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This is amazing information. Thank you Sir. I learned a lot from this video

Great explanation! Just ran across your channel, subbed!

Thank you. Not sure why people don't understand this.

I have one question: If I film like with ISO 2000 on a bright sunny day with the traffic lights perfectly balanced, the image output on the monitor is very bright, vice versa very dark if I use ISO 320 or 500 in a darker scene. Since setting the ISO correctly on set also has a positive effect on image quality istead of selecting the correct ISO value in post, how do you handle the too bright or too dark live view on the monitor?

This is why I never understand people applying display LUTs etc on their cameras because it ruins all your exposure tools - zebras, histo etc.

I think RED patent the traffic lights and goal posts now so all sports and traffic authorities gotta pay royalties to RED.

Incredibly helpful and very well explained! Been enjoying a lot of your Komodo vids, appreciate the effort! If I may suggest a small piece of advice for your videos - they would be much more enjoyable without all of the random cut scenes. They just waste precious time from viewers who are looking to get clear and quick answers. Much love and here's to more growth!

Fantastic breakdown! Thank you!

all true!!! I did a video about the Komodo and people lost their minds! - check it out bro - th-cam.com/video/z0EUnfYmqwQ/w-d-xo.html I'M GOING TO LINK YOURS IN THE COMMENTS!

red helium, what is the difference between "exposure" and "video" regarding exposure check?

Great! Thans

great explanation. I had to watch it a couple of times but I got there in the end. thanks.

But then how do you light a scene? do you light a bright scene for iso1600 or do you simply light the scene with iso800 in mind and then switch to iso1600? which would make the appear to bright on the monitor.

Lot of building up RED cameras as some mythical creatures that behave differently than "other caneras". But no, many "other cameras" behave the same way too. When you change ISO, it doesn't change dynamic range any more or less than RED but change the distribution of stops. And CineEI on Sony FX3 or FX6 or even the high end Venice caneras is the same of what you discussed here. Despite them capable of capturing great lowlight images at 12,800 the cleanest if the shadows are at lower ISO and cleanes of the highlights are at higher ISOs. Lets not hype up RED to be working with some alien technology, Its the same sh*t as everyone else. RED's hype as a production cinema camera is dying and hence they target wannabes with Komodo and youtube community is doing the marketing for them by painting this camera more than what it is.

bonjour je vit en France et j'aime tes videos je voulais comprendre du coup les signaux haute lumières peuvent s'allumer mais les barres doivent pas monter c'est ca ? sa serai bien que tu montre avec ta komodo en extérieur comment bien calibrer les iso les traffic lights etc

Great video, clear and concise! BTW, at the beginning of the video, which "RED Handbook" are you referring to?

The Pocket 6K is a beast. A shame it was dismissed so quickly.

Appreciate your videos on the Komodo

I really enjoy your videos! The simplicity when explaining everything makes it so much fun to watch. Thank you! Also, a small question: did you try the newest beta 1.7.4 FW update?

I can't tell you how much I appreciate this and all the other videos you make, thank you! I've felt like I've been an outlier for the longest time for having an exposure strategy that differs from ETTR and leans into retaining shadow detail where possible. One question I have is when shooting using a lower (or higher) ISO value, is there a way to accurately 'correct' or compensate the luminance difference for reference monitors connected via SDI? I'd like to have client monitors, AC monitors and even my own SmallHD onboard monitors' luminance-related tools remain relatively accurate when shooting at different ISO's but I'm not sure how? I always double-check exposure through RED's meters to be safe but it would be nice to have a calibrated reference monitor that I felt I could relatively trust for run and gun work. Simply adjusting the brightness levels on the SmallHD seems like a potential recipe for disaster. Is there a conversion/calibration LUT that RED makes which solves this issue?

Sometimes I can't believe I found your channel! Each video is a godsend for a Komodo owner! 😍

ok i try to understand what the hell is going on but i translated it for my low IQ brain like this: expose like recommended with the red exposuretools, tune your iso correctly for the shot with false colors to avoid clipperinos and your good to go. is that correct?

