This is one reason why I subscribed and encourage others to do so. Even though this is RED centric, this opens up more than technical absolutes, but a way to approach any particular camera. 💯
I realize this is a longer video, but I am trying to summarize 5 years of work and experience along with a 4 day REDUCATION training into a UA-cam video...so it is what it is.
@@BrandonTalbot I don't own a RED but like with any other camera. You just got keep practicing with it, day and night. In the privacy of your home to the streets at night. We all learn differently ,but I believe there is so much free knowledge out there when it comes to exposure and creating with certain cameras. Nothing beats, on hands , day to day self training of mistakes and discovery.
Carlos, Love your videos! Is there a way we could get on a private message? I’m doing everything you’ve talked about but I’m some shots, I’m still peaking the highlights and blacks.
Yes, very useful. Exposure is the one camera setting we need to nail on site so making sure we dial it in is extremely important. Thanks for the tutorial!
Carlos thank you for precious information. Red comodo is very capable camera in small package. To know how to operate it helps to get maximum of it without frustration.
using 800 iso red raw codec is not baked in correct ? but are you saying that if you adjust iso filming in prores that its baked in like it is with mirrorless cameras ?
My Komodo should be arriving next week so I’ve been watching as many tutorials as possible in preparation. Thanks for the great video and for making it easy to understand.
You did a great job! I have been through this type of educational process before and I found your presentation easy to follow and very clear to understand compared to some others.
Thank you for this-- I'm curious how you would expose for a scene with moving parts or lights. What if there is a dark object that appears that causes the shadows to clip (similar to the base of the bulb)? Or if I'm filming docustyle where things can get unpredictable. How would you approach that?
I am very interested in the Reducation Tutorials as a gemini user:) Please make more videos from the Reducation topic. I would prefer focus peaking or how to focus properly with the red tools. Cheers
You are an awesome help. I own a c550 m2 and a c70. I'm selling my c500 m2 and buying a komodo. I rented one and loved the look and workflow. Keep it up. Mot helpgul
What happens with R3D is that you set the clip point for highlights (per your example) and that clip point can’t be adjusted in post. That clip point in the highlights will also set your clip point in the shadows and similar to the highlights that can’t be adjusted in post. You are however able to push and pull the exposure and luma within the two clip points. What that means in practical terms is that if you intentionally clip your highlights you will lose all color information and won’t have the ability to recover it. If your scene needs more highlight protection exposing for a higher ISO is beneficial and balance out the exposure through filtration.
I know this is a older video but I ask what wattage( lights ) did u use on each side in this image because with red its expose with your lighting as well
There is a Church Group that used the Komodo to broadcast live events and I thought it was pretty interesting. The Komodo has some versatility I didn’t expect and Red no longer makes available for other cameras. I want to find out what their settings were for that use case.
For me being that I have not taken the course I feel a bit lost cause in my camera all the light in the high lighted area do not change all three are still lit no matter what I do.
Thanks for this video :) Any other komodo owners finding the are constantly need NDs or shooting around 200/300 iso north indoors and out. Any where between 1.4-2.9.
If i shoot with 800 iso, and with RED Cine X i increase to 1600, the result is the same as to shoot direclty with 1600 ISO instead 800? I mean in therms of video noise.
not really, that is one thing I should make a point of showing, because everyone always wants to jump in and comment about how it doesn't matter what ISO you choose, blah blah blah...when in reality, Light, ND, and Noise all play a factor.
Very interesting, but when we saw the clipping at the end, what would be the solution when you want the upperside of the bulb in the frame for instance? When the clipping is in the highlights and in the shadows? Curious about that....
Even though I don't have a Komodo - still very interesting the way RED exposes an image - how about a C70 exposure video - I would be interested to see how you expose an image with the C70.
I love all of the hard work and time you’ve been putting into our videos. I’ve been looking for a good review of the rf 24-105 f4 vs rf 24-70 f2.8. Do you think you’re up for the challenge?
Glad you like them! Someone on here called my AF videos SPAMMING which really left a bad taste in my mouth. So IDK at this point, just being transparent and honest.
This is really helpful, but i didnt understand what to do if i have my trafic lights clipping in the highlights and in the shadows at the same ? Im from arg
Really informative video! Was wondering how I should properly adjust the exposure then if I see my traffic lights light up for the same channel in both the shadows and the highlights?
