Thread: The First Komodo Out in the Wild

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  1. #381  
    Thanks for sharing Phil!!!
    Your insight is always valuable and appreciated!
    Needless to say I scoured the internet looking for any mention of a SmallHD Focus Pro but there's no mention, yet.
    Hopefully they will open preorders soon.

    Interested to find out how bright and heavy it is.

    Thoughts on this vs the Portkeys BM5...?
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  2. #382  
    Senior Member luigivaltulini's Avatar
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    sorry Phil maybe I lost the thread on the prores format ..
    Can you tell me the prores formats available?
    2k, 4k max hq? at all frame rates? or is limited.
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  3. #383  
    Hello Phil,

    Thanks a million for all the Komodo testing and posting about said camera. Very gratifying and exciting indeed. I hope you and those close to you are fairing ok given today's climate of uncertainty. I had a simple tech question about the Komodo. I think I saw this posted before in another thread but it got lost in the ether. With the beta version you are using for said tests, what are the available frame rates when shooting .r3d at various resolutions? Thank you, in advance, for your time.
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  4. #384  
    Senior Member Aaron Lochert's Avatar
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    Quote Originally Posted by luigivaltulini View Post
    sorry Phil maybe I lost the thread on the prores format ..
    Can you tell me the prores formats available?
    2k, 4k max hq? at all frame rates? or is limited.
    Here's what Phil said before:

    Quote Originally Posted by Phil Holland View Post
    Yep. ProRes is in there. In HQ and 422 for both 4K and 2K resolutions. I'll dig into it a bit, but it looks like Komodo properly scales the footage to the appropriate delivery res. Nice for fast turnaround work. I prefer the REDCODE RAW Workflow, but when you need to be super damn fast and deliver right then and there, here you go. It is an either or situation, so you pick REDCODE RAW or ProRes and go from there.
    I would like some clarification though because DSMC2 does 422 HQ at 4K, but you can get 4444 XQ in 2K. I wonder if Komodo can do the same or if it's just doing 422 HQ max in all resolutions. I'm also curious to know where the ProRes framerate limitations happen as well. In DSMC2, we could only ever get 30 fps in 4K ProRes and 120 in 2K ProRes. If Komodo can do 4K prores above 30 that's good news for feeding 6K at 40 and 5K at 48 into it.
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  5. #385  
    Senior Member Patrick Tresch's Avatar
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    Nice setup Phil. Thanks for the picture.

    I was wondering if it could be set horizontally on the right side of the camera?
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  6. #386  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Patrick Tresch View Post

    Nice setup Phil. Thanks for the picture.

    I was wondering if it could be set horizontally on the right side of the camera?
    Thank you and thank you Patrick. Yes it absolutely can, but in this case I needed the ribs to mount a handle. Horizontal or vertical orientation or facing towards or upwards is doable, upwards might be nice as the cables run downwards. In this case since it's an arca qr situation, it's more about how you orientate the plate.

    I have this setup mounted to the Wooden Camera top handle which interestingly can be fully taken off as it's quick release as well. Basically allowing for me to slide the M2D2, mic, and monitor off in one go.
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  7. #387  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Alejandro Marin View Post
    Hello Phil,

    Thanks a million for all the Komodo testing and posting about said camera. Very gratifying and exciting indeed. I hope you and those close to you are fairing ok given today's climate of uncertainty. I had a simple tech question about the Komodo. I think I saw this posted before in another thread but it got lost in the ether. With the beta version you are using for said tests, what are the available frame rates when shooting .r3d at various resolutions? Thank you, in advance, for your time.
    It will easier to post the max fps shortly once everything is in camera. There are 3 major formats in camera:

    17:9 = DCI 1.9:1 essentially
    16:9 = UHD and HD
    2.4:1 = RED's widescreen ratio, which actually comes out to 2.37:1 for floating point math reasons. DCI Scope actually is 2.39:1 so you traditionally crop off the top and bottom a smidge, less of an issue in the realm of digital delivery. I've seen projects actually finishing out 2.37:1 for sure.

    It's important to understand that Komodo is indeed a tight and refined ecosystem, so none of the bazillion formats found on DSMC2. Notably missing is the popular and common 2:1, which really is just a smidge of a top/bottom extraction from 17:9 when you think about it.

    From there you have your major resolution landmarks and I've asked for the even and .5K options to be in there as they allow for image coverage and exploring certain optics for things like Super 16mm filmmaking.

    If anybody here is new to the RED ecosystem, as you window down on the sensor (smaller physically format size) you get higher FPS. So at 6K 17:9 today, it's 40fps, but 2K is significantly higher fps. Again, once all that is fully added, basically what I'm saying is there's more formats coming, I'll post a bit old think likely to PHFX | tools formatKey like I have now for the other cameras.

    And no, you can't have 2K full sensor. RED, like all proper raw digital cinema cameras, doesn't do any pixel binning or line skipping. There are ways to explore some things, but as of yet, not really being done due to QC issues that often come with that. Thought I'd be curious to see if the global shutter tech allows for more exploration there. Sounds like a fun couple week R&D project for one of the engineers.

    Anamorphic at the moment isn't in the camera in the latest firmware, which is partially why I'm doing all that in the monitor. In my case I am desqueezing in post and performing a frame extraction, much like when working with film honestly when scanning in the Super 35mm negative.

