i dont mean to be offtopic but does any of you know a method to get back into an instagram account?? I stupidly forgot my account password. I appreciate any help you can give me!
@Enzo Alijah thanks so much for your reply. I got to the site through google and Im waiting for the hacking stuff atm. Looks like it's gonna take quite some time so I will get back to you later when my account password hopefully is recovered.
What a lot of people seem to forget is ISO simply amplifies the sensor voltage, it doesn't increase or decrease the number of electrons in the well of each photosite, therefore it doesn't change the sensor's exposure to light, simply interprets the already captured signal to a different strength.
From my point of view, all cameras capable of shooting raw work the same way. Perhaps there is something more to take care with on red cameras that I don’t know, but ISO value is always metadata applied to the raw signal, as well as white balance. In blackmagic cameras, the only thing to take into account regarding ISO is the number of stops of highlights and shadows you have later to work with, just because if you shot at a very low iso, you have to give it physically more light, hence you’re destroying the highlights and cleaning the shadows, and if you set a quite high iso value, you’re filling your shadows with noise, whereas your highlights are protected because the iso boost makes you close the iris or crank up the shutter speed to let less light get into the sensor. What that means is that iso, more than affecting deeply, is conditioning your real exposure. What’s more, if you shot with the native iso of a camera (to my understanding, the one that preserves the highest number of stops above and below middle grey), you’re getting the most out of the sensor and boosting exposure in post would be the same as rising or lowering the iso value. Only the extreme situations would make one set the lowest iso value (when there isn’t a huge dynamic range in the image), or the highest (when protecting the highlights is paramount)
Kinda true..but a HUGE difference is that other camera manufactures that have 'RAW' images actually still have a native iso but boost a signal from say 400 ISO to 640. Is the 640 data from the actual sensor? No, its a combination of the 400 ISO plus a boosted electronic amplification to come up with 640. So the 'RAW' image from other cameras is pure data, yes...but it is a hybrid mix of a native signal plus internal electronic 'boosting' to achieve their version of a 'pure' signal. This video really helped explain that th-cam.com/video/QfLkWyhGh7A/w-d-xo.html&ab_channel=REDDigitalCinema
This is a great breakdown. I used to shoot - move into post recently, but I'm back to shooting so I'm playing catch up with camera tech since film school. Since I ordered the Komodo I've been watching YT videos on it up and down, and they don't compare. What a thorough and articulate breakdown of RED exposure dos and don'ts. Bravo.
Great video. I love this little camera. I like to think of ISO as a digital gain of the signal after the light has hit the sensor on any camera. So the more you pump up the ISO, the more digital noise you introduce into your image. The difference with RAW is that ISO data isn't baked into the footage you import to your editing program. Coming from a music background, I often compare to sound - whenever you boost the volume of your recorded audio digitally in post-production, you introduce noise as well.
Very very similar We even use the same term Signal to noise ratio The noise is always there, it's just the more you push important data into the lower shadows and then lift them the more you boost the noise
Justin, I must commend you on this nicely made video on exposing the Komodo using some of the tools built within the system. But there is a correction, the Komodo DOES have a native ISO. The issue that many run into is that they use ISO as a tool in adjusting the exposure of the image. But like you mentioned, the exposure adjustments should be made with the shutter, aperture or adjusting the intensity of light(light fixture) coming through the lens and hitting the sensor. The ISO is NOT a "gain" function of exposure on a RED. When you use the exposure tool and you see that there is no change to the image when adjusting the ISO that is one of the examples that the sensor has a native ISO. The sensor is not increasing or decreasing in sensitivity when making that adjustment with the ISO.
This is without a doubt one of the best videos on Komodo that I've come across -- maybe even *the* best. I'm new to Red system and the Info you shared here is super helpful. Thank you!!
Good explanation.. This is basically similar to Sony’s fs7/fx9 cine-EI mode.. where there’s exposure index (iso) only applies to the lut right but not the SLog3 image right? Not sure if you used or own a Sony camera.. but it reminds me of that. A lot of ppl I work with just doesn’t understand why the iso (EI) not working when on Cine-EI mode..
This is how every "real" cinema camera work. Arri's also work in EI. and as you say the Sony cinema line, including the Venice. In my mind this is one of the determining factors of a cinema camera. Even though blackmagics a great for the price point, it's a whole different workflow to the pro cameras
This is the best hands-on video about the Komodo. Now i know there are some things I don't want to deal with on the Komodo just to get that sweet Redraw codec. What I get from this video is that you need a crew to use this camera optimally as opposed to other cameras that are not as sensitive.
