This is the best Red Exposure video I have ever watched! That includes tutorials from Red Digital Cinema's own RUclips channel. Thank you so very much!
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.
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
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
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
Hey Justin, Thank you. Super helpful. Like you, I have a shot on RED many times in the past and embarrassed to admit that I really had no idea how to properly expose. I just purchased a new Red Komodo-X, thus now deep-diving into the process. Cheers!
@@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 !
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 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)
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!!
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 ?
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.
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.
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.
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.
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!
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.
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: ruclips.net/video/XyLUGYXV4o4/видео.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?
hello is it allowed to recreate a famous tv show like friends or the fresh prince of bel air in 3d with I clone and ue5 using the same audio and same jokes everything the same , same mouvements also with mocap
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
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?
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.
Thanks for this video. I am wondering what process Red shooter use for exposure WITHIN the goalposts. For example if a scene gives its first traffic light warning for Overexposure at F2 and it’s first traffic light for Underexposure at F8, how do you decide where to expose with that F2~8 range? I am not in front of my Komodo at the moment and have only done a few shoots but I remember trying to use this principle and finding a fair amount of play in between stop lights. Coming from the still world so I found the explanation of IRE based histograms and false color very helpful. Thanks for any replies!
A traffic light in under-exposure is pretty common. But a traffic light in over-exposure should really only be for things that are supposed to be spectral highlights (ie a headlight, flashlight) things like that. Theres gonna be things that are supposed to clip. You just dont want them filling up the goal posts, because digital RAW is the opposite of analog film. Clipped Highlights are 100% unrecoverable. Under-Exposure however is much more recoverable, has more room for latitude in regards to saving digital noise. But again, if you’re shooting a low light scene, it would only make sense for those under stop lights to come on. You just dont want those goal posts on the under side getting more than half full or you’ll end up with some pretty noisy footage. Better to get some light on the situation and bring it down in post.
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 ruclips.net/video/QfLkWyhGh7A/видео.html&ab_channel=REDDigitalCinema
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
@justin Philip so basically at 11:10 you're saying that by changing the ISO on a Black Magic you are changing the amount of photons hitting the sensor?
The basic rundown is this: in my laymans way of explaining it: RED are the only ones that have designed their sensors to where the same amount of light saturates the sensor no matter what the ISO is set to. All other camera manufacturers, including Blackmagic, have determined the native ISO by discovering that is where their sensors are saturated with the most amount of light.
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??
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.
Yeah that’s an interesting thought. Not sure how that would work. I tend to lean on RGB parade when setting a custom WB in camera. Again the RGB parade is reading off of reflected light. That’s a good question tho!
I know it's been 2 years, but I'm trying to understand how the ISO, in relation with the traffic light. so to my understanding based on your explanation, is the ISO works the same as Exposure Index (EI) ? the FLUT things you've mentioned ( sorry for my bad English). Would really appreciate it
This is awesome!! Just a thought... would it be best then, to ideally shoot with the iso that makes your exposure false color reading and video false color reading the same? I feel like exposing by eye with that method would be the quickest and most effective way to get a safe exposure
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
Hey I know I’m a little late to this video but I was wondering, if ISO doesn’t change the overall exposure levels then why would you ever really bump it up? I know it might sound amateur of me but I just don’t understand the use of ISO if it isn’t allowing more light.
You use it to help control the dynamic range of your image. As the ASC teaches, if you shoot at a higher ISO outdoors it forces you to protect your highlights. If you shoot at a low ISO in lowlight, it forces you to protect your shadows.
Justin Phillip okay thanks! So when you move into post production, when you’re able to manipulate the ISO in DaVinci, you’re actually bringing up or down the shadows or highlights to get proper exposure from the full raw data of what was captured while shooting, instead of it working like ISO does in Camera?
@@jacobwagler idk about that. I always just leave ISO as shot. I would use Offset to bring the levels up or down. ISO is just the base you choose on the day dictated upon your lighting levels. I wouldn't use ISO to manipulate the image in post.
@@jacobwagler So If I'm shooting low key I must lower my ISO so I can protect my Dynamic Range and viceversa? where/how do I measure that? How do I know how much of a lower or higher ISO I must use?
Where can I buy that book at I can’t find it also can you show us in post what the footage looks like with the Proper exposure and under exposure like how you’re showing on the camera
the books a little hard to find nowadays. But all the information is available on RED.com - But great idea for video, do some under over comparisons! 🙌🏼
Excellent stuff! Would you agree then that shooting anywhere above ISO 800 on the Komodo (and REDs) is more of monitoring solution (to see the footage you are capturing more clearly on your field monitor, or have it displayed instantly corrected when loaded into a Editing app) in scenarios where there's not enough light? Interesting how this is similar to 32 bit float in audio and also how different Blackmagic, sony and Canon work in this department.
Ow, and so I guess the allocation of stops above and below middle grey remains the same, regardless of the ISO setting? (unlike Arri and Blackmagic cams for example)
Oh true, of course. I'll do more reading on how ISO affects stop allocation in RAW modes on Red vs Arri vs Blackmagic. I know that with Blackmagic RAW the allocation is sort of similar to Arri in Log but have no clue about Arri in RAW. Interesting stuff to research. Thx again for the video!
