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  1. #3341  
    Senior Member Robert Hofmeyr's Avatar
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    Quote Originally Posted by jamesbridges View Post
    Hey Jarred,
    Any chance to have the option of using the new GDU batteries?
    I'm sure someone, if not Red, will build a V-lock plate that mounts on the battery slots on the back of Komodo and has a short cable to the power input.
     

  2. #3342  
    Senior Member Robert Hofmeyr's Avatar
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    Quote Originally Posted by Phil Holland View Post
    Once I have a Komodo to play around with "regularly" I guess I can show a few things to inspire your rigging potential. I do already have a decent amount of Komodo AKS laying around.


    As for PL again since this is a rather circular conversation. What you can do right now is:

    You can securely mount a RF>PL Adapter to the native mount and by using a longer baseplate for solid metal support that can hold your heavier lenses. Rod support for much longer lenses, unknown as no AKS exist for it just yet (but there will be), but I use 19mm support for longer glass. Hell I use 19mm for damn near everything except for my rodClaw, which I use a single titanium 15mm rod.
    Hey Phil. When mounting PL glass, or any heavy lens for that matter, and assuming you are not adding a huge amount of weight to the camera or swinging it around like crazy, would you be happy just securing the lens and hanging the Komodo of the back of it?
     

  3. #3343  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Robert Hofmeyr View Post
    Hey Phil. When mounting PL glass, or any heavy lens for that matter, and assuming you are not adding a huge amount of weight to the camera or swinging it around like crazy, would you be happy just securing the lens and hanging the Komodo of the back of it?
    I'm not much of a camera dangler, but it's doable on longer lenses if you're doing wildlife work and will help make your life easier in terms of kit. Personally I'll still be plate mounting to some degree, but if we're talking about filming elephants in South Africa with like a 500mm, balance-wise it's not a bad idea for sure.

    The key to really stable long lens cinematography is always a well balanced system on a decent fluid head and sticks. Then from there a good old fashioned windshield.
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  4. #3344  
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    Quote Originally Posted by Andy Jarosz View Post
    This industry is so focused on keeping up appearances that we stifle innovation almost every step of the way. When a new piece of gear is introduced, the reaction is "Great, how is *this* gonna screw me?" instead of excitement. We chide gear when it fails, badtalk manufacturers when their equipment breaks, and get upset when things aren't backwards compatible. It causes manufacturers to be overly conservative and leads them to spend time building features that facilitate stubborn crewmember's old-school ways, instead of innovating.

    Film needs to become more tolerant of failure if we want to start seeing some really cool shit. If you asked cinematographers what they wanted, they would have said Faster Film.

    It's why I've supported RED from the start and continue to advocate for them to this day. You guys innovate--and people can either get on that train, or watch as it whooshes by.
    Would be prime to hear David Mullens take.
     

  5. #3345  
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    Quote Originally Posted by Jarred Land View Post
    The L mount alliance has the right idea but they focused on the still world so it shares the same mechanical weakness of the RF and the RF beats it in many electronic ways.
    That's interesting, I knew the L didn't have physical dimensions as favorable as RF and Z, but I wouldn't have thought the three would be that far apart in terms of bandwidth and that sort of thing. Then of course for volume reasons most third party lenses will probably need to be adaptable to the more restrictive FE mount so the great diameters of the RF and Z are wasted....

    Who knows, though, maybe as the market continues to contract the walled gardens will just become too small and we will see that standardized mount idea come to be. M42 or PL for the 21st century.
     

  6. #3346  
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    Quote Originally Posted by Jarred Land View Post
    And yes you are right that it is not as solid against rotation as a PL mount.. Neither was the EF but we all evolved to make products that fix that. And As phil said you can hard mount your RF to PL adapter to the body in multiple ways to eliminate that slop completely.

    Alas... we can all agree that there isn't one perfect mount. But the RF is damn well the closest there is to something that is looking to the future right now and that is why I chose it.
    I don't try to diss RF mount or even ask why this mount and not that. I think as it is short flanged mount- It is brilliant with all the possibilities of different glass and AF for anybody who needs it.

    Just for rentals that invested 100 thousands in PL glass, makes sense in my poor understanding of the question, to have PL mount baked in. And glass investments lasts for years.

    Sure good owner-operator like Phil will overcome easelly what ever it will be rigging or shimming the mount.

    But in rentals the same situation will be different. You will never know, when you get the answer yes it's PL, which mount you will get (in what part of China it was made, does it have back focus adjustment, can it be rigged well). As there is no standart with so many variants (sometimes cheaply made). And that's for 50 year old technology.

    If and that's my if, without dissing anyone, or expecting anything from anybody, there will be a PL version, it's only fair to cost that much more, for such a mount https://www.bhphotovideo.com/c/produ..._pl_mount.html just for a example. And RF version will stay RF
     

  7. #3347  
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    Quote Originally Posted by Phil Holland View Post
    I don't know if there will ever be a native PL Mount Komodo.

    What did I promise?

    Once I have a Komodo to play around with "regularly" I guess I can show a few things to inspire your rigging potential. I do already have a decent amount of Komodo AKS laying around.