Very cool! I haven't been interested in RED (the price range previous to the Komodo was certainly a big reason) but this is really interesting both for RED and every other camera. Underneath the hood, a sensor is a sensor. Each element of a sensor gets hit by photons and that causes electrons to get knocked off, creating a voltage for that sensor element, which is then read. At the low end of how that sensor works, when there are very few pixels, the resulting voltage is very low and random (noise.) In the middle, there is a roughly linear relationship between photons hitting it and the voltage that builds up. At the high end, the sensor's voltage maxes out and stops being linear, thus the pixel is clipped high. That basic physics operates for every sensor in every brand. It's really cool that RED is more directly showing the user what is happening on the sensor elements - too low voltage (dark/noise) or too high (light/clipped) instead of only running it through some pre-processing - what you're mentioning about showing the operator IRE info. Even though Blackmagic handles "raw" differently, the physics applies at the sensor level, so I'm going to look at the BMPCC exposure vs. dynamic range chart again and see if it makes more sense to me from the "RED-esque" point of view with their traffic lights and goal posts.
@@JustinPhillip hey man, on the Komodo with a speedbooster such as the canon version, does it let you open up your lens by an extra stop? Say f2.8 turns to f2? On my gh7 and speedbooster I can open up my lenses by one more stop so that’s where I’m coming from with that question. Is it an automatic thing with more light coming in or do you get control to open it up more? Seems like I can’t find a clear answer online. Thanks !
This can be pretty confusing for a lot of people, but in all seriousness, if you have ever shot raw in any camera youd know how to expose properly. The only real way to reach proper exposure is to give the camera the light it needs. Everybody should learn how to use false color., its such a powerful tool. Exposing to the right is actually a good thing most of the time, just know that in all cameras(except for dual native iso cams) "iso" is just digital gain, and even in dual native cams, its just gain until you hit the second circuit.
You are really putting gold out here, real insights on red raw. I like your devotion and rigour to the craft, a lot fast food knowledge on the web, wonder if we can fin this red book for sale?
Cheers mate! Exactly what I needed to know. I have been using a red one for a week and I could not make sense of its light metering logic. Apart from the traffic light being only one and off/on, the rest pretty much applies to the red one too. Thanks again and all the best.
Dude! I have been looking for someone to explain this info. Why does red always have to be different than the norm. Thank you. You may have just saved my show.
Thanks for ur video:) I use sony fx3 but it looks interesting and I think "ISO" in red camera just means "EI" in other camera like It has only one iso internally and u just adjust brighness of well exposed images(which was not over or under expose as much as they lose their detail)
Great Video! Can you suggest any reading material about the goal posts and traffic lights? It's kinda hard to understand properly ( why the traffic ligthts represent 2% of each pixel ?) when the traffic lights turn ON does that mean that channel is clipping ?
ARRI is the same. You raise or lower the ISO it changes the highlight/shadow dynamic range distribution. I just think of raising or lowering the ISO as over or under exposing. Raise the ISO gives you more highlight room but raises the noise floor. Lowering does the opposite. This is somewhat confusing to DSLR users who usually think of in dark situations you raise the ISO, when you really should do the opposite.
What’s ISO advice can you give for shooting on Red or Arri cam. When you shoot in low key style (when you want take maximum from shadows but without noise)
@@Lululu239 Honestly 200 ISO will give you cleanest shadows. I did that for a music video once that was very silhouette. ARRI noise pattern is pleasant though so I don't mind shooting a little higher and getting some noise. Same with the komodo. But for really really clean shadows 200 iso.
Everything camera/chip has a native “ISO”. It’s simply an electronics thing that a chip and processor work at an optimal voltage/setting etc. Thus a base “ISO”. It is true that changing the ISO in the dsmc2 and Komodo systems doesn’t change that voltage to the chip and therefore the result doesn’t change anything the way ISO settings do on most other cameras/systems. This is a good and informative video on exposure etc, I would just say it’s a bit of a mis classification to say the Red cameras don’t have an native ISO. Might be better to say they only have 1 “ISO” and you can’t change it.
Sure. But it is good to point out that the "Native ISO" definition by all other camera systems does not apply to RED cameras. Because (from the RED manual) "all ISO speeds use the full potential of the sensor".
@@JustinPhillip yeah EVERY raw camera works this same way. It’s just semantics. Why Red won’t say a native ISO I have no idea. Their camera DOES have one, and their sensors aren’t designed any differently, except to say that dual ISO sensors have two analog gain stages they can switch between. I do wish every CMOS camera had these goalposts and traffic lights, as they’re a useful toolset, but don’t be fooled, RED is still just using a CMOS with a specific sensitivity (ISO), there’s no magic ISO-free land.
@@ForestCinema How do you explain when changing ISO it literally does NOTHING to your exposure, then? With a Blackmagic camera you can watch it increasing the grain in your image, for instance if you shoot at 3200 on the day, and then switch to 1250 in post, its not nearly as clean as if you shot at 1250 on the day. Do the tests, I have. RED sensors are the only sensors that no matter what the ISO is set to, it absorbs the same amount of light.