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 RUclips 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!
I’m really glad you explained this and I don’t even own a red.
Did u want it?, cuz i want it bad :)
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.
This is one of the most helpful videos I've ever seen on RUclips. Thanks for explaining it so well.
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!
The Red workflow is something else. I bet your having a blast.
Ohhhhh yeah, buddy!
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
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
Well done bro! I never understand the people that dislikes informative videos like this. Keep it up!
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
Very interesting and useful to know these technical aspects, even without using a Red camera. Thank you!
Very helpful, been looking for that book the rule of engagement, can't find it.
This explains sooo much regarding my under exposed footage. I know I turned the iso up on the shoot. This is so helpful. Thanks 🙏🏿🙏🏿
Hey Justin, Thank you. Super helpful. Like you, I have a shot on RED many times in the past and embarrassed to admit that I really had no idea how to properly expose. I just purchased a new Red Komodo-X, thus now deep-diving into the process. Cheers!
Congrats!
Very good and interesting video. I wish you did a similar tutorial about exposure for blackmagic pocket cinema cameras.
oh but i have ruclips.net/video/zjLD_r4opQg/видео.html
So adjust exposure with f stop?… got it
😂
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 !
Hands down the best video I’ve seen about red Komodo.
Thanks for the help!
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 :)))))))
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 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)
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!!
This was so helpful! Thank you so much for making this video
I hope you understand how incredibly helpful this video is. I had no idea about any of this! Thank you thank you thank you
Justin is awesome! Technical in detail and functional in the fact he actually works works lol
This video probably saved me a trip to rehab... thanks for what you’re doing for the community, especially the newbies...
thank you!
Thanks Justin - First video I found that explains this so well :)
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 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 😂
Thank you for taking the time to make this for us.
This was definitely worth the watch
Learned so much from this! Thanks for setting us all up for success
You bet! 🙌🏼
Nice information in this video. Quick and to the point! Thank you so much for clearly explaining r3d exposure to me
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.
one of the best lessons i have seen online!
Bloody sensational video, mate. I'm shooting with it for the first time tomorrow. Cheers!
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.
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.
it like finally clicked for me the way RED exposure works, THANK YOU!
Great!
Thank you for making this! Just got my Komodo and these tips were much needed
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
Very very informative
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.
This video is really good for understanding how to expose on the Red Komodo. Thank you sir.
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!
Hi! Brilliant video. Where is it possible to buy the book?
can you do similar video for focus.. i see few tools but not sure which one to use.
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.
Wowwwww I needed this video thank you 🙏🏾🙏🏾🙏🏾
Great job and demo on an often overlooked topic! Thanks!
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: ruclips.net/video/XyLUGYXV4o4/видео.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?
hello is it allowed to recreate a famous tv show like friends or the fresh prince of bel air in 3d with I clone and ue5 using the same audio and same jokes everything the same , same mouvements also with mocap
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
Great vid. Any suggestions for cheap but good in-studio light?
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!
Excellent information, you rock!!!
Thank you a lot ❤
Thank you dude! Explains a lot of questions that I had.
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.
you are a better version of jarold undone, less nerdy , informative and practical
Thanks for this video. I am wondering what process Red shooter use for exposure WITHIN the goalposts. For example if a scene gives its first traffic light warning for Overexposure at F2 and it’s first traffic light for Underexposure at F8, how do you decide where to expose with that F2~8 range? I am not in front of my Komodo at the moment and have only done a few shoots but I remember trying to use this principle and finding a fair amount of play in between stop lights. Coming from the still world so I found the explanation of IRE based histograms and false color very helpful. Thanks for any replies!
A traffic light in under-exposure is pretty common. But a traffic light in over-exposure should really only be for things that are supposed to be spectral highlights (ie a headlight, flashlight) things like that. Theres gonna be things that are supposed to clip. You just dont want them filling up the goal posts, because digital RAW is the opposite of analog film. Clipped Highlights are 100% unrecoverable. Under-Exposure however is much more recoverable, has more room for latitude in regards to saving digital noise. But again, if you’re shooting a low light scene, it would only make sense for those under stop lights to come on. You just dont want those goal posts on the under side getting more than half full or you’ll end up with some pretty noisy footage. Better to get some light on the situation and bring it down in post.
Thanks so much Justin. Very helpful video.
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 ruclips.net/video/QfLkWyhGh7A/видео.html&ab_channel=REDDigitalCinema
Best Video about Red exposure ever
Awesome!
dope video bro!!!! it's the best out here
Man, I can't find that book anywhere. Tips on where to pick it up?
Awesome video man! Great job
Thanks for this video dude, very informative. Just bought my first red.
Nice!
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
So very helpful - thank you!
@justin Philip so basically at 11:10 you're saying that by changing the ISO on a Black Magic you are changing the amount of photons hitting the sensor?
