Thread: Monstro vs komodo whats your thoughts?

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  1. #11  
    Senior Member Russ Fill's Avatar
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    Hmmm
    Volks Wagen GTI or a Bugatti.
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  2. #12  
    From what I seen so far komodo looks alot like monstro in terms of highlights and lut of gamut colors. More so than helium. But yes, have not done any testing of my own so can not say for sure.

    Monstro is so good I still get fascinated by the picrlture quality everytime I look at its images. if komodo is even somewhat close to 6k monstro and got the small size, global shutter and prize... I think for a lot of people komodo is a really good option, especially for owner/users. You can always rent the bigger cameras if you need them, workflow etc will be the same.
    Björn Benckert
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  3. #13  
    Senior Member Tom Gleeson's Avatar
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    George,

    Monstro vs Komodo is a question more for your clients. Your personal situation should dictate this choice. If you are shooting medium to big budgets for well paying clients then Monstro makes sense. If your clients are corporate and lower budget then a Komodo becomes a more logical choice. If you are starting out in the business then an investment in a Monstro would likely never see a return on that investment. Do not forget that technology moves very quickly and this years shiny toy will be replaced by a newer shinier toy very quickly. Your camera needs to working and making you money right away not some time in the future. While Monstro is a "better" camera when pushed to the limits you will undoubtably be able to create wonderful images with a Komodo.

    So in summary to answer this question requires a helluva alot more information.

    PS What Björn said
    Tom Gleeson
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  4. #14  
    Moderator Phil Holland's Avatar
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    I mean, I'm here for the answer you are all really looking for.

    On a purely physics basis if I throw DSMC2 Monstro and Komodo at each other I do think Komodo would budge when it comes to mass and momentum.

    However, it's hard to tell which camera body would sustain more damage.

    As a Monstro owner, I can get Komodo footage to play well with it. It is REDCODE RAW after all and the post workflow is very much "the same", a smidge of a tweak here and there they match closely.

    This is a little talked about thing a lot of productions have been after btw. It's happened in the RED world as well as the Arri world and is truly the reason why both expanded product lines exist on professional productions. While ACES and those of us who profile cameras uniquely to match solves the major headaches of getting footage from multiple cameras to work well together, on bigger productions there's been a a bigger desire to keep to one ecosystem to minimize workflow and pipeline issues related to the footage itself. How that's been going down from what I know mainly on films and streaming productions is mixing and matching smaller POV cameras often using a pretty gnarly blocky and low bit depth codec, but really what they are after is some sort of codec synergy both in terms of just practical workflow as well as general image quality.

    Komodo is going to be used in a variety of ways by a variety of filmmakers on all sorts of producitons, but squarely positioned here where this has been a large chatting point on higher end shows and films, this is one production workflow rift RED is solving with this camera. When Jarred stated early on it wasn't exactly designed for A-Cam or whatever, this is pretty much what he was referring to. Komodo is however designed to play with A-Cam nicely while solving some rigging and shot related conundrums. That's sort of the whole point.

    The general market and camera comparisons these days, things like people comparing Alexas to iPhones are "fun" and likely good for views, but truthfully we look to cameras that inspire creativity and confidence in image quality and durability with a worry free post workflow. On larger productions where the cost of what camera is chosen isn't exactly a major factor, from there you are mainly looking to button up workflow related stuff and likely figuring out what tools you want to use to film a scene, sometimes on a shot by shot basis even. In those situations its nice to have everything playing nice.

    That in effect was why I moved up to multiple RED bodies some time ago. You can certainly use other cameras for B-cam or whatever, but having a few Monstros all singing in harmony is smooth world. Then from there probably expanding it to other RED bodies, then from there going rogue into the chaotic discussion of wait, can I actually match Monstro to iPhone footage?! At that point however, you've likely been fired anyways for not being prepared with another camera when one was called for :)

    I posted equivalent FOVs in my little Komodo thread if you are really trying to do a 1:1 format side by side. Critical for me is just getting Komodo to the accurate height when working with DSMC2 brains as well, that's already been done though.
    Phil Holland - Cinematographer - Los Angeles
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  5. #15  
    For VFX / CG / matchmoving stuff komodo with its global shutter will be prefered over monstro by many. For chroma key work Monstro will still be king with is clean image.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
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  6. #16  
    Senior Member Jacek Zakowicz's Avatar
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    Quote Originally Posted by Russ Fill View Post
    Hmmm
    Volks Wagen GTI or a Bugatti.
    I think Type R golf would easily outperform a 1937 Bugatti ;-)
    Jacek Zakowicz, Optitek-dot-org, jacek2@optitek.org
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  7. #17  
    Senior Member Russ Fill's Avatar
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    Ok that made me smile. I wonder what would turn more heads.. A florescent Komodo or a Forged Monstro?
    Quote Originally Posted by Jacek Zakowicz View Post
    I think Type R golf would easily outperform a 1937 Bugatti ;-)
    Epic Forged Monstro (Camera 101)
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