@@JustinPhillip you would have to specify which BM camera. Some have dual gain sensors. I’ve shot RED and BM, they behave the same. In post, you can adjust the interpreted sensitivity (ISO) of the RAW data (base sensitivity). I don’t actually have to explain anything, if RED is doing something differently, it’s on them to explain the tech, not me.based on every R3D file I’ve ever touched, they’re doing nothing differently with regards to core technology in every CMOS chip. Their codecs and compression are an awesome package for that data, but there’s no breaking physics. Call it ISO. Call it Gain. I don’t care, call it voltage, because that’s what it is until it turns into 1s and 0s. Photosite>Analog Gain>ADC. Basic CMOS stuff. Most cameras have ONE ADC. One sensitivity. Recently, some have two. It’s just physics.
It’s crazy, I see so many positive comments, and like nobody talking about the fact that he says there are only 3 ways to fix this, but then only mentions 1 way. Of course most of us know how, still.
Really want to thank you for this content it has allowed me to prepare and inform myself prior to receiving my first Red camera. I cannot contain my excitement! I was at NAB when the styrofoamred camera was on display for the very first introduction and we watched Peters war filming sample in the tent of the first production ever shot on red. Polar Bear Productions thanks you as I return to filming after taking a long break waiting for this Red opportunity. Great job Justin.
Where can I find a copy of this book! Sounds like a great way to learn and to learn if Red is really where I want to end up. Which I believe it is. LoL. Thanks for the super helpful video!
This is insanely helpful, Justin. Thank you! I'm just about to pull the trigger on a Red Komodo and I haven't shot Red before. You just saved me a massive headache.
I think ETTR exclude ISO and most cinema camera, if you use them correctly, has only one ISO also. ISO is only for exposure index? I only change the exposure through only Aperture and the actual lightings.
Thanks for the video! One thing's for sure, RED needs make their touch screens a little more responsive. No reason a $2K monitor and the Komodo monitor function less smooth than a 200-300 buck monitor.
So the ¨exposure¨ tool is usefull to check if there is any clipping but the video should be the one to use when exposing the scene? For example if I want to expose a skin tone, should I look at the video tool right? Because the ¨exposure¨ is like using a false color on a raw image and ¨video¨ on a image with a 709 lut?
Exposure Tool would still be the best way to monitor for exposure on skin. It will immediately show you where middle grey is. It only shows Clipped Highlights, Underexposed shadows, and middle grey. From the RAW data. If you're not shooting RAW, then yea, just use the Video false color. But this is an old video, and RED finally has their Gyroscope option in the latest FW for the Komodo, which is basically the same as EL Exposure in new smallHD monitors. I've done a full video on EL Zone as well: th-cam.com/video/XyLUGYXV4o4/w-d-xo.html
@@JustinPhillip At 6:12 when you switch from Exposure to Video we can see there is a difference in the false color shown by each one. They both read middle grey differently. I have always used arri cameras and when using false color usually we read and take the REC709 image as reference for lighting and controlling the contrast ratio. So isnt VIDEO the similar tool to a false color in Arri cameras? Reading raw would only be important to check clipping but not to control contrast ratio, thats what I mean. I still didnt get how to expose with RED :I Second, if the iso is only a LUT, its function is only to help post production to see what exposure the dp wants? Thats all?
Wow. Great video. So when the RGB traffic lights light up it’s essentially a warning? But it doesn’t start to negatively affect my image until the goal post becomes filled? Am I understanding that correctly? And how much does a goalpost need to become filled before I need to make an aperture change based off your experience? 25% filled?
traffic lights mean 2% of all pixels in that channel are gone. On the “over” side, i never let any of the goal posts fill up. On the under side, its kind of up to taste, but anywhere up to half full is generally fine for underexposed
@@JustinPhillip thank you! That is very helpful. When you say you never let the “over” side fill up, are you talking about at any level or just never let it fill up all the way?
@@colehughes RED recommends never letting anything fill in on the goal posts for the over side. Bad enough if the traffic lights turn on. Over exposure is really hard to recover from, even in RAW
Great video! but whats the best option set the false color to video or exposure? first check the raw channels and then check de video exposure itself, thats the point?
This was beautiful. I understand that you had to explain it a couple of times. But you made it very clear und easy from the first one. Thank you. I don't shoot with Red but I love to learn about everything and have a broad understanding of multiple aspects of the industry
Thanks for this structured and step-by step explanation of how to expose with a Komodo! I'm looking to buy one myself next year, and this guide is very helpful in so many ways! Keep up the good work :D
Great video. Thanks! I know ISO isn't baked in RAW files but you still need to use an ISO data in your external light meter to mesure different amount of light. So what ISO do you use as reference in light meter??