The basic rundown is this: in my laymans way of explaining it: RED are the only ones that have designed their sensors to where the same amount of light saturates the sensor no matter what the ISO is set to. All other camera manufacturers, including Blackmagic, have determined the native ISO by discovering that is where their sensors are saturated with the most amount of light.
@@JustinPhillip So then why don't they enable a way of viewing that isoless image?
Do you think this book is still relevant today with newer REDs? We're looking into the RED Monstro 8K
Amazing video ! its very illuminating! Thank u Justin, Keep ip up :D
No problem! Thanks!
best fast and easy exposure video for red cinema everseen!!!
thank you
awesome!
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??
Which camera system is easier to expose correctly and get its’ maximum latitude, Red or Arri Alexa?
man how i wished i knew this ten days ago, very useful, thanks
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!
Dude you're the man! You really broke it down! Salute!!!
Appreciate it!
This was a great explanation thank you
Thanks a lot for your explanations and tips!!
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.
how does goal posts handle white balance?
Yeah that’s an interesting thought. Not sure how that would work. I tend to lean on RGB parade when setting a custom WB in camera. Again the RGB parade is reading off of reflected light. That’s a good question tho!
Awesome video!!! Thank you for this explaination of exposure!!
Perfectly explained! Thanks.
The best vídeo ever for exposing with Red Komodo!
Thanks!
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
great video, is that book still available.
i think on B&H or if u contact RED directly
Great explanation. Thank you Justin!
I know it's been 2 years, but I'm trying to understand how the ISO, in relation with the traffic light. so to my understanding based on your explanation, is the ISO works the same as Exposure Index (EI) ? the FLUT things you've mentioned ( sorry for my bad English). Would really appreciate it
This is awesome!! Just a thought... would it be best then, to ideally shoot with the iso that makes your exposure false color reading and video false color reading the same? I feel like exposing by eye with that method would be the quickest and most effective way to get a safe exposure
they’ll never be the same color. Exposure false color is only going to show you where you’re clipping and under exposing. And then middle grey.
@@JustinPhillip Ooh okay that makes sense! What about the iso where middle grey sits in roughly the same spot?
@@LukeHolliday ISO is not gonna change that, just the lighting conditions or f stop/shutter speed
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
Hey I know I’m a little late to this video but I was wondering, if ISO doesn’t change the overall exposure levels then why would you ever really bump it up? I know it might sound amateur of me but I just don’t understand the use of ISO if it isn’t allowing more light.
You use it to help control the dynamic range of your image. As the ASC teaches, if you shoot at a higher ISO outdoors it forces you to protect your highlights. If you shoot at a low ISO in lowlight, it forces you to protect your shadows.
Justin Phillip okay thanks! So when you move into post production, when you’re able to manipulate the ISO in DaVinci, you’re actually bringing up or down the shadows or highlights to get proper exposure from the full raw data of what was captured while shooting, instead of it working like ISO does in Camera?
@@jacobwagler idk about that. I always just leave ISO as shot. I would use Offset to bring the levels up or down. ISO is just the base you choose on the day dictated upon your lighting levels. I wouldn't use ISO to manipulate the image in post.
Justin Phillip okay, thanks for your help!
@@jacobwagler So If I'm shooting low key I must lower my ISO so I can protect my Dynamic Range and viceversa? where/how do I measure that? How do I know how much of a lower or higher ISO I must use?
Just signed up to your patreon!!!! So excited
Can you explain it a bit though regarding payment is it every video or once a month?
Oh nice thank u!
Where can I buy that book at I can’t find it also can you show us in post what the footage looks like with the Proper exposure and under exposure like how you’re showing on the camera
the books a little hard to find nowadays. But all the information is available on RED.com - But great idea for video, do some under over comparisons! 🙌🏼
Any idea for pocket 6K Pro... It's have similar tool with the new update. How to get more data with this?
Thank you for this video, I really! Really! needed it, hope I will be half confident to use the Red Camera like my Lumix S1H
Excellent stuff! Would you agree then that shooting anywhere above ISO 800 on the Komodo (and REDs) is more of monitoring solution (to see the footage you are capturing more clearly on your field monitor, or have it displayed instantly corrected when loaded into a Editing app) in scenarios where there's not enough light? Interesting how this is similar to 32 bit float in audio and also how different Blackmagic, sony and Canon work in this department.
Ow, and so I guess the allocation of stops above and below middle grey remains the same, regardless of the ISO setting? (unlike Arri and Blackmagic cams for example)
Well REDs recommended range is 400-2000 so i wouldnt get too crazy with it. And also remember this only applies to RAW.
Oh true, of course. I'll do more reading on how ISO affects stop allocation in RAW modes on Red vs Arri vs Blackmagic. I know that with Blackmagic RAW the allocation is sort of similar to Arri in Log but have no clue about Arri in RAW. Interesting stuff to research. Thx again for the video!
Justin this is helpful information. Is there a way to pass traffic lights and goal post info through sdi to the monitor?
only one that i know capable of that is a smallHD monitor with RED control or an actual RED monitor
Thanks!@@JustinPhillip