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  1. #2321  
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    Man really not a fan of that UI. Here's hoping it gets simplified with some more professional and minimalist design queues. The gradient/dropshadow buttons look pretty dated and the sliding scale graphic seems pretty divergent from the rest of the design style with lots of extra kind of meaningless graphics in it that don't really add anything. Why not just use the standard red dsmc1/dsmc2 menu as a style guide for komodo? Not really that big a deal in the end but I don't really why it would diverge so much from existing styles. And the old-android phone design queues don't really inspire confidence or a premium feel. I guess we'll see how it ends up looking.
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  2. #2322  
    Senior Member Aaron Lochert's Avatar
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    Quote Originally Posted by Andrew Dease View Post
    How much are the adapters who makes the best etc.
    So far, it looks like the Metabones one is worth looking into. Both Jarred and Soderbergh have posted photos with it. It's $370.
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  3. #2323  
    Senior Member rand thompson's Avatar
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    I Just thought about Red's partnership announcement with Atomos which I believe was around January of this year. Will that factor into encoding into additional New/Other Raw Codecs from the 4K SDI output of Komodo into an Atomos external recorder?
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  4. #2324  
    Senior Member andrewhake's Avatar
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    Quote Originally Posted by Noah Yuan-Vogel View Post
    Man really not a fan of that UI. Here's hoping it gets simplified with some more professional and minimalist design queues. The gradient/dropshadow buttons look pretty dated and the sliding scale graphic seems pretty divergent from the rest of the design style with lots of extra kind of meaningless graphics in it that don't really add anything. Why not just use the standard red dsmc1/dsmc2 menu as a style guide for komodo? Not really that big a deal in the end but I don't really why it would diverge so much from existing styles. And the old-android phone design queues don't really inspire confidence or a premium feel. I guess we'll see how it ends up looking.
    Gotta say I agree with all of this. A sliding scale with a lot of in-between ticks also really doesn't make sense for something like ISO or most other digital camera settings.
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  5. #2325  
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    Wow! Love the UI.... it makes me want to go out and film. Looks intuitive. Great design and makes it its own camera. Just want to pick it up and use it!
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  6. #2326  
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    This is the best part of the camera buying process, the anticipating and the dreaming :P Suddenly the Christmas spirit is reignited by Jarred and his many elves :P
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  7. #2327  
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    Is it me or we have still never seen the left side of the cube in full?
    I mean we know the front, back, right sides, now the top, but not the left side yet! Nore the bottom!
    Does Jared have a new surprise for us? A USB-C port for a SSD? A digital ND filter? sure, with everything we have already, I’m in!
    But we’re all dreamers at this point, right?
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  8. #2328  
    Senior Member Bastien Tribalat's Avatar
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    Quote Originally Posted by yann LHENORET View Post
    Is it me or we have still never seen the left side of the cube in full?
    I mean we know the front, back, right sides, now the top, but not the left side yet! Nore the bottom!
    Does Jared have a new surprise for us? A USB-C port for a SSD? A digital ND filter? sure, with everything we have already, I’m in!
    But we’re all dreamers at this point, right?
    For ND Filter, you'll have to use an external solution (like de EOS-R to EF mount adapter with integrated VariND or something else in front of your lens).
    For the USB-C port, no idea. It has been said that there would be some sort of pogo to USB-C connection to a smartphone, but I don't know if there is an actual port on the body. The camera will use CFast 2.0 Cards as media so IF you REALLY want to use an SSD, you can use one of those CFast to mSATA things.
    As for pictures of the left side of the camera body, so far we have those :

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  9. #2329  
    Senior Member Raphael_Carpenter's Avatar
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    ND is already integrated with RF-Mount - check Bastien's last photo (Variable ND)
    Actually the only mystery is top part of the left side ...
    ... and come on guys -what new/interesting could be on the bottom part?
    As usual - three holes (two of them nearby) so you can plug-in from the front with thumb in rear, from the back with thumb in front ... or if you really perverse - you can screw-in in to all three wholes same time
    ahahaha sorry just saying


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  10. #2330  
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    Quote Originally Posted by Mendes Nabil View Post
    Time for Graeme to work his magic now, i'm sure he's working hard at it, trying to get the perfect color science.
    If i may Graeme, one word and one only, please make it "Organic", the more the technology advances the more we have this "plastic-videoish" look, the Sony Venice for example is pretty awful in that regards..
    The problem is i think their point of reference, brands try to beat the newest and freshest toys of the concurrence, a dangerously wrong approach in my opinion.
    Look at the Red one Mx, the most filmic Red camera ever and probably the most filmic digital camera, the point of reference was film and like Guillermo Del Toro once said:
    "We can only puke what we ingurgitate".

    Please watch back the greatest films of our history, those with magic cinematography, like :
    Blade runner 1982, Road to perdition, Fight club, Seven, Days of heaven, Children of men, Heat, just to name a few..
    Make it alive, full of soul and character please, color and texture wise, i can't wait to see what you're coming up with.
    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.
    "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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