Alt Shoo

I’m not really a fan of RED because of some questionable business practices, but I’m warming up to the Komodo. This is now on my list of things to purchase. So it’s either the Komodo, the Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens (EF Mount) or the GFX 100. In the next few weeks I will be sure on my next investment.

The images out that camera looks incredible! I don’t know too much about this specific model, but after seeing those images I’m going to do some research. Truly wonderful images!

Thanks for this information! I’m going to check it out. I like Sigma and would like to know more about the Foveon sensor technology.

I very appreciative of your congratulations! Hopefully this will reinvigorate this very capable company! To tell the truth I’m a big supporter of their tools and I want people to consider them a “name brand” in this cinema camera space!

I’m very grateful to be connected with JVC! They posted an interview they did with me on their IG profile talking about my film Marcy Made and how it was filmed with the JVC-GYLS300!

My bad I won’t post anymore links to those mentioned. Hope you accept my apology.

@deezid it looks clean, but still video-ish. And I’m seeing a tint on it. That must be whatever ND filter that is on it. I don’t think I’m impressed with the Komodo.......yet. To think I’m so ready to invest in a new camera system and I haven’t done so especially with the plethora out there. Maybe I’m not ready as I think. 🙁

@Andrew Reid definitely crap specs. I would flirt with interest if they even had the basic 4k specs and at least 8 bit 422, but this is just a no for me. They must have a super weak processor in their cameras.

Idk if this is even as important for most users here, but Hasselblad is noticing that video is an important aspect of cameras even if the specs are a bit underwhelming

They addressed the issue with the lower DR and global shutter.

Komodo Specs 6K Super 35 27.03 x 14.25mm (6144 x 3240) Global Shutter Full-sensor up to 6K 40 fps 6K WS at 50 fps 4K at 60 fps 120 fps at 2K 12G-SDI output with 2160p at 60 fps R3D files (REDCODE RAW) 3.5mm microphone/headphone No XLR CFast cards, not dual Wireless video module Touchscreen Display Phase Detection Autofocus Canon RF mount Size: 4″ x 4″ (10.16 cm x 10.16 cm) Weight: 2lbs (900g) approx. It’s been pretty transparent honestly.

I’m actually on the email list for the Komodo and should have another correspondence from Jarred next week for the Yellow Komodos. I’m not really excited about it anymore. I’m still very interested in the GFX100 and would rather get that. Still I’m holding off because I think Fuji will release a more “cinema cam” version of the GFX100.

You’re stupid and are racist. Andrew you can ban me

Here are a couple of grabs from me in the house. The grab in the dark is from a scene out of the documentary Marcy Made, which is on Vimeo On Demand. I used a JVC GYLS300 and the Sirui 50mm.

Now a more capable Shinobi for $499! With an addition like this it’s difficult for me to upgrade my cameras. I am still interested with the GFX 100 and would love to see a more cinema style camera with that sensor size. And by the way the film I shot with the JVC GYLS300 is finally published! https://www.Vimeo.com/ondemand/marcymade

Probably 8k for black, with a paid upgrade to get white.

You are beating me to the punch with this, but I’m grateful for this information. I’ll be getting this camera with a few lenses and accessories for it in the next coming weeks. This will be my last camera purchase, specifically for cinema, for a while. Thanks again for this write up and glorious images!

Thank you @Andrew Reid for that explanation. I’m curious how much more a camera like a GFX 100 would cost if they had a processor that could handle that type of conversion. Also I found this GFX100 footage.

You know I never worried about “line skipping” or “pixel binning” because I am not a technical person and I don’t pretend to be. I know some basics, but when it comes to those mentioned subjects, what are the benefits or lack of? I’m hearing moire and aliasing, which aren’t desirable, but what does that mean in regards to the sensors in an Alexa or a RED? Do these top tier cameras have these shortcomings?

I’m thinking there are racists here.

Was just scouring the web and came across this. To me this image looks very theatrical.

On another note, I thought Fuji designed the sensor and Sony only manufactured it. I didn’t know Sony designed and manufactured the sensors for Fuji.

I was wondering if Fuji would take the opportunity to leap frog over the FF video segment with a more video centric Medium Format camera and then @Andrew Reid reminded me of his post from last year. Thanks for the reminder! I remember reading that post thinking it would be a great time for Fuji to step their feet into the cinema camera realm. They have a great handle on color science and to my eyes are comparable to Canon’s “legendary” color science. The pluses for this theoretical cinema camera from Fuji are the huge sensor, 1.7x bigger than full frame, which will produce a shallower depth of field, enhanced tonal gradient in 10-bit output (hopefully RAW), and greater ISO sensitivity. The large format size will produce video footage with more detailed textures while reproducing three dimensional definition.....It would make sense.

@DaveAltizer cool suggestion, but as much as I can appreciate RED’s workflow and IQ, I can’t support a company with questionable business strategies.

@currensheldon after reviewing the Canon’s specs again, I won’t consider it. My thinking is that since I won’t be able to get an Alexa LF anytime soon, I will “hack” into that look by using the GFX 100 for its gorgeous large format look.