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    Senior Member James0b57's Avatar
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    Quote Originally Posted by Tom Roper View Post
    Arri doesn't do it like that. White paper here -> https://www.arri.com/resource/blob/3...n-vfx-data.pdf

    Also see that there is no highlight rolloff with Arri except at 3200. The highights are extended because middle gray is lowered. Also note that highlight extension above middle gray depends on the chosen EI.
    Same concept, different curve.

    Since a LOG workflow isn't required for either Red or Arri cameras, I went with the more familiar generic "S" curve, as it shows how that "extra" stop in the highlights gets compressed when the image is viewed in a rec709 or BT2020 world. My graph is hardly accurate, but it is more about depicting the idea. Hopefully it helps someone, and if not, there are plenty of better writings and/or videos that go more in depth.


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    Quote Originally Posted by ahalpert View Post
    Oh, how I wish Komodo could record in ProRes as well...
    Looks like you got your wish...

    http://www.reduser.net/forum/showthr...the-Wild/page4

    #38

    Quote Originally Posted by Phil Holland View Post
    Yep. ProRes is in there. In HQ and 422 for both 4K and 2K resolutions. I'll dig into it a bit, but it looks like Komodo properly scales the footage to the appropriate delivery res. Nice for fast turnaround work. I prefer the REDCODE RAW Workflow, but when you need to be super damn fast and deliver right then and there, here you go. It is an either or situation, so you pick REDCODE RAW or ProRes and go from there.


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    Senior Member James0b57's Avatar
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    Such a great feature. totally changes the Red crop issue for lower resolutions, as the 2K prores can be full readout of the sensor.


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by NorBro View Post
    Looks like you got your wish...

    http://www.reduser.net/forum/showthr...the-Wild/page4

    #38
    Dammit. I was just starting to talk myself into not wanting this camera.

    But maybe it would be good for business if I could pitch RED quality at FS7 rates to clients who don't want RAW. If I could present it as an upgrade (which it is), that could play well. (And at any rate, it's the camera I'd rather use...)


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    Senior Member LochnessDigital's Avatar
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    Quote Originally Posted by ahalpert View Post
    Dammit. I was just starting to talk myself into not wanting this camera.

    But maybe it would be good for business if I could pitch RED quality at FS7 rates to clients who don't want RAW. If I could present it as an upgrade (which it is), that could play well. (And at any rate, it's the camera I'd rather use...)
    It's a very good feature to have for those kinds of gigs. I've been able to get quite a few more jobs on my Helium by offering 4K ProRes or 2K ProRes as an option instead of the 8K raw. I imagine with Komodo this will be useful for productions that are not quite ready to embrace 6K or a raw workflow -- especially at this price bracket.


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    Senior Member ahalpert's Avatar
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    Wow look at all the fantasy graphic designs and paint jobs for Komodo being bandied about at reduser: http://www.reduser.net/forum/showthr...KOMODO/page525

    I'm not even sure what to say.


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    I don't think I would want any of the intricate designs/characters, but some of the other solid colors are super nice.

    So much cooler than black or gray bodies (although I know bright colors aren't for everyone/everything).

    The first time I saw a 'Stormtrooper' or the 'Bayhem Green', I had this epiphany of why other colors didn't exist.


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    Senior Member ahalpert's Avatar
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    I dunno, seems pretty unprofessional to me. Part of the appeal of having a plain, black camera is that it hides better in reflections. I remember showing up to AC a feature early on in a bright, red coat. The DP was super displeased. I was so green.

    Also just the focus on what the camera LOOKS like seems a little misplaced. Sure, everyone likes designs and the beautification of our objects. But I care so much about how the images it captures look and not at all about the camera itself. I would shoot with a rusty toaster if it gave me 18 stops of usable DR in REDCODE RAW.


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    Well...if a vivid color is pretty unprofessional, a rusty toaster will be too.


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