I had a Raptor for one year and usually tried to record as much light as possible just before clipping, then bringing down the exposure by 1-2 stops in post, and never changing the ISO from 800. Some experienced DPs suggest using ISO to protect highlights and shadows, but in most cases, paying attention to the traffic lights is more than enough.
@@nick_salazar Hey Nick, that’s only true if you’re overexposing using ISO alone. Generally speaking a camera’s “base ISO” is the iso setting that allows you to capture an equal amount of latitude in both highlights and shadows, however, by adjusting ISO you’re essentially setting the mid gray point of your image which in turn allows you to shift the distribution of the sensor’s dynamic range, so, by increasing your ISO you’re placing mid gray further down which frees up dynamic range in your highlights (as long as you’re compensating exposure through iris and/or ND). The opposite is also true of course. This “technique” has its limits as you’re going to introduce noise at some point, however, as long as your shadows aren’t clipped/properly exposed you can generally push newer reds to 1000-1280 in case you need that extra highlight retention. I hope this makes sense as English isn’t my first language. Keep the videos coming man, I’ve been really enjoying your content!
@@nicoloangeleri528 that is only true if shooting ProRes. If you're shooting in RAW, you can shoot at any ISO and have the same dynamic range. It's purely a "gain" adjustment. That's what RED means when they say they have "no native ISO." Canon's internal RAW seems to work the same way, as does ARRI's. See the Cined lab tests for further clarification.
Thanks for sharing the info, and attention to detail. I haven’t shot on Red, so have always been a little baffled as to what ISO one would shoot at. I’m thinking of switching from Sony, depending on when I need my next A cam, I’m kinda waiting for Z Mount Red cameras, so I can adapt my E mount lenses…
Thank you for sharing! I have the DSM3 Monitor for my Komodo-X/Raptor-X butt.... I wish it had EL Zone. I figured because the monitor was a SmallHD in disguise, that it must obviously use EL Zone. I was soooo wrong when I brought home the camera packages. I never even bothered to check with anyone if the camera package included that feature. I love how easy it is to make changes on the fly using the monitors, but I've become over-reliant using EL Zone over the last 2 years. I believe I've reached out to Red and SmallHD about this numerous times. I thought it was a mistake on my end. lol. Doesn't seem like Red is interesting in letting Gio Scope take a back seat to EL Zone. I'm basically stuck with Red's Gio Scope which is REALLY great for exposure readings, but the color labels just aren't easy to read. At the moment, both my Reds are using their respective monitor, but I have Teradek' bolts on each one sending a signal to my SmallHD 7 Ultra where I can use EL Zone. Love your content. Thank you for sharing again!
Thanks for the kind words! I'm curious - why aren’t RED’s existing tools sufficient for you? Honestly I find that as long as you aren’t clipping, it really doesn’t matter if my subject was exposed at middle grey, or a stop or two in either direction from middle grey. The signal is so clean you can just drag it back. I just live and die by the traffic lights, the small histogram, and my own eyes. But maybe your work has different requirements?
Excellent video man more and more your videos are convincing me that this camera might just be the best out right now besides the Alexa 35. I do have a question when it comes to the highlight roll off with the new (Extended highlights) doesn’t that make the raptor x more inline with how ARRI handles their highlight roll off and if not how would make our highlights roll off similarly to how ARRI does ?
Thanks! Remember that "rolloff" is only a mapping of the sensor's data into a final image (I explain this in another video). We can take ANY two cameras and make them "roll off" the same. Even an Alexa and a small mirrorless camera. The cost will be that the camera with less dynamic range will have a noisier image. As for the new EH mode on the Raptor-X: yes, in theory it will produce images with the same total dynamic range as an Alexa 35 (or even slightly better). But it will display artifacts in certain situations (fast motion across very bright areas of the scene).
Nick, do you reckon a cheaper RED such as Komodo still performs better in the shadows compares to raw FX3? Also, what camera are you recording your vlog on, there's a constant zooming/de-zooming (or maybe focus breathing) going on throughout your video, and it's clicky & not smooth.
The Komodo cameras are still very good, but to make comparisons on latitude, have a look at the CineD lab tests. They have a standardized set of tests which are very reliable. You’ll see exactly what pushed and pulled footage looks like.
Oh, and yeah this particular video was shot on the Canon R6 mkII. Usually I shoot on the R5 C which has a “face only” mode and does a better job. But I was showing that camera off in the video, so I had to use the R6 instead, which isn’t as solid there.
Always excited for the camera centric content - love it, thanks Nick!
love that traffic light exposure tool!
Thanks for the content !
nice video :). And thanks for more of the tasty Raptor -X footage :)
I had a Raptor for one year and usually tried to record as much light as possible just before clipping, then bringing down the exposure by 1-2 stops in post, and never changing the ISO from 800. Some experienced DPs suggest using ISO to protect highlights and shadows, but in most cases, paying attention to the traffic lights is more than enough.
If you’re shooting in R3D RAW, then shooting at ISO 800 and overexposing by one stop is 100% identical to shooting 400 and exposing at +0 stops.
