The mysterious RED Komodo 6K’s sensor size has been released but the whole camera and specs are still under wraps. The RED Komodo 6K is not a Full-Frame, or Large Format, camera but the sensor is larger than Kodak’s Super 35mm 3-Perf film. Additionally, the 6K Komodo boasts a nearly 2:1 native aspect ratio making the camera a near-perfect match for the 2:1 player we all carry around, our smartphones.
Shooting Format = RED Komodo 6K
Format Size = 27.03 x 14.25mm (30.56mm image circle)
Format Resolution = 6144 x 3240 (19.91 megapixels)
Format Aspect Ratio = 1.90:1
Total Resolution Disparity = 213%
Relative Format = Kodak Film – Super 35mm S-Perf
Format Size = 24.89 x 13.98mm (28.50mm image circle)
Format Resolution = 4096 x 2286 (9.36 megapixels)
Format Aspect Ratio = 1.79:1
It seems to me from the marketing drip from Jarred and RED is the Komodo 6K is another, smaller, option for filmmakers who what to either shoot on a RED or keep all of their cameras in the RED and REDCODE RAW universe. In many ways, it seems like the smaller complimentary camera for a larger built up RED camera rig. A smaller camera built for hand-held shooting or mounting is a smart move for RED. I could see Helium shooters wanting a smaller gimbal ready camera built and ready to go. If I were to imagine for a minute, I imagine the Komodo 6K will be great for some situations but as an “A” camera? It’ll take a lot of extra effort and equipment. Some will just look at the specs and the ~$5,000 price-tag and jump into the Komodo full-heartedly.
Some have asked Jarred if the RED Komodo 6K is a totally new direction for RED or an addition to RED’s DSMC2 camera line-up. Here is Jarred’s answer: “It’s a good question.. and in one way it’s easy to answer and another way it’s not. It all depends on what you are shooting. All the DSMC2 cameras are full capability cameras… full connection options ( if you want them), modularity, features, and more horsepower. For the film guys still around, It’s kind of like comparing an ARRI 435 to an ARRI 235. The ARRI 235 is an awesome little camera… And it could very well film a feature. But that’s not what it was designed to do, and almost every higher-end production that used the 235 used it to compliment a big brother camera.. the LT or 435, etc., mostly for the size. The 435 and 235 are good examples as well because of the frame rate limitations… The Dragon-X will beat Komodo in framerates. But the Komodo Size… as small as DSMC2 is… opens up a whole different world. And the Komodo does do some things that the DSMC2 cameras can’t.. but again, in a complementary fashion.”
What the RED Komodo 6K is or is not according to Jarred.
It is not DSMC3
It is not a replacement for DSMC2
It is not 8k VV
It is not a Dragon or a Helium or a Gemini or a Monstro Sensor
Josh and Benny Safdie’s Uncut Gems and Robert Eggers’s The Lighthouse topped the nominations list with five nominations each as Film Independent announced today the 2019 Film Independent Spirit Award nominees. Chinonye Chukwu’s Sundance winner Clemency, Julius Onah’s Luce and Alma Har’el’s Honey Boy also received multiple nominations as did lesser-promoted films such as Kirill Mikhanovsky’s Give Me Liberty and Tom Quinn’s Colewell. And so did one festival sleeper that premiered in Tribeca before then going to Netflix: Stefan Bristol’s See You Yesterday. That particular Spirit blend of higher-profile titles mixed with smaller ones continues throughout the rest of the […]
This past decade has seen the rise of so-called “elevated” horror. A host of budding auteurs have re-upped the genre with doses of prestige, social relevance, and awards prospects. While this is mostly good news, it has turned attention from one of the genre’s most enduring, and trashy, facets: the sequel.
Sequels don’t get much or respect in general, save maybe superhero movies, but horror sequels have a long history as downright awful, schlocky, unnecessary cash grabs that insult one’s intelligence and offer little to anyone except diehards and completists. Still, some horror sequels transcend this no man’s land of crap, and when they do, they do so in a big way. Some horror sequels that succeed enter the cannon as great films in their own right. Not great for a sequel. Not great for horror. Just great. Many of the films on this list do just that, the rest are just damn good.
