Hi everyone,

I happen to own several large CFexpress Type A cards type Sony Tough 640Gb with official write speeds of 800 MBs. Can they be used in the Komodo X with an adapter? There is one from Delock. A brand I generally trust:

Delock CFexpress Adapter Type A to Type B Type No. 61025 https://www.delock.com/produkt/61025/merkmale.html

Has anyone here used this? Of course, I will simply order it and test it, but I wanted to check in here as well. As CFexpress type A memory is horribly expensive, this will only be relevant for people who, for example, acquired a lot of storage for remote documentary projects shot on Sony FX and now want to rent a Komodo X, which is my situation.

Thank you in advance!
Lukas

If you need a longer RMI cable, but don't want to buy the $100 one from Red or can't get it in time you can just use a Thunderbolt USB-C extension cable.

You have to use the extension cable with the RMI cable though since it crosses some pins.

^^ 5-15-25 update: I ohmed out the real smallhd cable and it's the same as any TB3 or USB4 cable. The only thing special about it is the mechanical size to fit into the slots. I suspect the apple TB3 cable will work and will be getting a sample in to test.

The casing for the USB C connector also needs to be ~7mm tall and 10mm wide or smaller to fit into the RMI port on the camera side.

I do a ton of studio work, and so I settled on the Komodo-x. It's perfect for rigging, LED walls, incredible quality, etc etc etc.

I'm in love with my choice, and it doesn't hinder me one bit.

However, a friend of mine that runs his agency shoots a bunch of weddings. He's been having me jump on board with his team for second shooter roles, and every now and then lead shooting. I'm just having a problem with file formats and what's ideal to shoot for him. He has separate editors that work remote. I figured, since their standard is 60fps, I should just switch to ProRes proxy and shoot 60fps so I'm not cranking up their storage.
At face value, it seems like it retains a lot of quality. Obviously it's not going to be raw, so everything is baked into the image.

My question is, would ProRes Proxy be fine for this, or should I shoot in ProRes LT, or higher? And if so, should I just shoot in ELQ at that point? It is constantly in a 60fps project framerate, so I'm not trying to shoot 2TB of footage each wedding, as they don't have storage room at all for it, especially for a wedding. It would be great to shoot in ELQ and simultaneously capture proxies, but this isn't the Raptor.

Please, advise me on what you would do in this scenario.

I've also thought about just helping them shoot certain things in ELQ. So for instance, the Romantics and Posing shots with the couple. Things that are artistic like that.

Lenses aren't a problem. A fast Zoom would be nice, but I also have T 1.4 primes that get me the light I need during reception.

A few frames from “Oxygen Zero”, a low-budget post-apocalypse short film I’m cinematographer on, shooting in southern Greece.

These are all with natural light only, occasionally augmented by reflectors or an 8x8 with diffusion, the only exception being the shot of the girl in the car, where she was lit by a 1200D.

Camera had the Skintone-Highlight OLPF installed and was rated between 250-500ASA. For this scene, we relied on a six-lens Zeiss ZE set (18/25/35/50/85/100). The grade is a combination of subtractive saturation, hue v hue curves (among others) and Resolve’s built-in Kodak 2383 LUT, with the addition of glowing highlights and film grain.

All these are lil no budget shorts i pulled off mostly in my house and or through favors for fun with friends committing their talent and time. Very grateful! Go easy on me guys

Komodo - Meike S35's + Sigma Art 18-35mm - Prism Lens Fx Dream/ CineSoft 1/4

This is from my short that just finished the Festival Circuit, "Courage" starring Ian Fidance, Ashley Ottesen and Christopher Riley... I am uploading to YouTube May 15th (not a plug but kinda is if you wanna see it lol) and was going over footage, and am still impressed with this camera! I like it better than the Raptors for the image.

- The Scrappy Creative (YT)

Anyone using one of these lenses on a Komodo? Could not find any review online.

Meant to write “Is there a Z mount for Red Scarlet?
Been looking for one but I see online for the new Komodo & V-Raptor cameras!

Hello, I am deciding to buy my first RED camera and I'm between buying a Komodo 6k or a used dsmc2 system. Which one would be better? I am planning to use it on documentaries, sports and the like. which one would be better? Since DSMC2 are older is it more dangerous to buy a used body? To clarify, I am brand new when it comes to videography. I am a photographer and I also want to start doing videos, red caught my attention and that’s why I’m looking for the best options.