Hello my friend, thank you. I have a question. Why did they put IOS options such as ISO 800, 1000, 2000 if they have no effect on changing the exposure of the image, what are their uses
same reason they include every option for WB. Its all in how you want to use it on the day. Check out my newer videos, i did an update to this video with real world examples. In the description
I want to get this camera, have used Canon before, but at this price point I think it will be a great leap. Any new content available? Footage? Films made with Komodo??
Mahalo! I ordered mine. Been so hungry for more info. Been doing the trainings too! I just can't wait. Glad you are doing more doc with this. It's what I do and now want to take to next level. =) Appreciate this!
Interesting... So to me, it sounds like changing the ISO with a RED does not actually apply any analog gain to the sensor signal before it hits the ADC like a stills camera (and other video cameras) does. Doing that with a stills camera does of course come at the expense of reducing the available dynamic range (and an increase in noise from the analog amplifier), but it does let you shoot at different ISOs and still get a reasonable image. RED on the other hand looks like the ISO setting is the equivalent of what stills photographers refer to as digital gain. Something like you shot a scene under exposed from the (stills camera) ISO setting and pulled the exposure up in Lightroom. As long as the sensor, analog path, and ADC is clean enough, you can do that reasonably well and still have a fairly clean image. With a stills camera, the native ISO is the ISO where the analog amplifiers are turned all the way down. They're not applying any analog gain to the signal before it hits the ADC. This ISO is actually measurable, and the standard (I don't have it with me off hand) stipulates that it is the maximum amount of light you can feed the sensor before it clips the ADC. For many stills cameras, that native ISO is typically 50-100 ISO and the camera applies a digital exposure control (up or down) to make it 100 ISO. It sounds like the RED cameras just simply don't have analog gain and always run at that no analog boost signal level. Or at least analog gain you can control. So, even though, it is "ISO less", you could apply the same exposure standard and work out the maximum ISO you could hit the sensor with before the ADC starts to clip. All that being said, it's nice that RED is actually giving some indication of what is going on with the actual sensor so you can change the aperture, shutter angle, or light levels in the scene to address it. I wish stills camera makers did the same.
My Gear List: kit.co/jpOnFilm
This is the best Red Exposure video I have ever watched! That includes tutorials from Red Digital Cinema's own TH-cam channel. Thank you so very much!
Wow thank you! I know all my terms probably arent accurate, (Photons for example), but i think the overall message is there 😆
i dont mean to be offtopic but does any of you know a method to get back into an instagram account??
I stupidly forgot my account password. I appreciate any help you can give me!
@Hudson Khalid instablaster ;)
@Enzo Alijah thanks so much for your reply. I got to the site through google and Im waiting for the hacking stuff atm.
Looks like it's gonna take quite some time so I will get back to you later when my account password hopefully is recovered.
@Enzo Alijah it worked and I actually got access to my account again. I am so happy:D
Thanks so much, you saved my ass!
What a lot of people seem to forget is ISO simply amplifies the sensor voltage, it doesn't increase or decrease the number of electrons in the well of each photosite, therefore it doesn't change the sensor's exposure to light, simply interprets the already captured signal to a different strength.
I’m really glad you explained this and I don’t even own a red.
Did u want it?, cuz i want it bad :)
From my point of view, all cameras capable of shooting raw work the same way. Perhaps there is something more to take care with on red cameras that I don’t know, but ISO value is always metadata applied to the raw signal, as well as white balance. In blackmagic cameras, the only thing to take into account regarding ISO is the number of stops of highlights and shadows you have later to work with, just because if you shot at a very low iso, you have to give it physically more light, hence you’re destroying the highlights and cleaning the shadows, and if you set a quite high iso value, you’re filling your shadows with noise, whereas your highlights are protected because the iso boost makes you close the iris or crank up the shutter speed to let less light get into the sensor. What that means is that iso, more than affecting deeply, is conditioning your real exposure. What’s more, if you shot with the native iso of a camera (to my understanding, the one that preserves the highest number of stops above and below middle grey), you’re getting the most out of the sensor and boosting exposure in post would be the same as rising or lowering the iso value. Only the extreme situations would make one set the lowest iso value (when there isn’t a huge dynamic range in the image), or the highest (when protecting the highlights is paramount)
Kinda true..but a HUGE difference is that other camera manufactures that have 'RAW' images actually still have a native iso but boost a signal from say 400 ISO to 640. Is the 640 data from the actual sensor? No, its a combination of the 400 ISO plus a boosted electronic amplification to come up with 640. So the 'RAW' image from other cameras is pure data, yes...but it is a hybrid mix of a native signal plus internal electronic 'boosting' to achieve their version of a 'pure' signal. This video really helped explain that th-cam.com/video/QfLkWyhGh7A/w-d-xo.html&ab_channel=REDDigitalCinema
The Red workflow is something else. I bet your having a blast.
