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No, you're not having flashbacks, we've covered this before. But since we were testing out our shiny new Meike T2.1 50mm s35 prime, we thought we'd take the Komodo's auto WB for another spin. And just like our other footage where we dialed in our own Kelvin, it looks like there is indeed an unmistakable... Continue Reading →
Clarity and conciseness are such rare commodities these days! Nowhere has this been more evident than in the deluge of muddled videos cluttering YouTube since the release of firmware update 2.00 that adds Cine EI to the Sony FX3. Whenever possible, when searching for reliable information, it’s usually preferable to go straight to the source,... Continue Reading →
It's so liberating to be able to view the false color guides and histogram, adjust white balance, ISO and aperture, pull focus, change the aspect ratio and frame rate and format media - all with an iPhone.
Because of its higher contrast, noise is much more visible in HDR - a fact ignored by camera reviewers - and what may be acceptable in SDR might very well turn out to be unsatisfactory when mastering in PQ ST 2084. CVP shoots their B-roll with the Komodo set to ISO 250 for the cleanest... Continue Reading →
We've gathered together a bunch of titles of some of the most popular YouTube reviews of the Sony a7s III and the RED Komodo for your reading enjoyment. A suspiciously high number of a7s III reviews include the word 'perfect' while most of the Komodo ones concentrate on price, often vastly exaggerating the true cost... Continue Reading →
https://youtu.be/XjzeBIt9gLo The video is best watched on an OLED TV. It was shot at 6K 2.4:1, 50 FPS in R3D LQ. RED raw files are a joy to grade, the color and texture of the image are like nothing we've ever experienced. The Canon 35mm macro is a crispy little bugger with pleasant enough rendition... Continue Reading →
CineD just published their findings for the R5 C, and the results may surprise you! Rolling shutter measured 15.5ms at 8K DCI full frame, latitude was 7 stops and the dynamic range for Cinema RAW Light LT 8K ISO 800 developed in DaVinci Resolve to CLog2 clocked in at 10.2 stops at SNR = 2... Continue Reading →
The RED Control app gives you access to the functions of the RED Komodo on a smartphone, tablet or laptop computer. Below is the screen that greets you upon opening the app. Tapping on any of the four stars in the bottom left-hand corner opens up different pages or tabs. The large red button labeled... Continue Reading →
Balancing the RED Komodo paired with the Canon RF 35mm f/1.8 Macro IS STM on a DJI RS 2 was easy peasy! In fact, it required much less time to balance than the a7s III with the Ninja V. As can be seen in the photo below, there is a ton of clearance between the... Continue Reading →
The footage was massively overexposed and white balance was off by several thousand degrees Kelvin. Still figuring things out... hehe https://youtu.be/eM9j2VxjBpk
Here's a rundown of the true cost of a bare bones Komodo setup, including approved media, power, card reader, battery charger, SDI surge protector, cage, SDI module for the Ninja V and the least expensive compatible Canon RF mount lens: RED Komodo 6K Body, AC Power Adaptor, Mini World Travel Adaptor Kit, Canon RF to... Continue Reading →
We ended up returning the Dragon and are currently shopping around for a Komodo for the following reasons. (1) The Dragon isn’t repairable, while the Komodo comes with a 1-year warranty. (2) The Komodo is much smaller and lighter (2.1 lbs vs. 5 lbs) and accepts smaller batteries, ideal for balancing on a gimbal like... Continue Reading →
The news of RED suing Nikon for patent infringement was to be expected, as was the army of drooling idiots infesting the forums and comments sections of the leading websites devoted to photography and video. What the haters fail to realize is how RED completely transformed cinema. At the time the RED ONE was released,... Continue Reading →
"What I’m really liking in the latest RED sensors is that they have an aesthetic texture to the image noise which is so far from the objectionable “video” noise or the plastic look of a noise-reduced image." - Graeme Nattress There really is something about the noise from a RED sensor that is unlike any... Continue Reading →
As you can tell from the photos, it's an EF mount. We ordered a Meike Prime 75mm T2.1 which should arrive in a couple of weeks.
RED has filed a lawsuit against Nikon for patent infringement. There’s little doubt as to the outcome. https://www.docketalarm.com/cases/California_Central_District_Court/8--22-cv-01048/Red.com_LLC_v._Nikon_Corporation_et_al/docs/1.pdf
On ARRI’s announced s35 cinema camera: “Competition is stiff for a new Super 35mm 4K camera. In my honest opinion, ARRI will really need to have “really exciting image quality improvements” to pull people away from the new 8.6K Sony VENICE and RED cameras. Sony and Canon cameras also offer not only impressive pictures and... Continue Reading →
The past couple of months have seen extensive updates to our Monster Guide and we're proud to say we've achieved our goal of making the most comprehensive and up-to-date manual covering the HDR10 workflow anywhere on the Web. And today it just got even better with the addition of the RED KOMODO post workflow. REDCODE... Continue Reading →
The Daejeon Chronicles 