I am owning a Sony A7iii and have also shot a few Projects with the RED Raven. I have also watched several Videos of the Sony FX Cinema Line and I really don‘t like the commercial look of Sony cameras, especially the color science. Sony‘s always have this greenish look in skintones. Don‘t get me wrong, Sony makes great cameras, especially for low-light performance, but everything below the Venice has just the commercial look and not the best color science in my opinion. However RED cameras are different, the color science and the look you get out of these cameras are unbelievable. I bought my Komodo a few month ago and it was the best decision I could make. Please keep in mind that you really need to understand how to set-up a RED camera properly, to unlock the full potential of the sensor, since RED cameras work a bit backwards and you have to rethink, especially the ISO logic. Read the RED educational documents and you will understand. Tonal shifting of the middle gray point etc. Using lower ISO‘s in low-light to keep your shadows clean and vice versa. Once you understand what the RED camera wants from you in specific scenarios, it will be your best friend 😉
Great video! I may be a bit late but if you added a creative LUT would you put it above or below the conversion LUT? Is the rule of thumb to always have the conversion LUT as the top layer?
When I talk about not making adjustments after the conversion, I am talking about the order in which premiere applies the effects. Not the order in which you tackle the grade. Even though the first step is applying rec 709, premiere is a actually applying rec 709 last because it is the top adjustment layer.
@@mateoallen I'm trying to understand this .so you tackle the custom grade first then apply rec 709 ? or is it you can add rec 709 right away but premiere will not add it until after you do your own custom grade ?
@@creativegreats6924 it’s the second. I add rec 709 as the first thing I do so that I can see what I am working off rather than guessing using a log image. But I have it set up in a way that premier is adding rec 709 only after the other adjustments I make.
Hey man, Im having issues with my RED files that I shot on a KOMODO. When I export Final Cut XML to bring into Davinci its saying that there was an error translating my clips. Ive tried removing attributes and it still isnt working. I tried making an XML of a timeline with BRAW and it works fine. For some reason I cant figure out how to do this with my RED files. please help
Try toggling the “ignore file extensions” option when bringing your files into resolve before selecting your source folder. I have found that works for me.
color grading Red footage in Premiere Pro is a joke - the world color grades Red footage (including Hollywood movies) in Da Vinci Resolve. Otherwise you're just wasting your time. It can be done - but you can walk to the grocery store or you can drive your Tesla. I'll drive, thank you!
That Red Komodo is something else, man. I am on the fence and may pull the trigger on it later this year.
I am owning a Sony A7iii and have also shot a few Projects with the RED Raven. I have also watched several Videos of the Sony FX Cinema Line and I really don‘t like the commercial look of Sony cameras, especially the color science. Sony‘s always have this greenish look in skintones. Don‘t get me wrong, Sony makes great cameras, especially for low-light performance, but everything below the Venice has just the commercial look and not the best color science in my opinion. However RED cameras are different, the color science and the look you get out of these cameras are unbelievable. I bought my Komodo a few month ago and it was the best decision I could make. Please keep in mind that you really need to understand how to set-up a RED camera properly, to unlock the full potential of the sensor, since RED cameras work a bit backwards and you have to rethink, especially the ISO logic. Read the RED educational documents and you will understand. Tonal shifting of the middle gray point etc. Using lower ISO‘s in low-light to keep your shadows clean and vice versa. Once you understand what the RED camera wants from you in specific scenarios, it will be your best friend 😉
Awesome tutorial! Thanks!
Great video! I may be a bit late but if you added a creative LUT would you put it above or below the conversion LUT? Is the rule of thumb to always have the conversion LUT as the top layer?
Amazing. Trying to get my hands on a Komodo soon.
Awesome video! Your talking head shots are always soooo clean. Is that with the Komodo too?
Thanks so much! Yes, also with the Komodo. But only
Pro res
@@mateoallen THAT'S PRORES?! 🤯
@@TheOliveBungalow yeah, lighting does a lot!
Great job! Looks good! From a RED Komodo owner
Hey thanks so much! Really appreciate it :)
I wish you had the links of how to download the Red Rec 709
I like the rec 709 . Where u saying In rec 709 you can't make many adjustments after ?
When I talk about not making adjustments after the conversion, I am talking about the order in which premiere applies the effects. Not the order in which you tackle the grade. Even though the first step is applying rec 709, premiere is a actually applying rec 709 last because it is the top adjustment layer.
@@mateoallen I'm trying to understand this .so you tackle the custom grade first then apply rec 709 ? or is it you can add rec 709 right away but premiere will not add it until after you do your own custom grade ?
@@creativegreats6924 it’s the second. I add rec 709 as the first thing I do so that I can see what I am working off rather than guessing using a log image. But I have it set up in a way that premier is adding rec 709 only after the other adjustments I make.
Hey man, Im having issues with my RED files that I shot on a KOMODO. When I export Final Cut XML to bring into Davinci its saying that there was an error translating my clips. Ive tried removing attributes and it still isnt working. I tried making an XML of a timeline with BRAW and it works fine. For some reason I cant figure out how to do this with my RED files. please help
Try toggling the “ignore file extensions” option when bringing your files into resolve before selecting your source folder. I have found that works for me.
color grading Red footage in Premiere Pro is a joke - the world color grades Red footage (including Hollywood movies) in Da Vinci Resolve. Otherwise you're just wasting your time. It can be done - but you can walk to the grocery store or you can drive your Tesla. I'll drive, thank you!