Ohhhhh yeah, buddy!
This is a great breakdown. I used to shoot - move into post recently, but I'm back to shooting so I'm playing catch up with camera tech since film school. Since I ordered the Komodo I've been watching YT videos on it up and down, and they don't compare. What a thorough and articulate breakdown of RED exposure dos and don'ts. Bravo.
Thanks! You're gonna love the Komodo!
This is one of the most helpful videos I've ever seen on TH-cam. Thanks for explaining it so well.
Great video. I love this little camera. I like to think of ISO as a digital gain of the signal after the light has hit the sensor on any camera. So the more you pump up the ISO, the more digital noise you introduce into your image. The difference with RAW is that ISO data isn't baked into the footage you import to your editing program.
Coming from a music background, I often compare to sound - whenever you boost the volume of your recorded audio digitally in post-production, you introduce noise as well.
Very very similar
We even use the same term Signal to noise ratio
The noise is always there, it's just the more you push important data into the lower shadows and then lift them the more you boost the noise
Justin, I must commend you on this nicely made video on exposing the Komodo using some of the tools built within the system. But there is a correction, the Komodo DOES have a native ISO. The issue that many run into is that they use ISO as a tool in adjusting the exposure of the image. But like you mentioned, the exposure adjustments should be made with the shutter, aperture or adjusting the intensity of light(light fixture) coming through the lens and hitting the sensor. The ISO is NOT a "gain" function of exposure on a RED. When you use the exposure tool and you see that there is no change to the image when adjusting the ISO that is one of the examples that the sensor has a native ISO. The sensor is not increasing or decreasing in sensitivity when making that adjustment with the ISO.
bingo
But that is exactly what he said hahaha
Best explanation ever…. So many Komodo users don’t get this at all🤦🏻♂️
.. coming from black magic pocket .. I did not know it. And I own a Komodo-c for a couple weeks 😂
This video probably saved me a trip to rehab... thanks for what you’re doing for the community, especially the newbies...
thank you!
Well done bro! I never understand the people that dislikes informative videos like this. Keep it up!
This explains sooo much regarding my under exposed footage. I know I turned the iso up on the shoot. This is so helpful. Thanks 🙏🏿🙏🏿
I LOVE technical explanations like this. My Red Komodos come in today. You’re teaching me a ton.
Update: Just got my Komodos. Omg… they’re incredible. I’m used to ZCam and Blackmagic but this is different.
@@JonRatzlaff im from the future and mine comes today :)))))))
This is without a doubt one of the best videos on Komodo that I've come across -- maybe even *the* best. I'm new to Red system and the Info you shared here is super helpful. Thank you!!
I hope you understand how incredibly helpful this video is. I had no idea about any of this! Thank you thank you thank you
Very interesting and useful to know these technical aspects, even without using a Red camera. Thank you!
Good explanation.. This is basically similar to Sony’s fs7/fx9 cine-EI mode.. where there’s exposure index (iso) only applies to the lut right but not the SLog3 image right? Not sure if you used or own a Sony camera.. but it reminds me of that. A lot of ppl I work with just doesn’t understand why the iso (EI) not working when on Cine-EI mode..
This is how every "real" cinema camera work. Arri's also work in EI. and as you say the Sony cinema line, including the Venice. In my mind this is one of the determining factors of a cinema camera. Even though blackmagics a great for the price point, it's a whole different workflow to the pro cameras
This is the best hands-on video about the Komodo. Now i know there are some things I don't want to deal with on the Komodo just to get that sweet Redraw codec. What I get from this video is that you need a crew to use this camera optimally as opposed to other cameras that are not as sensitive.
it like finally clicked for me the way RED exposure works, THANK YOU!
Great!
Good Video -- Key takeaway, if you want to use the Red System, or any cinema system, learn how to use a light meter and read light and work with light
Hands down the best video I’ve seen about red Komodo.
Thanks for the help!
Very cool! I haven't been interested in RED (the price range previous to the Komodo was certainly a big reason) but this is really interesting both for RED and every other camera. Underneath the hood, a sensor is a sensor. Each element of a sensor gets hit by photons and that causes electrons to get knocked off, creating a voltage for that sensor element, which is then read. At the low end of how that sensor works, when there are very few pixels, the resulting voltage is very low and random (noise.) In the middle, there is a roughly linear relationship between photons hitting it and the voltage that builds up. At the high end, the sensor's voltage maxes out and stops being linear, thus the pixel is clipped high. That basic physics operates for every sensor in every brand. It's really cool that RED is more directly showing the user what is happening on the sensor elements - too low voltage (dark/noise) or too high (light/clipped) instead of only running it through some pre-processing - what you're mentioning about showing the operator IRE info. Even though Blackmagic handles "raw" differently, the physics applies at the sensor level, so I'm going to look at the BMPCC exposure vs. dynamic range chart again and see if it makes more sense to me from the "RED-esque" point of view with their traffic lights and goal posts.
