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  1. #1981  
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    If it isn't obvious by now, this is Red's small crash and action cam with global shutter. High rez, cinema quality, limited frame rates. Made tiny to stick and mount in weird places. That is the main target use for this cam.

    Do with it what you will but thats why it was made.
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  2. #1982  
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    Thanks for the reply Jarred.
    I was hoping Komodo covers most the following and hopefully it does. To recap what I understood:
    - 6k camera
    - light weight...hopefully lightweight enough to be used with a smaller gimbal like Zhiyun/ronin s???
    - autofocus. Hopefully useable like Canon/Sony with face detection, tracking etc...??
    - Red color Science /R3d recording?
    - 60 fps at 4k
    -cinema quality image.
    - reduced rolling shutter effect.
    If all of this is correct then I must say congrats as this will be a fantastic camera that no only is good for Cinema use but also great for a lot of owner/OPS and smaller crews.
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  3. #1983  
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    Quote Originally Posted by Hrvoje Simic View Post
    Upon noticing that the simplicity of pointing the error in reasoning, thus quickly clearing out the potential misinterpretation, was subsituted with a XXL sheet containing logical fallacy within the first two rows of the text (Strawman), I made a judgement call not to spend my Saturday evening on what appears to drift from a productive direction.
    Why can't you stop playing forum moderator? It's your choice to spend a Saturday doing this, but I don't know why. If you have issues with me giving criticism or question something, I couldn't care less. We can disagree on ideas about Komodo, but you focus on the wrong things and I can't answer you further than what I already did, which it seems you ignore to some degree. And there's no strawmanning when I try to frame your argument in order to ask the question about what your point was. A strawman is to simplify someone's argument in order to counter it more easily, but you can't do that if the argument to be strawmanned is so vague that it needs to be understood first.

    Quote Originally Posted by Hrvoje Simic View Post
    I am doing a show right now where rolling shutter often causes flash frame cut-off and no it's not an easy fix in grade. Part of the frame is not exposed the same way. You cannot "grade" what is not captured.
    Done the same and flashes overexpose to such a degree that I can grade the half that's missing so that it matches the other half. Key thing is that a flash is just one frame, which can be fixed. Point being, it's so situational and the amount of productions I've seen doing fine with rolling shutters says to me that it's not really a big deal. However, I don't argue against the benefits of a global shutter, I just say that I think 50-60 fps is a more useful function for what it enables you to do with the camera than a global shutter. If the choice is between a global shutter and 60 fps I'd take 60 fps in a heartbeat.

    Quote Originally Posted by Hrvoje Simic View Post
    Actually, most high-end cameras and many large sensor con-/pro-sumer cameras, in the context of sensor performance, can "reproduce" (capture and enable reproduction in presentation) most of the visible color palette. To a level of visual reference.
    If they are adequately setup and shot, their material is manipulated in post adequately and viewed on proper and calibrated screen.
    Performance limitations are mostly in image value extremes.
    No capture medium can capture the entire visible spectrum our eyes can see. There's also the problem of how our eyes interpret colors based on the situation. But even so, the most accurate capture medium and the most accurate calibrated screen becomes irrelevant as no audience in the entire world will view the material on something that is even close to that calibrated standard. We aren't color grading for another colorist in their studio setup, we color grade for an audience looking at mobile phones, TV sets, cinema and so on. So if the goal is to be as accurate as possible, do a color grade on a calibrated screen with the original paintings as a reference. That's the closest we can get to "accurate". But in the hands of the audience and viewer, there's no such thing as "accurate" really, and it will never be unfortunately.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  4. #1984  
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    Quote Originally Posted by Jake Wilganowski View Post
    If it isn't obvious by now, this is Red's small crash and action cam with global shutter.
    Hopefully the DR and noise issues that can be associated with global shutters have been solved or at least mitigated. I think the Blackmagic Production Camera/Ursa 4K tested at about 8.5 stops and it had some pretty horrible fixed pattern noise in the shadows even at native ISO. Clearly RED would never be satisfied with that type of performance, but I'm curious what the trade-off will be.
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  5. #1985  
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    Guys, I'm pretty sure Jarred did not say it is Global Shutter because of that type of sensor isn't really made anymore.
    Komodo probably uses a rolling shutter but a very very fast one to compensate.
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  6. #1986  
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    Quote Originally Posted by Bastien Tribalat View Post
    Guys, I'm pretty sure Jarred did not say it is Global Shutter because of that type of sensor isn't really made anymore.
    Komodo probably uses a rolling shutter but a very very fast one to compensate.
    Sure, as mentioned, there are drawbacks to a global sensor and I'd rather see a sensor that pushes DR and low light sensitivity over a global shutter. However, if it's fast enough, it should also be able to do higher framerates, since the readout is the bottleneck. I'm not sure who's manufacturing the actual Red sensors these days, but maybe they reached a milestone in global shutters that Komodo gets to be the field test for, who knows.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  7. #1987  
    Quote Originally Posted by Christoffer Glans View Post
    No capture medium can capture the entire visible spectrum our eyes can see.
    Today. In 2019. You can view visually referent colours.
    Captured by a digital camera.

    Not technically ALL visible range but enough to get a visually referent impression of the image on the screen.



    Quote Originally Posted by Christoffer Glans View Post
    Done the same and flashes overexpose to such a degree that I can grade the half that's missing so that it matches the other half.
    Sounds good.

    We have multiple shots where that doesn't work.

    Also, rolling shutter distorts.

    Quote Originally Posted by Christoffer Glans View Post
    Key thing is that a flash is just one frame, which can be fixed.
    By using a camera which doesn't have rolling shutter issues.
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  8. #1988  
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    Quote Originally Posted by Bastien Tribalat View Post
    Guys, I'm pretty sure Jarred did not say it is Global Shutter because of that type of sensor isn't really made anymore.
    Komodo probably uses a rolling shutter but a very very fast one to compensate.
    Agree
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  9. #1989  
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    Quote Originally Posted by Bastien Tribalat View Post
    Guys, I'm pretty sure Jarred did not say it is Global Shutter because of that type of sensor isn't really made anymore.
    The MST4625A sensor can operate in rolling shutter, global shutter, and global reset modes.
    https://www.fairchildimaging.com/pro...nsors/mst4625a
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  10. #1990  
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    Quote Originally Posted by Misha Engel View Post
    The MST4625A sensor can operate in rolling shutter, global shutter, and global reset modes.
    https://www.fairchildimaging.com/pro...nsors/mst4625a
    This is the type of sensor that I meant when I mentioned having an option to switch between modes. If you have the option to switch between having lower framerates, maybe even lower DR, but global shutter for occasions where that is needed and then switch to rolling shutter to get improvements on other areas, that would be a very powerful option.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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