Some films ultimately fell off this list for certain reasons. Both The Exorcist 3 and Halloween: Season of the Witch (the third instalment), do well on lists like these, but both films were envisioned as standalone, non-franchise efforts that had the sequel label attached later. Both the Paranormal Activity and Final Destination franchises delivered sequels that were bigger, better, and more effective, but they just couldn’t match the quality already in the cannon. We also excluded anthology sequels because even though V/H/S 2 and The ABCs of Death 2 were both as effective as their predecessors, their omnibus structure takes the pressure off continuing a story.
A number of recent entries have also impressed: The Conjuring franchise has built its own cinematic universe; It 2 was a box office powerhouse that more or less delivered in grand style; Happy Death Day 2 U and Unfriended: The Dark Web both went to clever new places that made critics grin and will hopefully be appreciated over time. These films might make the list in a few years.
Without further ado:
10. Inferno and Noriko’s Dinner Table
While starting with a tie may not be the most straightforward gesture, it’s hard to deny that both films occupy a similar place in their cannons. Inferno is Dario Argento’s sequel-of-sorts to undeniable horror classic Suspiria, and Noriko’s Dinner Table is a sequel and prequel to the mid-2000s exercise in discomfort that is Suicide Club (also called Suicide Circle). Both sequels are oft incomprehensible (especially if you’ve not seen the prior films) and utterly wild forays into terror.
Inferno is a thematic sequel to Suspiria, and while this might not be enough for some fans, it carries Argento’s trademark menace and hallucinatory images while delving deeper into some of his former film’s mythology. Inferno is the second part of the Argento’s Three Mothers Trilogy, and it was initially so derided that the final film wouldn’t be released until 2007, 27 years after Inferno. Over time, it has come to be described as underappreciated and eventually great.
Unlike Argento, Noriko’s Dinner Table director Sion Sono hasn’t been able to finish the trilogy he envisioned with Suicide Club, and it’s unclear if he ever will. Noriko’s Dinner Table occurs during the events of the first film and offered some clues as to its mysteries. While it drags at times and its ambiguity can be frustrating, Noriko’s Dinner Table also gives depth to the first film and acts as a puzzling, disturbing observation on changing values and the role of family. Hopefully, this series will get closure the way Argento’s did.
9. Gremlins 2
Gremlins 2 almost didn’t make this list partially because there’s really nothing else to say about it that Key and Peele didn’t already say in their behind the scenes documentary [sic] looking at how the film came together. But as a sequel, Gremlins 2 really is something.
Gremlins hasn’t aged well in some regards as its origin element is an especially problematic representation of orientalism and exoticism. But Gremlins 2 is such a tonal shift that it’s hard to hold the mythology against it. Itself a comment on sequels and how corporate synergy worms its way into every attempt at art or story in order to maximize profits even as it desiccates the actual resource, Gremlins 2 is an almost literal madhouse. Gremlins literally run wild, and if the first film veered in and out of the horror lane, this instalment is fully committed to the comedy.
And despite what decades of critics and online commenters have said, it still works largely because the titular creatures are terrifying and cleverly grostesque, the visual equivalent of an LSD-dosed Salvador Dali willing into existence gargoyles for a new generation. Director Joe Dante’s career has never been the same, as if Hollywood is punishing him for running his mouth and raising awareness of a studio system that is, more often than not, intellectually corrupt. But what a sword to fall on.
8. Hostel 2
It’s easy to dismiss the Hostel series as shameless torture porn, and it’s even easier to dismiss Hostel 2 as unnecessary and repetitive. But Hostel 2 smartly built on the mysteries of the first film to expand the universe, recognizing that the most horrific aspect of the premise wasn’t the actual violence so much as the system that turns the unspeakable into matters of logistics.
Franchises like The Purge and Unfriended recently delivered effective, even superior sequels by growing the in-movie world and attaching social relevance to the plot, but it’s hard to imagine them getting there without Hostel 2 to guide the way. While its other torture porn forebearer, the Saw franchise, looked inward with each instalment carving out a place in an earlier film, Hostel 2 wisely built out.