Very good and interesting video. I wish you did a similar tutorial about exposure for blackmagic pocket cinema cameras.
oh but i have th-cam.com/video/zjLD_r4opQg/w-d-xo.html
Justin is awesome! Technical in detail and functional in the fact he actually works works lol
Dude thanks so much for this! I sold my s1h and I’m looking to getting a Komodo OG. This is so helpful!
perfect time to buy!
@@JustinPhillip agree!!
@@JustinPhillip hey man, on the Komodo with a speedbooster such as the canon version, does it let you open up your lens by an extra stop? Say f2.8 turns to f2? On my gh7 and speedbooster I can open up my lenses by one more stop so that’s where I’m coming from with that question. Is it an automatic thing with more light coming in or do you get control to open it up more? Seems like I can’t find a clear answer online. Thanks !
Thank you for taking the time to make this for us.
one of the best lessons i have seen online!
This was definitely worth the watch
you are a better version of jarold undone, less nerdy , informative and practical
This can be pretty confusing for a lot of people, but in all seriousness, if you have ever shot raw in any camera youd know how to expose properly. The only real way to reach proper exposure is to give the camera the light it needs. Everybody should learn how to use false color., its such a powerful tool. Exposing to the right is actually a good thing most of the time, just know that in all cameras(except for dual native iso cams) "iso" is just digital gain, and even in dual native cams, its just gain until you hit the second circuit.
Learned so much from this! Thanks for setting us all up for success
You bet! 🙌🏼
You are really putting gold out here, real insights on red raw. I like your devotion and rigour to the craft, a lot fast food knowledge on the web, wonder if we can fin this red book for sale?
Thanks Justin - First video I found that explains this so well :)
Bloody sensational video, mate. I'm shooting with it for the first time tomorrow. Cheers!
This was so helpful! Thank you so much for making this video
Cheers mate! Exactly what I needed to know. I have been using a red one for a week and I could not make sense of its light metering logic. Apart from the traffic light being only one and off/on, the rest pretty much applies to the red one too. Thanks again and all the best.
Dude! I have been looking for someone to explain this info. Why does red always have to be different than the norm. Thank you. You may have just saved my show.
Nice information in this video. Quick and to the point! Thank you so much for clearly explaining r3d exposure to me
Thanks for ur video:) I use sony fx3 but it looks interesting and I think "ISO" in red camera just means "EI" in other camera like It has only one iso internally and u just adjust brighness of well exposed images(which was not over or under expose as much as they lose their detail)
Great Video! Can you suggest any reading material about the goal posts and traffic lights? It's kinda hard to understand properly ( why the traffic ligthts represent 2% of each pixel ?)
when the traffic lights turn ON does that mean that channel is clipping ?
yes that’s exactly what that means The RED website has lots of information on this or the camera manual
Best Video about Red exposure ever
Awesome!
Great job and demo on an often overlooked topic! Thanks!
Thank you for making this! Just got my Komodo and these tips were much needed
So adjust exposure with f stop?… got it
😂
ARRI is the same. You raise or lower the ISO it changes the highlight/shadow dynamic range distribution. I just think of raising or lowering the ISO as over or under exposing. Raise the ISO gives you more highlight room but raises the noise floor. Lowering does the opposite. This is somewhat confusing to DSLR users who usually think of in dark situations you raise the ISO, when you really should do the opposite.
What’s ISO advice can you give for shooting on Red or Arri cam. When you shoot in low key style (when you want take maximum from shadows but without noise)
@@Lululu239 Honestly 200 ISO will give you cleanest shadows. I did that for a music video once that was very silhouette. ARRI noise pattern is pleasant though so I don't mind shooting a little higher and getting some noise. Same with the komodo. But for really really clean shadows 200 iso.
This video is really good for understanding how to expose on the Red Komodo. Thank you sir.
Everything camera/chip has a native “ISO”. It’s simply an electronics thing that a chip and processor work at an optimal voltage/setting etc. Thus a base “ISO”.
It is true that changing the ISO in the dsmc2 and Komodo systems doesn’t change that voltage to the chip and therefore the result doesn’t change anything the way ISO settings do on most other cameras/systems.
This is a good and informative video on exposure etc, I would just say it’s a bit of a mis classification to say the Red cameras don’t have an native ISO. Might be better to say they only have 1 “ISO” and you can’t change it.
Sure. But it is good to point out that the "Native ISO" definition by all other camera systems does not apply to RED cameras. Because (from the RED manual) "all ISO speeds use the full potential of the sensor".
