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About Kino

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  1. You basically get what you pay for here with these cameras. The special thing about the Komodo, however, is the ability to match the color of much more expensive RED cameras: What ultimately segments Komodo from Dragon and Gemini is the lack of HFR, more REDCODE compression options, and a pro interface or connections. Otherwise, RED is delivering some serious image quality that threatens its own high-end cameras.
  2. It's hard to believe, but Komodo looks better than Gemini in this ISO test:
  3. Some of the best Komodo footage so far and a great review (aside from the misreading of the Xyla chart):
  4. I think the Mavo LF image quality also owes something to the robust ProRes 4444 XQ codec that is available internally. It is better than many of the proprietary RAW formats that are partially debayered (e.g., ZRAW, BRAW). The Mavo Edge 8K should be an excellent choice based on what we have seen with the Mavo LF 6K. However, it is about to get very competitive in that price range. Lower down, even ZCAM is doing some impressive things with color and internal ProRes:
  5. I'm not sure about the C500 II, but it sure would put a damper on these plans: https://www.canonrumors.com/canon-to-introduce-two-8k-cinema-eos-cameras-in-2021-cr2/ One of these Cinema EOS cameras will no doubt be on the level of the C700, as they speculate, but the other one will likely be a cheaper and more compact variant that could be severely undermined by a fully-functioning 8K RAW camera for $4K.
  6. Kino

    Sony A7S III

    This is some of the best footage I have seen from the camera. A7SIII colors and DR rival 16 bit linear RAW from F5/F55 from a few years ago, all of that in a 10 bit 4:2:2 codec: In the hands of a capable shooter, the lack of internal RAW is no limitation at all.
  7. If you look back on the clips that were posted, such as the plane at the airport, you can see that while Komodo has trouble with noise and low light, the color fidelity is not sacrificed as it can be with a lot of cameras in the $6K range. When the lights go down, the bit depth does not suffer: it does not go "thin" or start looking like 8-bit footage when you withdraw light. I can't speak to the colors in the grading process as I haven't downloaded any of the R3D files, but you can probably get it to match any of the modern RED sensors close enough. This is, after all, intended as a gimbal ca
  8. Has anyone tried comparing the R5 overheating and recovery times with the BG-R10 battery grip in place?
  9. I'm not sure about Pocket 6K, but it's true that Komodo is noisier than Gemini and Helium and doesn't have the same DR: Then again, for $6K, you are getting a "discount Dragon," so no complaints!
  10. I have no doubt this 8K sensor will find its way into Canon's cine lineup with proper heat management. But you will be paying a lot more cash for this privilege. Like any Japanese conglomerate, Canon are masters of product differentiation. They will never give you everything in one product and they will never give you more for less. Indeed, it turns out this camera has amazing RS performance, but it is otherwise hobbled vs. the 1DX III when it comes to usability for video. It also lacks the more creamy look of the 1DX III and has slightly less DR. You can see how it clips easier in t
  11. I watched the whole presentation live on their YT channel weeks ago. Grant did say you can switch the mount to EF by purchasing it separately, but my point is that it is a camera intended for high-end PL glass. That's not to say you can't use EF glass or that it won't work at all. On Blackmagic Forum, they posted a still image from the 12K camera using a Sigma 18-35 EF, so it is possible (but not ideal).
  12. I'm sure it's great, although FF 8K would have been much more sensible with less demanding optics. The optical challenge in resolving 12K at the Super 35mm sensor size requires lenses that cost far more than the Blackmagic camera. It's a camera for rental houses, which is why it ships with a PL mount. There, they can rent you the $40K Cooke lenses you will need for that purpose.
  13. IBIS is no substitute for a stabilizer or tripod, unfortunately. I believe 8K RAW at Full Frame is ideal for landscape and architectural videography as well as stock footage. VFX guys and product shooters (commercials, ads) would also find it useful, I'm sure.
  14. Ooh la la! There is a bit too much contrast, but it is a nice image overall. There is also significant noise in some of the night shots, but that might be user error.
  15. If you count the 12th stop on the Pocket, which is just barely off the noise floor, you would have to count the 13th stop on the Komodo. In either case, Komodo demonstrates a 1-stop improvement. Moreover, Komodo has 2 usable stops at or above 80 IRE and a much flatter curve overall. And this is to say nothing of the lack of an AA filter on the Pocket. RED, by contrast, employs very aggressive OLPFs that soften the image and give it a more filmic look. I do think Komodo is a bit soft for a 6K camera as a result, but that is just my preference.
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