Eli Roth may be one of Hollywood’s most bro-iest directors, and Hostel 2 begins (and was marketed as) the braindead T&A model that horror sequels were known to be, but it turns these tropes inside out, wisely subverting expectations and gender roles despite unfortunately never shaking that male gaze. More than this, as a sequel, Hostel 2 doesn’t play it safe. The world it depicts is hopeless. Ruthlessness and cruelty reign, and no one is safe from the bitter truth that anything can be bought. It resembles our world more than ever and is scarier than ever because of it.
7. 28 Weeks Later
The 28…Later series, steered by Danny Boyle and Alex Garland, was always supposed to be different, like an antidote to years of stale, studio-driven horror fare that failed to excite or scare. 28 Days Later used a handheld approach with a sped-up tweak on the zombie and a refusal to ever actually say zombie to reinvigorate the genre.
28 Weeks Later stands alongside its predecessor. With a bigger budget, fans were prepared for a soulless retread that would forever damn the franchise to mediocrity. Instead Boyle and co. brought in new talent, upping the stakes but retaining the stripped-down aesthetic and dread that defined the first one. It also asked bigger questions, riffing on themes of survivors’ guilt, bravery and family while making room for more monsters and more tension. Most horror sequels are happy to recycle, but 28 Weeks Later does something rare: it inverts the structure of the first one, highlighting things the first movie couldn’t deal with, and the result is equally thrilling and horrifying.
Late 2010s-Hollywood had a moment where it saw the value in treating intellectual property with respect. The new It films were produced and cast with care. Doctor Sleep is a high concept, high budget follow up to one of the greatest horror films ever that was made with top talent. It’s hard to imagine these productions moving forward without the support of the 2018 Halloween entry, which made the case for re-writing the cannon and ensuring the right talent was on board.
Ignoring every Halloween sequel, this film dispenses with numerous lukewarm efforts to continue the Michael Myers saga. What it delivers is a curious summation of all its parts and extra ones too—benefitting from what amounts to decades of trial in error, Blumhouse enlisted prime indie talent and John Carpenter for music and mood while grounding the series.
This Halloween manages to retrofit the entire franchise with gravity and self-respect even as it amps up the menace and dread. Laurie Strode is a survivalist who has made her PTSD into a battle cry, and despite the many throwbacks to the original and to slasher archetypes, it’s refreshing and effective to see a film engage with the effects of slasher violence realistically. That the whole thing works is a testament to the respect the filmmakers have for the material. Given that Blumhouse greenlit two more Halloween sequels off the back of this one was enough to make fans wonder if the quality would keep or if the industry was reverting to old tricks.
Few accessories can have an impact on your post-processing workflow like a pen tablet can, which is why I recommend all photographers pick one up for their work. This excellent video will show you five tips and techniques to help you get the most out of your Wacom pen tablet.
In a recent interview with The Paris Review, filmmaker Michael Haneke shared his views on what makes for good storytelling in screenplays.
Michael Haneke did not direct his first film until he was 46 years old.
Since then, he’s steeped himself in the “realist” movement of filmmaking. Focusing on stories he can use to evoke feelings of real life. His work has been critically acclaimed and even transcended different genres. Haneke recently sat down with The Paris Review to talk about his work and his approach to writing.
One of the coolest things about Haneke is his desire to cover the real world and to tell stories that come solely from himself. This means he’s taken himself out of the commercial filmmaking game and focused only on artistic expression.
It also means his writing has to come first, as he is the originator of all his ideas.
A 17-year old teenager River Baker was killed by a train in an accident that occurred during his senior photo shoot in Troutdale, Oregon. The collision with Union Pacific freight train happened near a bridge where Baker was having his photo taken.
Kessler has announced the new KillShock Mini vibration isolator for small handheld gimbals. Based on the larger KillShock, the new KillShock Mini features a very similar design, just miniaturised. Just like the larger version, the shock modules can be swapped out to different strengths configurations depending on the payload. There is a tonne of mounting … Continued
Every couple of years for the past eight, Dutch artist and filmmaker Frans Hofmeester has released a time-lapse “portrait” of his daughter Lotte and his son Vince that contained one second of video captured every week of their life from birth until the present day. This year, Lotte turned 20, and Hofmeester once again updated his viral creation.
Hofmeester created his first “Portrait of Lotte” in 2012, after she turned 12 years old. Since then, he’s updated the video at intervals, adding year after year (and moving from Vimeo to YouTube).