@@JustinPhillip yeah EVERY raw camera works this same way. It’s just semantics. Why Red won’t say a native ISO I have no idea. Their camera DOES have one, and their sensors aren’t designed any differently, except to say that dual ISO sensors have two analog gain stages they can switch between. I do wish every CMOS camera had these goalposts and traffic lights, as they’re a useful toolset, but don’t be fooled, RED is still just using a CMOS with a specific sensitivity (ISO), there’s no magic ISO-free land.
@@ForestCinema How do you explain when changing ISO it literally does NOTHING to your exposure, then? With a Blackmagic camera you can watch it increasing the grain in your image, for instance if you shoot at 3200 on the day, and then switch to 1250 in post, its not nearly as clean as if you shot at 1250 on the day. Do the tests, I have. RED sensors are the only sensors that no matter what the ISO is set to, it absorbs the same amount of light.
@@JustinPhillip you would have to specify which BM camera. Some have dual gain sensors. I’ve shot RED and BM, they behave the same. In post, you can adjust the interpreted sensitivity (ISO) of the RAW data (base sensitivity). I don’t actually have to explain anything, if RED is doing something differently, it’s on them to explain the tech, not me.based on every R3D file I’ve ever touched, they’re doing nothing differently with regards to core technology in every CMOS chip. Their codecs and compression are an awesome package for that data, but there’s no breaking physics. Call it ISO. Call it Gain. I don’t care, call it voltage, because that’s what it is until it turns into 1s and 0s. Photosite>Analog Gain>ADC. Basic CMOS stuff. Most cameras have ONE ADC. One sensitivity. Recently, some have two. It’s just physics.
@@ForestCinema The video’s not for you, bro
It’s crazy, I see so many positive comments, and like nobody talking about the fact that he says there are only 3 ways to fix this, but then only mentions 1 way. Of course most of us know how, still.
he mentioned (1)aperture, (2)shutter angle and (3)the light on set.
dope video bro!!!! it's the best out here
Awesome video man! Great job
Wowwwww I needed this video thank you 🙏🏾🙏🏾🙏🏾
Thank you a lot ❤
Really want to thank you for this content it has allowed me to prepare and inform myself prior to receiving my first Red camera. I cannot contain my excitement! I was at NAB when the styrofoamred camera was on display for the very first introduction and we watched Peters war filming sample in the tent of the first production ever shot on red. Polar Bear Productions thanks you as I return to filming after taking a long break waiting for this Red opportunity. Great job Justin.
Dude you're the man! You really broke it down! Salute!!!
Appreciate it!
Excellent information, you rock!!!
that was awesome and I don't even shoot red but I edit red footage everyday so it helps me understand the raw file.
awesome!
Where can I find a copy of this book! Sounds like a great way to learn and to learn if Red is really where I want to end up. Which I believe it is. LoL. Thanks for the super helpful video!
Thanks for this video dude, very informative. Just bought my first red.
Nice!
Thanks so much Justin. Very helpful video.
Very helpful, been looking for that book the rule of engagement, can't find it.
best fast and easy exposure video for red cinema everseen!!!
thank you
awesome!
This is insanely helpful, Justin. Thank you! I'm just about to pull the trigger on a Red Komodo and I haven't shot Red before. You just saved me a massive headache.
So very helpful - thank you!
I think ETTR exclude ISO and most cinema camera, if you use them correctly, has only one ISO also. ISO is only for exposure index? I only change the exposure through only Aperture and the actual lightings.
Thanks for the video! One thing's for sure, RED needs make their touch screens a little more responsive. No reason a $2K monitor and the Komodo monitor function less smooth than a 200-300 buck monitor.
Hi! Brilliant video. Where is it possible to buy the book?
So the ¨exposure¨ tool is usefull to check if there is any clipping but the video should be the one to use when exposing the scene? For example if I want to expose a skin tone, should I look at the video tool right? Because the ¨exposure¨ is like using a false color on a raw image and ¨video¨ on a image with a 709 lut?
Exposure Tool would still be the best way to monitor for exposure on skin. It will immediately show you where middle grey is. It only shows Clipped Highlights, Underexposed shadows, and middle grey. From the RAW data. If you're not shooting RAW, then yea, just use the Video false color. But this is an old video, and RED finally has their Gyroscope option in the latest FW for the Komodo, which is basically the same as EL Exposure in new smallHD monitors. I've done a full video on EL Zone as well: th-cam.com/video/XyLUGYXV4o4/w-d-xo.html
@@JustinPhillip At 6:12 when you switch from Exposure to Video we can see there is a difference in the false color shown by each one. They both read middle grey differently. I have always used arri cameras and when using false color usually we read and take the REC709 image as reference for lighting and controlling the contrast ratio. So isnt VIDEO the similar tool to a false color in Arri cameras?
Reading raw would only be important to check clipping but not to control contrast ratio, thats what I mean. I still didnt get how to expose with RED :I
Second, if the iso is only a LUT, its function is only to help post production to see what exposure the dp wants? Thats all?
man how i wished i knew this ten days ago, very useful, thanks
Great vid. Any suggestions for cheap but good in-studio light?