Excellent video, just purchased a Komodo (27 June 2021) and would love to know if these guidelines still apply or have there been any advice changes since this video was made?
Wow. This really makes RED look very versatile. Can you show us how you work with RED files from camera, to post organization? My understanding of RED is that shots are broken up into 4GB chunks. Is that true? If so, how do you work with them in post? Yes, please make more REDucation videos.
@@carlosq00 Sir, I have a question for you. When I’m done shooting on a Red, can I transfer those files directly to an external hard drive? My MacBook is very old and wouldn’t be able to handle files from a Red camera.
Hey Carlos, thanks so much for this! The only thing I was hoping you'd do, is explain how you use the camera to correct over/under exposures while shooting in R3D, besides the ISO since it is metadata then. Thanks!
So having the traffic lights ON is not necessarily a bad thing if we don’t care to retain the information in those areas...right? Gracias for making this!
for me the decision between a stable post production with uncompromising consistency makes the decision easier to choose RED over Blackmagic. Don't get me wrong Blackmagic cameras are terrific for what they are but there is always something that you compromise on. I'm in the USA which to me means I need North America frame rates even if 50p is close enough it isn't the frame rate that I need for what I do. The smaller than average super35 sensor means I have yet another calculation to make when selecting my lenses...and so on. For those of us who use Full Frame coverage glass, you get closer to using the full image circle on Komodo much closer when compared to the Pocket 6K Pro...
@@carlosq00 in my case, I'm not a professional. I'm a photographer as hobby and I want to dip my toes into narrative cinematography. The RF mount and overall size is what leans me to the Komodo. I can share glass with my R5 and even use a speedbooster. Although I'm not too impressed by the compatibility with EF lenses and features like AF and IS. Overall, I'm trying to take a step back to differentiate my needs from plain G.A.S.
what do you think about "expose to the right"? record bright as possible (using f stop or light, not increasing iso) without cliping the highlights. and how do you expose for skin? do you use false color for that?
First of all thanks for your channel and contents. In your first setup it doesn't matter to start at 800. you can start at 6400 if you want, as long as traffic light is not flashing. And also in some cases you can go with flashing traffic light, it depends on your frame but in red control app you can see more detailed traffic light info and this can help your exposure as well. PS: check your false color also.
So I'm guessing you use a light meter set at ISO 800 at the desired f-stop and shutter angle and select the correct ND to achieve the correct exposure! Finally I understand after all these years.
Awesome explanation! Thank you very very much! So the "only" things I have to effect the exposure are, lighting (or ND filter) and aperture, if I want to stick to a certain frame rate and shutter angle. Would that be correct? 🙂
I have been working with the Red Komodo for several months now and I have been having problems getting the traffic lights properly ballanced, and hence the Komodo properly exposed. I seem to have to make the immage very bright to not clip the shadows at ISO 800. Then the image end up looking way to bright. I find the especially the case when I try to use the Canon speed booster on the Komodo. Your image dosen't look near as bright as mine at ISO 800. Can you tell me what I am doing wrong?
Can you send an R3D so I can take a look at how you are exposing and share any details on F Stop if you were using a lens that didn't communicate the metadata?
Question. Ignoring the post production aspect of things, with the Canon cinema line, the lower ISO has greater dynamic range in shadows and vice versa. Would that be equivalent to what red does?
Hey man! Great video!! Question for you: nearing the end of the video, your traffic lights were on on the top and bottom. If this happens during a shot, and you want to properly expose your image and can’t reframe, what would you do in that situation? Cheers!
there are times when life gets in the way of the shot, fortunately RED and ARRI cameras make that look artistic vs like a camcorder...so when and if I had to, I would save the shot by nailing the point of interest and allowing the rest to fall where it will...without asking for forgiveness.
@@carlosq00 Hi Carlos! Thanks for your explanation! I´ve been using Sony for a while and recently started to use the Komodo. About the dark areas, considering what you just said about exposing for the point of interest and let the rest fall where it will, do the dark areas get noisy on RED cameras or the worst that could happen will be the loss of information?
Great video, as always. I shoot my Dragon-X at 800 all the time, but I'm curious how you would expose a very dynamic shot. So in your lightbulb example when you had the traffic lights illuminated on both ends of the scale, would you stop down to protect the highlights and then deal with the noise as you bump up the shadows in post?