In part, this is a wholly personal endeavor for Hofmeester. How many parents have made the time to create something like this, and literally capture their children’s entire lives on camera? The most common comment on these videos is almost always “I wish I’d done this…” But the videos are also an art project that seeks “to better understand the psychological phenomena of memory and time.”
“You are witness to one of the most mysterious, profound processes of human life,” writes Hofmeester, “aging, the process of becoming older and growing up – accelerated into 5 minutes.”
The last time we checked in Lotte, she had just turned 14 years old. Now, a full 6 years later, the entirety of her life as a teenager has been immortalized in this time-lapse made up of her dad’s weekly videos. As the dad puts it in his video description: “So many emotions in just 5 minutes dictates the whole story of a teenager.”
Watch the latest installment up top. And if you enjoyed this, you can watch Hofmeester’s portrait of his son Vince (who turned 16 last year) here.
At some point in our lives, we all have found ourselves looking for or selling gear on eBay. But, how much can you place your trust into this online marketplace when parting with your expensive equipment?
The reality is that the crew hiring process for big-budget feature films is very different than it is on indies.
When first dreaming of working on film sets, it’s likely you imagined working on large scale productions. Either a feature film meant for global distribution or a TV series that would be aired on a major streaming platform. But how do you get hired for these?
Well, unlike independent productions, these larger-scale projects do not advertise for crew so freely online. Finding work on these sets is mainly a matter of who you know and if you are trusted to do your job at a professional level.
My name is Amy Clarke, I started working in the film industry as a production runner on independents before I became a script supervisor. I write weekly about film careers on my blog – amyclarkefilms.com
This article will breakdown the hiring process, how to make contacts, and get professional work. You will also find quotes from various film crew on how they personally broke into the film industry.
If you can get past the lack of a full-frame sensor, the Fujifilm X-T3 and Sony a6600 are two of the most compelling and full-featured mirrorless cameras on the market today. So while everyone is arguing over full-frame mirrorless, The Slanted Lens decided to do a little APS-C shootout to see which of these cameras is the better performer.
Right off the bat, it’s worth noting that both of these cameras sell for between $1,300 and $1,500 for the body-only depending on the sale you happen to run across, so price is more-or-less the same. Of course, that doesn’t mean that there’s no difference in terms of performance, and therefore value.
That’s why Jay P Morgan and Kenneth Merrill put both cameras through a series of tests to see which performed best in terms of: overall image quality, autofocus, dynamic range, ISO, video quality, and ergonomics & usability.
We don’t want to give away the farm—there’s a good written overview over at The Slanted Lens website if you prefer that to video—but the conclusion goes something like this:
In most categories, these cameras are neck and neck. Fuji’s colors SOOC are just a bit more pleasing, Sony (unsurprisingly) edges out a win in autofocus tracking, Sony wins the dynamic range shootout for stills but looses the same comparison when shooting video, and they’re neck and neck in terms of high ISO performance.
Ergonomics is really a matter of preference between the Fuji’s retro looks and beefier grip and the Sony’s modern aesthetic and smaller form factor.
Check out the full comparison up top or on the Slanted Lens website to see the results for yourself. In the end, you really can’t go wrong with either of these systems. When it comes to video, the Fuji should be your pick hands down, but if you’re primarily a stills shooter (like most of our readers) you’ll want to pick the one that best suits your hands and your workflow.
Joker director Todd Phillips shoots down The Hollywood Reporter‘s article that he is making more villain origin stories, but he does confirm he has talked about a sequel.
In the ongoing saga that is what is happening with the Joker sequel and the future of the DC on the big screen, Todd Phillips has released a statement denying a previous report that he met at WB in October to tackle a new slate of similar films.
THR reported this Wednesday and said Phillips had an October 7 meeting with Toby Emmerich, head of production, and asked for the rights to make more villain origin stories. But it turns out THR may have jumped the gun or have been downright wrong.
