous cradle from RED. And if you need a top handle, just put one. The screen on top won't be your only monitoring option (as desmonstrated on the two pictures). With the mounting points on top you can imagine something even like a DSMC2 Universal Handle could fit (I'm not saying it will at all, I'm saying something LIKE that type of handle)

    As for which productions we have seen cameras rigged with photo lenses or stripped down of a LOT of bells and whistles how about Mad Max Fury Road and its use of Blackmagic cameras and Canon 5Ds for crash cams, POV cams and C/D cams ?




    (oh what's that ? The focus puller can't join the camera operator for his own safety so they mounted radio stuff on 5Ds ? That's voodoo magic !... While on the Alexa they used a traditional FF...)

    (Damn ! Poor DP they used a Canon L series lens...)

    My point being : if they managed to do it on such a big project, anyone can.
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  6. #2646  
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    Quote Originally Posted by Bastien Tribalat View Post
    Obviously, IF the shots put the focus puller in danger or on a drone or crane, you have to go radio.
    And if you need any sort of radio focus pulling, where is the problem ? There is already a 'cage' (as seen on the second picture) which I assume is the infamous cradle from RED. And if you need a top handle, just put one. The screen on top won't be your only monitoring option (as desmonstrated on the two pictures). With the mounting points on top you can imagine something even like a DSMC2 Universal Handle could fit (I'm not saying it will at all, I'm saying something LIKE that type of handle)

    As for which productions we have seen cameras rigged with photo lenses or stripped down of a LOT of bells and whistles how about Mad Max Fury Road and its use of Blackmagic cameras and Canon 5Ds for crash cams, POV cams and C/D cams ?




    (oh what's that ? The focus puller can't join the camera operator for his own safety so they mounted radio stuff on 5Ds ? That's voodoo magic !... While on the Alexa they used a traditional FF...)

    (Damn ! Poor DP they used a Canon L series lens...)

    My point being : if they managed to do it on such a big project, anyone can.
    SORRY maybe I am a bit unclear, but I am talking about Locking Mount, Production Friendly rigging, and not about exceptions when camera was used as GoPro. Lets say you dping anamorphic show with two heliums and want a third camera for gimbal work which is 25% of the show. Examples you given Komodo is not suitable as it is only a crash cam.
     

  7. #2647  
    Quote Originally Posted by Andrew Dease View Post
    What's the kit?

    How do you feel about 6K? There are no 6K TV's.
    Because it gives wicked sharp 4K. Gives me extra pixels to work with over a 4K delivery, etc.. Yes, 8K is the future and I already have two 8K cameras. Komodo is filling a gap in terms of size and other aspects.
    But would you choose Komodo over Helium? 8K?

    8K is the future, 6K is.... Competitive to BM and Others.
    All about right tool for the job. Ideally, I would shoot everything on my 8K Monstro. But when theres also a 6K, global shutter capable, RF mount equipped 4 cube that can probably be assembled into a 3 or 4 lens kit complete with media, batteries and monitor into a small over-shoulder bag or backpack that can live in my truck... Yeah, not going to pass that up.

    If there were an 8K sensor for Komodo, Id be all over that. ...Still dreaming of an IMAX/ 15-perf 70mm sized sensor with 12K+ resolution myself.

    If it were that simple, RED would have an 8K+ sensor in Komodo. But thats not all its about. Komodo exists to serve a niche in the market and its built to accommodate a wide variety of uses and maintain a specific price point. It has a purpose.
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  8. #2648  
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    Quote Originally Posted by Alex Stolpakov View Post
    ON which productions you saw cameras rigged like that?
    How you will tell the DP his beloved HAWK ANAMORPHIC needed to be changed to 24-105 F/4 for the gimbal camera?
    What kind of insurance focus puller need to have while shooting on cars, boats, running shots etc and how small he or she supposed to be for cranes and drones (speaking of action shoots without radio focus)?
    Radio focus gives a lot of torque without a locking mount, a plane of focus can be shifted while operating. Also some elegant cage needed as even top handle cannot be usual as there is a monitor underneath... On scripted shows its always sound, sender, TC, and so on.
    Solo shooters like me don’t really need most of that. Tripod, monopod, ENG shoulder style rig, small hand held rig. It isn’t necessary to rig for solo work like it is a cinema production. There are many different production styles. Gimbals are a defense against rolling shutter artifacts. Shooting with a global shutter camera is whole different experience hand held.
     

  9. #2649  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by Alex Stolpakov View Post
    SORRY maybe I am a bit unclear, but I am talking about Locking Mount, Production Friendly rigging, and not about exceptions when camera was used as GoPro. Lets say you dping anamorphic show with two heliums and want a third camera for gimbal work which is 25% of the show. Examples you given Komodo is not suitable as it is only a crash cam.

    Locking mount : there are already RF to PL adapters
    Production Friendly Rigging : there will be the cradle and we can expect every third party rig company will do something (and come on it's a freaking cube it's like the easiest shape to build stuff around even with a screen on top)

    As for your example, there are a bunch of compact light-ish anamorphic lenses on the market already (Hawk V-Lite or Panavision G series for example) so again I don't see any difficulty (it might be harder to balance but not impossible IMO)

    EDIT : I managed to balance and use a Canon C300MKII (2 CFAST, the screen unit, standard battery everything minus the side grip) + the same Xeen24mm I mentionned earlier on gen 1 DJI Ronin so the tiny Komodo + a Panavision G Series lense with batteries and a monitoring option should not be a problem for a good Movi gimbal.
    Last edited by Bastien Tribalat; 12-03-2019 at 10:15 AM.
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  10. #2650  
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    Quote Originally Posted by David Rasberry View Post
    Solo shooters like me don’t really need most of that. Tripod, monopod, ENG shoulder style rig, small hand held rig. It isn’t necessary to rig for solo work like it is a cinema production. There are many different production styles. Gimbals are a defense against rolling shutter artifacts. Shooting with a global shutter camera is whole different experience hand held.
    I get when going to the beach to shoot surfers, girls in bikinis and a sunset you need monopod , good RF zoom , some batteries and a pack of beers.
    I don't get how everybody saying its special in terms of production value as C or D camera and there is no way to put PL glass natively.
    I don't buy gear , I rent it , and production company pays for that. How to convince Rental to buy some Komodos if all their optics is PL. Mount adapters without locking on the camera body don't give such a great result.
    Gimbals are a defense against rolling shutter artifacts - that something new. I thought its a tendency to cut money on dolly and steadicam.
    Last edited by Alex Stolpakov; 12-03-2019 at 10:54 AM.
     

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