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On his Instagram page, Jarred Land announced the long awaited KOMODO Monochrome. The s35 6K camera has around double the sensitivity of the original Komodo and should be able to record as much as 20% more detail. With the traditional Bayer pattern color filter array (CFA) found in most cinema cameras, each pixel captures only... Continue Reading →
We're in the middle of comparing REDWideGamutRGB/Log3G10 and Rec.2020 ST2084 as the timeline color space. There's definitely a difference between how the two feel, we're just trying to decide which we prefer. Which one do you like working with?
https://youtu.be/_jFpYHHX1xk All clips ISO 500, enlarged 999%, chroma noise reduction enabled. Click here to see our comparison between R3D HQ and R3D LQ. To really evaluate the image quality and see what compression is doing to our footage, it's necessary to play the clips back-to-back in HDR on something like a 55" LG OLED, and... Continue Reading →
A comparison of three popular workflows in DaVinci Resolve: ACES, RCM/DaVinci Wide Gamut Intermediate and RED IPP2. We see a lot of unusual color/contrast in YouTube videos comparing the RED Komodo to other cameras, and one of the contributors to this is improper color management. In DaVinci Resolve, it's preferable to (1) maintain an end-to-end... Continue Reading →
The RED Komodo has just gotten a pretty substantial update with beta firmware version 1.7.0, including the ability to upload video to the cloud with Frame.io, Gio Scope, improved autofocus and ELQ R3D, among other improvements. We had a chance to try out the autofocus this morning but saw no difference from our previous tests.... Continue Reading →
Gyro data to R3D is a surprise. So is cloud upload capability. Hopefully the update drops by Christmas!
The RED Komodo is to get Gio Scope, ELQ and improved AF, quite possibly before Christmas. Gio Scope is like if false color and the zone system had a child together but reflects the RAW sensor data and is unaffected by ISO and white balance. The Komodo will be the first of the DSMC 3... Continue Reading →
There's next to no sample footage out there of Phil Holland's philmColor LUTs for IPP2, which is bonkers, because these are quite possibly the best looks out there for RED shooters. And without question, for RED filmmakers delivering HDR projects. When the LUTs are used in camera, you can monitor in SDR with the built-in... Continue Reading →
In this clip, we try out just a handful of the over 540 LUTs included in Phil Holland's philmColor R3 LUT pack. There is a link to the downloadable movie in the description for those who can't stand YouTube compression. https://youtu.be/Z53zdkSf1gQ
During a livestream a couple of years ago with some of the very first filmmakers to get their hands on the RED Komodo, Jarred Land announced that a monochrome Komodo was absolutely on the road map. Now that the V-Raptor, V-Raptor XL and Rhino are all in production, can we expect a Komodochrome in 2023?... Continue Reading →
https://youtu.be/uEcmBKzWbp4 Here's the workflow for those who are interested. https://daejeonchronicles.com/2022/11/14/josh-pines-sony-venice-lut-with-red-ipp2/
https://youtu.be/qUDhKYTAKlo Look 1, developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One) was created using the Lo Con Base LUT and offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital. Download the original movie here. Four of the new custom... Continue Reading →
Regarding the HQ, MQ and LQ settings on the RED Komodo, Jarred Land had this to say: The only reason you should select low quality is [...] to record for a very long time [or] because you have a limited amount of cards [...]. The medium shouldn't even really be there, but you know, people... Continue Reading →
We've made a few more changes to the RED Komodo post-workflow, including adding Rec.2020 ST2084 (P3-D65 Limited) for those working with a display calibrated to P3-D65, such as the MBP (2021). From the DaVinci Resolve user manual: Gamut Limiter Lets you limit the gamut to a specified standard. Useful in situations where the delivery color... Continue Reading →
RCM was doing strange things to Red Komodo footage, including making letterboxing and titles gray rather than black so we’ve gone ahead and updated it to a node based transform workflow.
We gave the face detect AF feature on the RED Control app another shot this afternoon, and it surpassed our expectations! In order to work properly, at least until face tracking is enabled in the Komodo with the next firmware update in December, it’s necessary to focus first, then select Face Detect in the app.... Continue Reading →
Shot with the Canon RF 35mm f/1.8 macro. https://youtu.be/NJuloCLCTLY
It looks like Face Detect AF is on the horizon for the RED Komodo, probably with a firmware update in December. Meanwhile, it's available through the Red Control App. The free version of the RED Control App now offers Face Detect AF and it works with the RED Komodo. The feature will not work without... Continue Reading →
Just a quick comparison between 6K and 6K on a 4K timeline, ISO 640. You'll probably have to crank up the brightness and inspect in a darkened room.
The Daejeon Chronicles 