The First Komodo Out in the Wild

[Phil Holland]

What I'm seeing here is subtle tonal variance in the skin tones without patchiness. Can't wait to see some Komodo footy in a color bay...

Heh. I'm having that fun this week :)

Why is it not compatible with Adobe Premiere Pro 2018? I know, I have an old ADOBE package, but it's because my RED files work great. And if something works great, I don't change it :s
Thanks!

Don't know if the older version supports the newer SDK really. I"ll ask Adobe, but APP2018 is 8 major releases back and was released in 2017.

Yeah, With some red footage in the past, you would have to correct for 2 or 3 hues in the skin. With the Komodo it no longer appears to be a problem.

Heh. Graeme's been doing some great things lately. Some of that will likely be chatted about soon-ish. He's kicking butt lately.

[rand thompson]

Thanks for that Info Phil!, can't wait to see what Techno-Sorcery Graeme has up his sleeves.

[Alain M]

Heh. I'm having that fun this week :)




Don't know if the older version supports the newer SDK really. I"ll ask Adobe, but APP2018 is 8 major releases back and was released in 2017.




Heh. Graeme's been doing some great things lately. Some of that will likely be chatted about soon-ish. He's kicking butt lately.

Thanks for sharing all the goodies info and footage Phil!

[Gregory Karydis]

Interestingly I think the touch screen is actually pretty damn responsive, but I will say one thing about it. You can operate purely through touch on the top screen or you can use the buttons, or much more excitingly, a combination of the two interfaces. You have to keep in mind that this camera is brand spanking new and most people at the moment are really unfamiliar with it despite the menus being simplified and responsive.

After a week of beating on the camera I use the touch and buttons and I'm zipping in and out pretty fast. Interestingly I have tested everything with thick gloves as well to see if you can do that. Something I had to deal with when working with NASA and the ISS a couple years back was that general concept via a fairly robust manual.


Oh, and for those up at night here, I've exported a 9 second trim of the longer clip I uploaded due to some not being able to grab the full 30GB one. This one is 2.5GB:

http://www.phfx.com/temp/RED_Komodo_...eClip_tiny.zip

You are amazing Phil!
Would you like me to host these on my wetransfer and dropbox? I've got unlimited bandwidth on both (well, until it breaks :D but still)

[Phil Holland]

You are amazing Phil!
Would you like me to host these on my wetransfer and dropbox? I've got unlimited bandwidth on both (well, until it breaks :D but still)

No worries now that it's on my site. It also has unlimited bandwidth, but like, actual unlimited and not the dropbox limit.


Should be gravy and I'll have some more variety in the clips like me dressed in period clothing, kidding. But yeah, I have more footage to send to y'all.


Today's Komodo Diary is a fun one and I guess I'm the one uncovering a lot of the hard specs at this point. I feel like an astronaut who stepped onto a drifting spaceship sometimes, but here's something awesome:



RED Komodo Diary: Day 12

Though it would seem like I'm doing my best to make Komodo larger, what I'm actually doing is exploring big concepts in compact ways. In this case wireless 4K video out of the camera. Komodo does indeed have a 12G SDI for 4K (10-bit 422) output and rather nicely Teradek has the Bolt 4K that I can sandwich between the V-Mount plate from Wooden Camera.

This whole concept of wireless 4K on set is still relatively new still, but it will be a growing trend for some productions focused on high resolution delivery and likely HDR workflows. What I'm pushing the signal to is out of frame, but I can tell you having a high res signal is indeed a delicious sandwich for Directors, DPs, ACs, and on set clients. This was equally a test to see how the Tokina Cinema Primes would fair on the PL mount from WC, absolutely recommending using the support foot like I am here, but pleased rod support wasn't needed as well. For bigger, long lenses though like cine-zooms, always a good idea for a more rigid rig.

I still am mainly a 19mm rod fellow especially with the Bright Tangerine Titanium Drumstix. They pretty much weigh the same and when operating a larger follow focus you quickly understand why 19mm is the way to go on longer lenses. 15mm is Lightweight territory and always useful, especially for single rod follow focus or electric motors. Even shorter lenses with a double rod FF isn't too shabby. But 19mm covers you for all of the above for sure.