You can now buy this Lensbaby OMNI Color Expansion Pack at BHphoto. Check out the image samples on Explora to see what kind of effect it creates. Black Friday USA deals: Up to $300 off on Samyang/Rokinon E-mount lenses: Save…
Rycote is a company with a heritage of over forty years, specializing in developing state-of-the-art microphone windshields and shock resistance products for field audio productions. Our own Johnnie Behiri met John House at Inter BEE 2019 in Japan. They talked about the Rycote “hand-made” production process and facilities, their specialty tools, individual manufacturing requests, sound quality, and real-life onset product performances. Let’s take a closer look!
Rycote selection – image credit: cinema5D
The Rycote Brand
Rycote is a brand is now owned by the Vitec Group that holds many of the well-known brands of our industry such as SmallHD, Teradek, Sachtler, Vinten, Manfrotto, and OConnor. They acquired Rycote just over a year ago. Rycote’s production line is still in Stroud, Gloucestershire in the UK and its products are created hand-made, 1-by-1 testing their products directly with the microphones and audio-equipment, which they are designed to fit.
Their products range from categories such as production sound, through news & sports broadcasting, to live & studio applications as well as on-camera sound solutions. They create everything from mini windjammers, via lavalier mic solutions, to slip-on systems like their “Super-Softie” or “Classic-Softie”, to all sorts of windshields and basket systems like their “Cyclone” as well as PCS Range and specialized systems.
Rycote- Solutions (Examples) (Credits: Rycote)
Special Applications & Individual Requirements
In the video, Johnnie (cinema5D) and John (Rycote) show several of the products mentioned above and describe profound use-cases. They especially linger with a sizeable specialized project for the Japanese TV broadcaster NHK. Rycote has been creating custom-made solutions for the NHK Golf Course coverage with hundreds of Sennheiser microphones placed to cover events such as the Japan Open Golf event in Yokohama.
If you want to learn more about fabrication solutions, material options, color choices to blend in with the natural environment of your productions, John House offers a great set of explanations and real-life examples within the video. He also goes on to explain on-camera solutions for DSLR and DSLM cameras, meant to support “one-person production crews”. The BBG Windshield is such a small-sized solution that offers the properties for wind attenuation of a full-size windshield.
Rycote – BBG Windshield (Credits: Rycote)
Since Rycote’s efforts always focus on actual utilization, their website helps professionals to search their specific products by application, by product, and by category. If you have less connection to these types of sound and audio gear, it is worth taking a look, even for educational purposes.
Which products did interest you the most? Let us know, and please subscribe to our YouTube channel to receive notices for future publications.
HyperDisk has a live Kickstarter for their super fast SSD drives. This pocket-sized hard drive has a capacity of up to 2TB, with transfer speeds of up to 1000MB/s.
Image credit: hyperdisk
If you’re looking for a super quick, super small and affordable hard drive, the HyperDisk Kickstarter might be a good place to start.
Boasting transfer speeds of up to 1000MB/s and being available in 512GB, 1TB and 2TB capacities, the HyperDisk SSD crams a lot into to just 45g of mass, in a sub-credit-card-sized shell.
A standard SSD nowadays is usually around 400MB/s in speed – the HyperDisk is therefore pretty sizeable in gains, when compared.
HyperDisk utilizes a 3.1 Gen 2 interface (10 Gbps) and M.2 NVMe protocol to achieve its claimed speed.
Image credit: hyperdisk
With NVMe not having to adhere to the SATA bottleneck found on conventional SSD drives, the flash memory can operate at true speed.
The HyperDisk has a single USB Type C port, and you’ll need to use this end to end to get even close to the max rated speed. However, backwards compatibility is of course possible to USB 3 Type A, where you will find a peripheral bottleneck probably more than halving the max speed.
The fast evolution of camera technology requires surrounding markets to keep up, more data means more storage.
Hard drive technology generally has been comparably slow.
Image credit: hyperdisk
SSDs can pretty much be considered the norm nowadays, but they have been around for quite a while, and we are still only getting small doses of high-capacity, portable SSD drives at a reasonable price.
It’s nice to see new companies like HyperDisk pushing latest technology, whilst keeping things affordable.
Speaking of cost: the current Kickstarter will get you 57/59% discount on production prices; you can back the HyperDisk campaign to get 512GB for $85, 1TB for $118 and 2TB for $188.
What do you think of the HyperDisk? Is it a campaign you’d be interested in backing? How important is the minimal size of a drive for you? Let us know in the comments beneath!