    There are two sides here. We get that you want a native PL Mount Komodo. Most of us are telling you how you can get a pretty damn rigid PL mount on the body given what's currently known. But the interesting thing is you also aren't seeing what you lose by having a native PL mount in this instance.

    And yes, this coming from somebody who will primarily be using Komodo with PL glass.
    Sorry.
    Maybe I misread, what you answered to me.
    My only "quarrel" with you can be that you will get Komodo to play around with "regularly" much faster than me.
     

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  #3348  
    Fire Chief Jarred Land's Avatar
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    Quote Originally Posted by Lee Saxon View Post
    That's interesting, I knew the L didn't have physical dimensions as favorable as RF and Z, but I wouldn't have thought the three would be that far apart in terms of bandwidth and that sort of thing. Then of course for volume reasons most third party lenses will probably need to be adaptable to the more restrictive FE mount so the great diameters of the RF and Z are wasted....

    Who knows, though, maybe as the market continues to contract the walled gardens will just become too small and we will see that standardized mount idea come to be. M42 or PL for the 21st century.
    I think if you fast forward a few years there will be the most amount of 3rd party lenses outside Canon offered in an RF mount, just like right now there are more EF lenses then any other. Sony did a really really great job with the a7 cameras, they deserve some sort of award for pushing the entire dslr market forward , and I bought everything they released. The GM lenses sony makes for that system is fantastic. But since the release of the R / RF system I haven't picked up the a7/a9 once... and the new RF glass is outstanding. I don't need to tell you how much I am in love with it.. I released the first cinema camera with an RF mount... before even Canon.

    But the problem with the RF mount is that its owned by a camera company and Nikon will never use it, nor will Sony nor will Panasoinc on their little mirrorless cameras. I like to think we knocked down some of those walls when we introduced the changeable lens mount into the cinema world.... now almost every cinema camera company offers a canon mount for their cameras. That was awesome in one way but in another for the customer it made things a bit more difficult... we actually kinda fucked things up. Before we did the whole removable mount thing you could ONLY buy cinema glass in a PL mount. Now you need to buy a couple different lens mounts as well as making a decision on which mount to buy your lenses in. It would just be EASIER if we all reverted to just one mount... and every camera and lens company followed.

    But for that one lens mount to work , you need to make sure its better than everything else that it is trying to replace... and there can't be any politics.
     

  9. #3349  
    Senior Member Robert Hofmeyr's Avatar
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    Quote Originally Posted by Phil Holland View Post
    I'm not much of a camera dangler, but it's doable on longer lenses if you're doing wildlife work and will help make your life easier in terms of kit. Personally I'll still be plate mounting to some degree, but if we're talking about filming elephants in South Africa with like a 500mm, balance-wise it's not a bad idea for sure.

    The key to really stable long lens cinematography is always a well balanced system on a decent fluid head and sticks. Then from there a good old fashioned windshield.
    Thanks Phil. The time you donate to this forum is always appreciated.
     

  10. #3350  
    Quote Originally Posted by Andy Jarosz View Post
    This industry is so focused on keeping up appearances that we stifle innovation almost every step of the way. When a new piece of gear is introduced, the reaction is "Great, how is *this* gonna screw me?" instead of excitement. We chide gear when it fails, badtalk manufacturers when their equipment breaks, and get upset when things aren't backwards compatible. It causes manufacturers to be overly conservative and leads them to spend time building features that facilitate stubborn crewmember's old-school ways, instead of innovating.

    "Subborn crewmember's old school ways" =
    how to get shit done reliably, repeatedly, within precise timeframe and coordination, In 4 a.m, Nth take, exhausted, wet, frozen...so hundreds of people on set keep working like an army, meeting shooting schedule and instantly adapting to changes and unforseen circumstances while money is melting away by the second.

    "Gimme everyting now, every second something new and I'll figure out ways to work around the rest and adapt the shooting workflow, yaay new stuff" = explorative privilege many crew members on set do not have.

    "How can this screw me?" - rational reaction from anyone who's job involves responsibility towards hundreds of people on set, shooting schedule and larger sums of money invested in the project

    "This new camera/professional tool a/b/c I've seen on the internet sucks because it doesn't incporporate what I imagined" - irrational reaction from mindsets sitting at home with zero film set experience and consumeristic sense of entitlement.

    Quote Originally Posted by Andy Jarosz View Post
    Film needs to become more tolerant of failure if we want to start seeing some really cool shit.
    Film needs to be done through principles of filmmaking, which have little to do with someone's whims and "stubborn old school ways", optimization to which took decades of perfection, generations of passing knowledge, years of practice to learn to be able to adequately fit in the film set machinery, and products designed for filmmaking have to be adapted for film workflow. Or they don't get used on film sets.

    If a new camera/tool feature enables more, is reliable, practical, robust etc it eventually gets used in most tasking and riskful production environment, which is a higher budget film, series or TVC set, by highly skilled, highly adaptable set ninjas. Who typically don't get to work - or stay, on a film set, if stubborness is their character trait.
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