    Quote Originally Posted by Aaron Lochert View Post
    Here's what Phil said before:

    I would like some clarification though because DSMC2 does 422 HQ at 4K, but you can get 4444 XQ in 2K. I wonder if Komodo can do the same or if it's just doing 422 HQ max in all resolutions. I'm also curious to know where the ProRes framerate limitations happen as well. In DSMC2, we could only ever get 30 fps in 4K ProRes and 120 in 2K ProRes. If Komodo can do 4K prores above 30 that's good news for feeding 6K at 40 and 5K at 48 into it.
    I don't think it has the juice to do 4444 XQ data rate-wise, but I will say at the moment it's 422 HQ in 4K or 2K at various frame rates. I honestly haven't tested ProRes much, but will dive in a bit more. I certainly know many people just need to deliver ProRes straight away for some projects, but if I had a bullwhip and could just sort of make people use REDCODE RAW in most situations, well yeah :) It's a nice thing to have and when you need it, you really need it. For me in particular, it's also likely going to be the least used feature because I'm all about that raw workflow.

    Quote Originally Posted by luigivaltulini View Post
    sorry Phil maybe I lost the thread on the prores format ..
    Can you tell me the prores formats available?
    2k, 4k max hq? at all frame rates? or is limited.
    422 HQ and 422 straight. I'l confirm again, but yes at all frame rates in 4K and 2K.

    If filming at 6K it will scale the footage to 4K or 2K like you'd expect.
    Phil Holland - Cinematographer - Los Angeles
    ________________________________
    phfx.com IMDB
    PHFX | tools

    2X RED Monstro 8K VV Bodies and a lot of things to use with them.

    Data Sheets and Notes:
    Red Weapon/DSMC2
    Red Dragon
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  8. #388  
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    Quote Originally Posted by Phil Holland View Post
    It will easier to post the max fps shortly once everything is in camera. There are 3 major formats in camera:

    17:9 = DCI 1.9:1 essentially
    16:9 = UHD and HD
    2.4:1 = RED's widescreen ratio, which actually comes out to 2.37:1 for floating point math reasons. DCI Scope actually is 2.39:1 so you traditionally crop off the top and bottom a smidge, less of an issue in the realm of digital delivery. I've seen projects actually finishing out 2.37:1 for sure.

    It's important to understand that Komodo is indeed a tight and refined ecosystem, so none of the bazillion formats found on DSMC2. Notably missing is the popular and common 2:1, which really is just a smidge of a top/bottom extraction from 17:9 when you think about it.

    From there you have your major resolution landmarks and I've asked for the even and .5K options to be in there as they allow for image coverage and exploring certain optics for things like Super 16mm filmmaking.

    If anybody here is new to the RED ecosystem, as you window down on the sensor (smaller physically format size) you get higher FPS. So at 6K 17:9 today, it's 40fps, but 2K is significantly higher fps. Again, once all that is fully added, basically what I'm saying is there's more formats coming, I'll post a bit old think likely to PHFX | tools formatKey like I have now for the other cameras.

    And no, you can't have 2K full sensor. RED, like all proper raw digital cinema cameras, doesn't do any pixel binning or line skipping. There are ways to explore some things, but as of yet, not really being done due to QC issues that often come with that. Thought I'd be curious to see if the global shutter tech allows for more exploration there. Sounds like a fun couple week R&D project for one of the engineers.

    Anamorphic at the moment isn't in the camera in the latest firmware, which is partially why I'm doing all that in the monitor. In my case I am desqueezing in post and performing a frame extraction, much like when working with film honestly when scanning in the Super 35mm negative.



    I don't think it has the juice to do 4444 XQ data rate-wise, but I will say at the moment it's 422 HQ in 4K or 2K at various frame rates. I honestly haven't tested ProRes much, but will dive in a bit more. I certainly know many people just need to deliver ProRes straight away for some projects, but if I had a bullwhip and could just sort of make people use REDCODE RAW in most situations, well yeah :) It's a nice thing to have and when you need it, you really need it. For me in particular, it's also likely going to be the least used feature because I'm all about that raw workflow.



    422 HQ and 422 straight. I'l confirm again, but yes at all frame rates in 4K and 2K.

    If filming at 6K it will scale the footage to 4K or 2K like you'd expect.
    Just for clarity sake, are you saying that in prores mode you can record the full size image of the sensor and the camera will downres internally to a 4K or 2K capture without croping the sensor? So s35mm sensor image going to card at 2K downres?

    If so thats great for projects that don't high res images or super quick internet turnarounds
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  9. #389  
    Moderator Phil Holland's Avatar
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    Quote Originally Posted by Joesef o. View Post
    Just for clarity sake, are you saying that in prores mode you can record the full size image of the sensor and the camera will downres internally to a 4K or 2K capture without croping the sensor? So s35mm sensor image going to card at 2K downres?

    If so thats great for projects that don't high res images or super quick internet turnarounds
    Yes and that is essentially the principle it's designed around in DSMC2 and Komodo cameras.

    Producing more or less standard delivery resolution mezzanine codec files.

    Job hires you, need to deliver UHD 4k 3840x2160? You'll have the ability to shoot something like 6K 16:9 or 5K 16:9 and it will properly downsample to that deliverable.
    Phil Holland - Cinematographer - Los Angeles
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    phfx.com IMDB
    PHFX | tools

    2X RED Monstro 8K VV Bodies and a lot of things to use with them.

    Data Sheets and Notes:
    Red Weapon/DSMC2
    Red Dragon
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  10. #390  
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    Thanks, yeah just didn't know if the Komodo followed in the DSMC2s footsteps with this, which is nice. Having a quick 1080p/2k preres file without cropping the sensor is great.
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