Awesome video!!! Thank you for this explaination of exposure!!
Wow. Great video. So when the RGB traffic lights light up it’s essentially a warning? But it doesn’t start to negatively affect my image until the goal post becomes filled? Am I understanding that correctly? And how much does a goalpost need to become filled before I need to make an aperture change based off your experience? 25% filled?
traffic lights mean 2% of all pixels in that channel are gone. On the “over” side, i never let any of the goal posts fill up. On the under side, its kind of up to taste, but anywhere up to half full is generally fine for underexposed
@@JustinPhillip thank you! That is very helpful. When you say you never let the “over” side fill up, are you talking about at any level or just never let it fill up all the way?
@@colehughes RED recommends never letting anything fill in on the goal posts for the over side. Bad enough if the traffic lights turn on. Over exposure is really hard to recover from, even in RAW
Thank you dude! Explains a lot of questions that I had.
Great video! but whats the best option set the false color to video or exposure? first check the raw channels and then check de video exposure itself, thats the point?
yipp!
dude this was SO good and so helpful. 🙌
This was beautiful. I understand that you had to explain it a couple of times. But you made it very clear und easy from the first one. Thank you.
I don't shoot with Red but I love to learn about everything and have a broad understanding of multiple aspects of the industry
Perfectly explained! Thanks.
This was a great explanation thank you
I appreciate this so much.
This is the most confusing stuff ever but thank you for explaining it and going through the topic
can you do similar video for focus.. i see few tools but not sure which one to use.
This video is Excellent !!! Thank you so much for this information!!
Very useful guide. Thank you!
Thanks for this structured and step-by step explanation of how to expose with a Komodo!
I'm looking to buy one myself next year, and this guide is very helpful in so many ways! Keep up the good work :D
Man, I can't find that book anywhere. Tips on where to pick it up?
I’ve been trying to find the rules of engagement book online and can only find PDF’s, any recommendations for tracking down the physical version?
Great explanation. Thank you Justin!
Thanks a lot for your explanations and tips!!
The best vídeo ever for exposing with Red Komodo!
Thanks!
Great video. Thanks! I know ISO isn't baked in RAW files but you still need to use an ISO data in your external light meter to mesure different amount of light. So what ISO do you use as reference in light meter??
Hello my friend, thank you. I have a question. Why did they put IOS options such as ISO 800, 1000, 2000 if they have no effect on changing the exposure of the image, what are their uses
same reason they include every option for WB. Its all in how you want to use it on the day. Check out my newer videos, i did an update to this video with real world examples. In the description
@@JustinPhillip thanks you so much
I want to get this camera, have used Canon before, but at this price point I think it will be a great leap. Any new content available? Footage? Films made with Komodo??
Mahalo! I ordered mine. Been so hungry for more info. Been doing the trainings too! I just can't wait. Glad you are doing more doc with this. It's what I do and now want to take to next level. =) Appreciate this!
Some really useful info here. Nice work!
Interesting... So to me, it sounds like changing the ISO with a RED does not actually apply any analog gain to the sensor signal before it hits the ADC like a stills camera (and other video cameras) does. Doing that with a stills camera does of course come at the expense of reducing the available dynamic range (and an increase in noise from the analog amplifier), but it does let you shoot at different ISOs and still get a reasonable image. RED on the other hand looks like the ISO setting is the equivalent of what stills photographers refer to as digital gain. Something like you shot a scene under exposed from the (stills camera) ISO setting and pulled the exposure up in Lightroom. As long as the sensor, analog path, and ADC is clean enough, you can do that reasonably well and still have a fairly clean image.
With a stills camera, the native ISO is the ISO where the analog amplifiers are turned all the way down. They're not applying any analog gain to the signal before it hits the ADC. This ISO is actually measurable, and the standard (I don't have it with me off hand) stipulates that it is the maximum amount of light you can feed the sensor before it clips the ADC. For many stills cameras, that native ISO is typically 50-100 ISO and the camera applies a digital exposure control (up or down) to make it 100 ISO. It sounds like the RED cameras just simply don't have analog gain and always run at that no analog boost signal level. Or at least analog gain you can control. So, even though, it is "ISO less", you could apply the same exposure standard and work out the maximum ISO you could hit the sensor with before the ADC starts to clip.
All that being said, it's nice that RED is actually giving some indication of what is going on with the actual sensor so you can change the aperture, shutter angle, or light levels in the scene to address it. I wish stills camera makers did the same.
Thank you for this, great video!
Love it! Great vid
Thank you 🙏🏼
you explained it so well, i got it
Amazing video ! its very illuminating! Thank u Justin, Keep ip up :D
No problem! Thanks!