Kinda want a 4K 7" on board display now. With pass through. A bit overkill, but not really when you think about it and how you can tap into that.


What's next? Probably my last or close to last "diary" and now I'm just filming stuff. I've figured out pretty much everything in Komodo at this point, some I haven't shared just yet because I need to make it pretty, and who knows something might pop up in there. Overall I have a pretty grounded perspective on the camera at this point. I'll try to gather some thoughts on that quickly. I dig it. It's not about killing your DSMC2 brain, it is a complementary system and also something you want to use when DSMC2 might not be the best solution for a tight setup. It's hit me far more intensely than I thought though considering that Monstro is my A-Cam and will be on most projects, but holy hell I do actually like this thing. I truthfully didn't want to. But I did order a bunch of new hardware and accessories to truly support my Komodo rigs properly on productions at this point. And this is outside of the cool stuff I have been testing.

Probably an influx of footage. I also should share some really lean rigs too. It's literally the Komodo's biggest strength outside of the global shutter, REDCODE RAW, and built to survive a small blast of some sort. For me I'll add I do love how quiet this thing is. I"ll have more on that shortly too.

[Mike P.]

I come to this thread for the pics... ...but I stay for the articles.

Whatever riser plate that is, it should be even more trapezoidal, to make for a really kick ass shoulder rig... Just put a pad under there like Gundu's original catcher's mitt Scarlet-X one (thing was dope.)

[Gregory Karydis]

Thanks for the in depth diary entry Phil!
Actually, I’ve been thinking along the same lines for that 7” 4K onboard display.
The only way I could tone down my own frustration for not being able to source one was that even if I found one,it would probably be impossibly power hungry...

But definitely not overkill.
Been called Mr Overkill more than once in a number of productions and I think it suits me to a tee. But then, everyone else is glad at some point that someone went nuts with the overkill stuff and covered all the bases ;)

[Phil Holland]

I come to this thread for the pics... ...but I stay for the articles.

Whatever riser plate that is, it should be even more trapezoidal, to make for a really kick ass shoulder rig... Just put a pad under there like Gundu's original catcher's mitt Scarlet-X one (thing was dope.)

I'll let people discover their truths on shoulder rigging this tiny thing. I will say I have held Komodo in one hand for 2 hours straight. 4-5lbs is pretty tiny and not something I totally feel I need on the shoulder. Not saying you can't do it, just saying it might be not as necessary as expected for even longer days.

Thanks for the in depth diary entry Phil!
Actually, I’ve been thinking along the same lines for that 7” 4K onboard display.
The only way I could tone down my own frustration for not being able to source one was that even if I found one,it would probably be impossibly power hungry...

Perhaps. I've seen some panels recently at CES and just before that. I'm expecting more mobile sized through probably up to 11" 4K screens. The real kicker beyond the resolution is the power draw on brightness. That's been a revelation as it's been the "new thing" I have had to stay on top of. All these 5-7 inchers all have different power draws depending on their brightness and features. But if you want to have something visible in daylight, like really bright daylight, that's the price you pay it seems.


Actually while I'm here. If you want anything shot specifically, let me know. I'm filming stuff now that I've been planning, but I've already sent some chroma green out there to VFX peeps to test the workflow. I'll do my best to facilitate before I head out of town for a while.

[Ty Maier]

Phil I’d love to hear your thoughts on how many lbs Komodo should be rigged to (including a side handle) for a clean handheld look. I know that’s a very subjective, loaded question. But still interested in your thoughts!

[M Harvey]

Thanks again, Phil-- great to follow along with your "diaries." These are my favorite resources for thinking realistically about this amazing little camera.

I'm expecting more mobile sized through probably up to 11" 4K screens.

I know people are excited, but I'm just not convinced of the value of 4k screens in these size ranges-- I doubt that I'd be able to tell the difference from quality HD. That said, 4k signal input is useful in an HD screen if it allows high-res examination of details (to check focus, etc.). For me, anyway-- not trying to pick a fight with anyone!

If you want anything shot specifically, let me know.

Aside from a range of other skin tones, I don't personally need loads more formal test footage-- instead, I'm excited to see this little guy really rock and roll! Would love to see convincingly cinematic rendering with dramatic lighting, vintage lenses, very kinetic usage-- all the stuff that makes shooting fun!