@@nick_salazar
Hey Nick, that’s only true if you’re overexposing using ISO alone. Generally speaking a camera’s “base ISO” is the iso setting that allows you to capture an equal amount of latitude in both highlights and shadows, however, by adjusting ISO you’re essentially setting the mid gray point of your image which in turn allows you to shift the distribution of the sensor’s dynamic range, so, by increasing your ISO you’re placing mid gray further down which frees up dynamic range in your highlights (as long as you’re compensating exposure through iris and/or ND). The opposite is also true of course. This “technique” has its limits as you’re going to introduce noise at some point, however, as long as your shadows aren’t clipped/properly exposed you can generally push newer reds to 1000-1280 in case you need that extra highlight retention. I hope this makes sense as English isn’t my first language. Keep the videos coming man, I’ve been really enjoying your content!
@@nicoloangeleri528 that is only true if shooting ProRes. If you're shooting in RAW, you can shoot at any ISO and have the same dynamic range. It's purely a "gain" adjustment. That's what RED means when they say they have "no native ISO." Canon's internal RAW seems to work the same way, as does ARRI's. See the Cined lab tests for further clarification.
Thanks for sharing the info, and attention to detail. I haven’t shot on Red, so have always been a little baffled as to what ISO one would shoot at. I’m thinking of switching from Sony, depending on when I need my next A cam, I’m kinda waiting for Z Mount Red cameras, so I can adapt my E mount lenses…
Thank you for sharing! I have the DSM3 Monitor for my Komodo-X/Raptor-X butt.... I wish it had EL Zone. I figured because the monitor was a SmallHD in disguise, that it must obviously use EL Zone. I was soooo wrong when I brought home the camera packages. I never even bothered to check with anyone if the camera package included that feature. I love how easy it is to make changes on the fly using the monitors, but I've become over-reliant using EL Zone over the last 2 years. I believe I've reached out to Red and SmallHD about this numerous times. I thought it was a mistake on my end. lol. Doesn't seem like Red is interesting in letting Gio Scope take a back seat to EL Zone. I'm basically stuck with Red's Gio Scope which is REALLY great for exposure readings, but the color labels just aren't easy to read. At the moment, both my Reds are using their respective monitor, but I have Teradek' bolts on each one sending a signal to my SmallHD 7 Ultra where I can use EL Zone. Love your content. Thank you for sharing again!
Thanks for the kind words! I'm curious - why aren’t RED’s existing tools sufficient for you? Honestly I find that as long as you aren’t clipping, it really doesn’t matter if my subject was exposed at middle grey, or a stop or two in either direction from middle grey. The signal is so clean you can just drag it back. I just live and die by the traffic lights, the small histogram, and my own eyes. But maybe your work has different requirements?
"lets start with the red camera" yeah lets
Seriously, every time I shoot on the Raptor I am reminded how good it is. Every pixel just looks so happy to be there.
The Athenas work with the E-ND?? Wrote those lenses off because I didn't think that was possible.
m.th-cam.com/video/_7n06NeMMm0/w-d-xo.html
@@nick_salazar I think the Breakthrough has a little bit more clearance than RED's E-ND, if I remember right. Off to more research...
They will not work with the RED adapter. Only the Breakthrough DFM or the Kippertie Strata. Only those two have enough clearance for Athena.
Excellent video man more and more your videos are convincing me that this camera might just be the best out right now besides the Alexa 35. I do have a question when it comes to the highlight roll off with the new (Extended highlights) doesn’t that make the raptor x more inline with how ARRI handles their highlight roll off and if not how would make our highlights roll off similarly to how ARRI does ?
Thanks! Remember that "rolloff" is only a mapping of the sensor's data into a final image (I explain this in another video). We can take ANY two cameras and make them "roll off" the same. Even an Alexa and a small mirrorless camera. The cost will be that the camera with less dynamic range will have a noisier image. As for the new EH mode on the Raptor-X: yes, in theory it will produce images with the same total dynamic range as an Alexa 35 (or even slightly better). But it will display artifacts in certain situations (fast motion across very bright areas of the scene).
@@nick_salazar thank you so much for that explanation keep up the great work
Great video! May I ask what brand your top handle is?
It’s from www.fzerocamera.com/plastic
@@nick_salazar Thank you so much!!
When do you start screen testing for the feature you’re working on?
We’ve actually shot the first 10 pages of the film already, just working out logistics and casting for the remainder!
Nick, do you reckon a cheaper RED such as Komodo still performs better in the shadows compares to raw FX3? Also, what camera are you recording your vlog on, there's a constant zooming/de-zooming (or maybe focus breathing) going on throughout your video, and it's clicky & not smooth.
The Komodo cameras are still very good, but to make comparisons on latitude, have a look at the CineD lab tests. They have a standardized set of tests which are very reliable. You’ll see exactly what pushed and pulled footage looks like.
Oh, and yeah this particular video was shot on the Canon R6 mkII. Usually I shoot on the R5 C which has a “face only” mode and does a better job. But I was showing that camera off in the video, so I had to use the R6 instead, which isn’t as solid there.
Kam Mackey has a video comparing Komodo w/ FX3
I'll say it, The Red V Raptor X is better than the Arri.
I haven't had the chance to shoot on Arri cameras yet, but I can say that I absolutely LOVE the footage coming off my RED.
ATHENASssss