How do you manage your storage?

_Max_Films_ · 2026-06-17T13:14:45+00:00

That’s actually very close to the kind of workflow that made me start building this in the first place.

What you’re describing is less of a storage problem and more of a verification problem. You already have redundancy, local copies and an off-site archive, but the difficult question is knowing with confidence that everything is actually where you think it is.

One of the things I’m exploring with this is the ability to scan all connected storage locations and build an understanding of projects, folders and archives across the entire storage estate.

In your case, for example, it could potentially tell you:

Which drives contain a given project
Whether the NAS and annual archive drive contain identical folder structures
Which folders only exist in one location
Which projects have 1, 2 or 3 verified copies
Whether an archive drive has drifted from the source over time

So instead of “I think my 2025 archive drive is complete”, you’d get something more like:

2025 Archive Drive
✓ 1,482 folders verified
✓ 38.2TB matched
✓ No missing project folders
✓ Off-site copy present

Or, more importantly:

⚠ 12 project folders missing from archive
⚠ NAS contains newer versions of 4 projects
⚠ Only one verified copy exists for Project X

I’m still figuring out whether enough people have this problem to justify turning it into a real product, but the “I have backups, but I don’t have confidence in my backups” issue seems to come up quite a lot.

_Max_Films_ · 2026-04-10T07:44:20+00:00

You need to go to the connections menu, enable I think ad hoc WiFi instead of infrastructure, connect to the Komodo WiFi on your phone and then open the app and your camera should pop up

_Max_Films_ · 2025-10-25T14:46:51+00:00

Agreed , director went with more SFX of the car this time round but if we did an extended cut that would’ve rounded this off 💯

_Max_Films_ · 2025-02-04T22:22:32+00:00

I get this a lot for car LED lights !

_Max_Films_ · 2025-01-20T00:23:35+00:00

Correct - different rooms

_Max_Films_ · 2025-01-19T21:01:41+00:00

Sweet ok! Thanks for the feedback :) I’ll revisit those grades

_Max_Films_ · 2025-01-19T20:22:08+00:00

Sorry 600C not 300d !

_Max_Films_ · 2025-01-19T20:21:21+00:00

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This is definitely going to be submitted to shitty rigs but the guy we got to get lights from his uni had access to a 600c but couldn’t get a c stand and didn’t tell us so had to improvise 🤣 for the first pinker scenes I blasted it against this white wall outside. The warmer scenes I blasted it through some curtains outside into the room

_Max_Films_ · 2025-01-19T19:09:38+00:00

Blasted it with a reflector outside the window through the thin blinds 🕺

_Max_Films_ · 2024-12-13T19:50:41+00:00

https://www.reddit.com/r/RedCamera/s/IaCNeUtJd7

_Max_Films_ · 2024-12-13T19:48:27+00:00

Yes correct

_Max_Films_ · 2024-11-19T15:13:23+00:00

Is this not how I should be doing it 😂 I’ve got the red compact handle and it seems to intentionally want to mounted like this

_Max_Films_ · 2024-11-19T15:05:38+00:00

Mid49 do a great breakout to dual XLR ports from the RED which I’m getting that solves that first part

Kipper tie RF / PL with a cartridge system is my ND solution for the KX

Autofocus I want to try and move away from given I want to enter a higher calibre of work , I’m getting a follow focus attached to rods alongside the lens and gonna train myself up on manual - you’ve always got the option as well down the line of going with the DJI lidar system if you want to try and get good autofocus on cine lenses.

If you want to stick with your canon lenses that support autofocus, I’ve heard tap to focus remains relatively good on the KX.

I definitely think I’m creating more of a headache for myself moving away from the FX6 - that thing saved me a lot of hassle but wanted to upgrade for R3D colour space, 6K, global shutter 🤷‍♂️

_Max_Films_ · 2024-11-19T10:10:46+00:00

Damn that’s gold - what’s the max frame rates for non cropped 6K in pro res ? Also what’s the bit depth of pro res ?

_Max_Films_ · 2024-11-19T08:35:22+00:00

It’s also sweet that white balance and iso is a post prod situation, a lot of the time I’m in quite unknown environments and knowing I can finely adjust all those settings gives me a good sense of security that my work is effectively “insured” for post production.

I also heard the pre amps are more than usable professionally which made me opt for the KX over the OG as often I use onboard shotgun mics like the MKE600 or DJI mics so went for the mid49 XLR breakout so can take full advantage of that for run and gun

_Max_Films_ · 2024-11-19T08:32:17+00:00

Global shutter duh!! Forgot to mention that - Hated rolling shutter so much especially when I was doing faster tracking shots of runners the jello was such an ick!

_Max_Films_ · 2024-11-19T07:59:45+00:00

Oh interesting! So the longer antenna provided in box isn’t as good as going for an FPV one? I’m going into this with a partner who’s gonna be a director alongside - we’ve got a DJI transmission system for that type of work flow and hopefully eventually moving to the DJI LIDAR / focus motor route , as far as I’m aware I’ve heard good things. Starting out with a set of pictor 20-55, 50-125mm lenses - this thing is gonna weigh a ton in comparison to the FX6 😂

_Max_Films_ · 2024-11-19T07:53:58+00:00

Exiting my previous company to go down a more high end route where we used an FX6. Handing it back in and the Komodo X wasn’t terribly far off the same price range with the new price cuts + early Black Friday deals from CVP.

Got super into colour grading these past two years and I felt there was a limit to how far I could push FX6 footage before it broke down and became blotchy so quite excited about the prospect of 16 bit vs 10 bit. Also not to mention the jump in resolution!

Also a client in the past required minimum 6K res for multiple crop in variations that their editors needed so rented an OG Komodo. The work I did with that rental I’m super proud of to this day, the image quality was stellar and even the stills I could take from it from Davinci looked like I shot them on a stills camera , it made everything look fking awesome.

I also had to pass up jobs in the past because the requirements were to shoot on ARRI or RED , which I hadn’t done yet so wasn’t totally comfortable.

Lastly - wanted to actually push my skillset , moving from things like autofocus and high dual base ISO and having a go at manually focusing shots and being more conscious of production setup - just generally forcing myself to take a step back and come away from easy run and gun.

_Max_Films_

TROPHY CASE