This video sums it all up. I’ve had it wrong this whole time. Coming from the Sony lineup….

The Sony FX6 was the best investment ever.

Where is the Komodo Exposure strategy? This is a general exposure explanation…

komodo price is similar to mirrorless?? size weight of mirrorless . stop lying bra.

millky blacks?

Best technical RED camera guide I have seen on TH-cam. I have seen so many videos of people using the ISO value on the RED Komodo so wrong. Low contrast scene with ISO 3200 or even 6400 etc. Seeing that was so painful to watch…. Those people really need to watch your technical guides.

FWIW, EVERYONE’S computer hates Neat Video. Extra points if it develops new interesting sounds after it’s latest multi-hour denoising session. Builds character.

This is gold

This is a very common implementation of ISO in cinema cameras, the main difference is that brands like ARRI and Sony calls it Cine EI (exposer index), in my opinion a much better name than simply ISO. The other difference is that RED doesn't offer the real native iso for each of their cameras, something that to me sounds insane, on a cinema camera with cine ai you can of course go up and down the range with no loss in dynamic range, just like you described, but knowing the native iso is a much better starting point compared to red's solution of just start with 800 for all of our cameras. In fact they give arri and Sony display the amount of stops shifting in the highlight (above middle grey). Great video, and a really good way of explaining it. Thanks

Thank you for this - very well explained. I get my Komodo next month!

Unique channel. I absolutely love this long talks. Please, keep it up!

Wow thank You!

different ISO moves the dynamic ranges, that is the key to RED exposure, so opposite to normal conception, so recording at higher ISO means more highlight information even though it looks blown out on the image but it's not, at the same time of course more noise in the shadow

Really big thanks. You deserve my subcribe.

Red Raw captures ALL the data from the sensor so that you can change the ISO (& white balance) in post. ISO is only used for metering the shot (in the same way the LUT is not baked in either). so ISO level is something that can be changed in post - it is not baked in unless you are using a Pro Res codec.

Why isn't ETTR the same as protecting the highlights - that's what it is supposed to mean. You find out where your sensor clips and you expose under that value. Make sense.

THIS Video gives me hope, that I finally learn and understand(!) something, when it comes to exposure. - Not yet after watching this, but I dive into the other videos now... Thank you! 😀

Is the ISO then acting as a way to "trick" camera users into slight underexposure? I'll say the ISO having little bearing on the RAW image (and the ability to change ISO in post) is incredible confusing lol

If I'm understanding you correctly, you saying I get an additional 2 stop of midtone and highlight range if I increase the ISO from 400 to 1600? Please go easy on me if I seem clueless because 99% of the time I am. Raising your ISO seems counter intuitive when it comes to getting more range out of the midtones and highlights.

👍

awesome video, question - I've heard CVP mentioning that choosing the right ISO when shooting red RAW still has an impact on noise levels (which now is clear to me how thanks to you) but how does this work with the famous manipulations in post? is that highlight protection/ noise floor baked in the footage and by tweaking the iso in post I'm just moving this middle grey point, basically adjusting the brightness?

omg all the silly movie inserts are just distracting. Keep with the informative content and lose the nonsense, your videos don't need it.

I needed to know this!!!? Thank you

Thanks for this. I feel I've already wrapped my brain around this, but I like to remind my brain of this every once and awhile to reverse all the years of shooting on other systems 😅

This is completely counterintuitive, and the exact opposite of how we learned to use ISO in traditional Mirrorless cameras. That said, this has been the best explanation I’ve seen so far. Great work.

Your exposure strategy is wrong. You do NOT get the most flexibility underexposing opposed to over exposing. You get more data and flexibility when you expose to the right. Denoising reduces resolution and increases render speed, editing time and limits certain other adjustments. ETTL while doing bleach bypass will introduce a lot of noise artifacts… You’re wrong… it’s better to barely clip the highlights than barely clip the shadows, especial with thorough grading.

Would love to see a 2023 video of this bro! The Lumix S5 Mk 2 would be an interesting comparison.