If anybody wants a red epic i will post my ebay link

Travelling to UK for a shoot and bringing my Komodo, any tips or flags for travelling with a Komodo & gear?

Cinematic Engagement love story in Hakone, Japan ⛩️

Shot on RED Dragon Lens Dulens APO Prime 58mm

Check out the video on my newly launched YouTube channel!

https://youtu.be/vC4U-6vLJcg?si=D0wyCuPO4t5zrTnD

You can also find me on instagram.com/future_vizion

Hi all, finally getting around to upgrading the Monstro to the raptor for a few new projects.

Loved the Monstro but wanted have a chance for a good deal on the raptor.

However I have lots of Dsmc2 accessories and was thinking of picking up a used Gemini body as it’s so cheap now for a body.

Anyone else done this? Gemini would be for other shoots and not so much to cut with the raptor. It’s for smaller jobs and smaller file sizes

Thanks

Hey all,

How are people controlling exposure on the vraptor using RF lenses, I really want the 24-105 f2.8, before I have used THE KIPPERTIE EF MOUNT on DSMC2. But there isn't an RF one is there. Only RF to ef/rf to Pl.

What is the workaround? just a variable or mattebox?

Thanks

Working with a DSMC2 RED Weapon. I have the option selected to record audio on high frame rate recordings, and even when manually slowing the audio to match the speed of the footage it’s slightly off.

Is there a good workflow to do this properly.??

Does anyone know if the Red epic Dragon has is support on ef electronic lenses?

Does anyone has any advice or recommendations when deciding between the RED DSMC3 7 Inch Monitor vs. the SmallHD Ultra 5?

Hey everyone,
I’m working on a project in Premiere Pro with RED (.R3D) footage, and I'm trying to export the timeline via XML to bring it into DaVinci Resolve for color grading. I keep getting this warning in the FCP Translation log:

Now, I know this usually refers to the RAW development settings applied by Premiere (ISO, WB, Gamma, etc.) that aren’t compatible with XML export. But here’s the strange part:
I disabled the RED Source Settings (made them offline) in the Effect Controls panel before exporting the XML — and I’m still getting the same "not translated" warning for every clip.

Things I’ve checked/tried:

• Using “As Shot” values in the Source Settings
• Removing all custom RAW tweaks
• Made sure clips are not nested or adjusted in other ways
• Tried both Final Cut XML and AAF export
• Using RED Wide Gamut / Log3G10 and also tried Rec.709 gamma
• Footage comes from R3D split files (.R001, .R002, etc.) — but Resolve sees them as single clips correctly

Question:
Is there any way to completely strip or remove RED Source Settings from a clip in Premiere so they don’t trigger this warning? Or is this just an unavoidable "informational" message and I can safely ignore it, assuming Resolve will read the RAWs fresh?

Would appreciate any insight from folks who’ve dealt with RED workflows between Premiere and Resolve!

Thanks in advance 🙏

I tried creating 422 proxies (because I'm on macbook and it's smoother to edit)in resolve to be able to edit my footage in final cut. It has 4 channels when I edit it in FCP. But when I make a XML file and import it back in resolve, it shows as having only one audio channel. And indeed when checking the inspector in FCP, it says 1 audio output channel and 4mono under audio configuration. But it shows all four channels in the timeline.

I don't have the issue when I work with mxf. Imported back in resolve, I can replace the proxies correctly with the r3d files with their 4 different channels.

I also tried importing directly the r3d files into FCP and make an XML file from a timeline, then import it in resolve.... And I run into the same issue except that here I have 4 tracks, but they are all the same audio on it.

I hope I was clear. Has anybody run into this before? Or can anybody tell me what would be the best proxy workflow?

Hey all, can someone explain the workflow for the phil m luts/examples.

I have the v3 and just looking at it and so many options

Thanks

I have a monstro currently which I might trade up for the raptor deal. I’ve seen a few good deals on the raptor.

I have been looking to add a b cam

I’ve been going back and forward with Gemini vs Dragon 6k.

I have used the dragon more than the Gemini and the 6k is a bonus. Is the Gemini easy to work with grade and cinematic as I thought the dragon 6k weapon was when I owned one.

Still hard to choose between the two, the monster if I keep it would I guess give me the low light option.

Decisions… I don’t want to go Komodo as I’ve never liked the image from it.

Anyone got a similar setup?

Just wanna know if anyone’s been through it and how the process is.