In these types of situations where the scene exceeds the dynamic range of your camera and when you can't control the lighting you'll always have to make a choice whether you want to protect the highlights or the shadows. In general, the priority would be to protect the highlights as clipped highlights are more disturbing to our eyes, but it depends on the situation or your scene. If you have a person in your shot (head taking most of the frame), you'd want to expose the face correctly disregarding the rest of the blown background (highs or blacks), as our brains look first and foremost for faces and eyes and the rest don't matter as much in these types of shots. But then again, maybe you're going for a stylized shot, say a dark silhoutte of a talent against a bright background. Then you'd expose the background correctly and let everything else fade into shadows (underexposure). There are no right and wrong answers, only right and wrong answers in context of what you're trying to achieve visually. In general, look at your image and see what areas are larger, the overexposed or underexposed area. Larger areas should in general be exposed correctly. A large portion of your image being overexposed will be more distracting then a smaller underexposed area. But always keep in mind the situation. Entire movies might be a little overexposed to convey the feeling of heat and blinding light in a desert or a sahara type of environment. Other movies will crush blacks in all scenes to convey a shady and dangerous environment where nothing is clear (think mafia movies such as Godfather). "Perfect" exposure is often overhyped and used more for the acquisition moment so you have all options in post, in post we'll tend to opt for more stylized look which might end up looking over or underexposed. But when you know what you're going for from start, you can "apply" that look in-camera. And sometimes you do so because you have no other choice.
I'm going to set up a shot like what you've described and will likely make a post about it may be a good opportunity to get that same shot with the various cameras to have a comparison if nothing else for reference.
i use 800 to set up my lighting and exposure. once nothing is clipping i then have the freedom to ride the ISO value up or down as needed in post. I need a starting point to get my lighting correct first and why i use ISO 800.
Hola Carlos, buen contenido en tu canal, me suscribo. Por favor, quisiera que me expliques cómo debo aplicar un LUT al video que grabé con mi KOMODO? Debo configurar algún espacio de color específico? generalmente no me funcionan cuando los aplico en premiere pro, sé que debo convertir a REC 709 antes de aplicar un LUT, pero eso cómo lo hago? Gracias!!
Excelente video Carlos, podras hacer alguno explicando como exponer con las distintas opciones que ofrece Red Komodo, como tambien en prores. saludos desde Chile!
to be honest, I still don't understand. If the traffic lights are good, why even change the ISO? That's the explanation I kept waiting for. I never heard you say Why or for what benefit, changing the ISO has. If it's there, I missed it. How is changing the ISO in camera not the same as changing it in post?
@@carlosq00 I had read previously about exposing with the waveform to protect highlights and shadows in various scenarios so, good to hear it in simple terms. Thanks very much for the reply!
Think of it like this…. Your iso is just effecting how you are monitoring your image, not directly what you are recording. It is just meta data, it isn’t amplifying the signal like it would be on other cameras. The sensor, like a film stock, will react to light the way it does regardless of your iso settings…… you use iso on RED alongside physical changes to your exposure to get the best image possible. In other words (and this is going to sound weird) if you are filming a high light scene try raising your iso. This makes what you are looking at on your monitor even brighter FORCING you to make a physical exposure change to restrict the light. Either by adding ND, closing up the aperture, reducing your lights outputs etc until it looks right on your monitor. That way you have bought yourself some extra head room where you highlights are concerned. The same is true the other way…….. but…. You have to always be aware of your RAW exposure tools (traffic lights). If you are exposing for the highlights you still need to be aware that you aren’t neglecting the shadows and introducing noise. These tools are there to tell you whats happening under your ISO settings, showing you exactly what it is you are actually capturing….. You can then make the adjustments in post to bring your exposed image back to where it should be, benefitting from the extra head room you bought yourself on set….. Hope thats helpful. Best thing to do is just experiment on your own time without the pressure of a client/director/producer breathing down your neck and get comfortable with it.
It was kind of helpful, but the title says how to expose, and I have no idea what you actually did to properly expose. You mostly played with the ISOs and said that because you properly exposed, no clipping occurred, and then showed us what clipping looks like. And that’s great info, but how do you actually do a proper exposure?
@@carlosq00 wow seriously? I did rewatch. You just say that the traffic lights tell you when you’re peaking. You don’t once mention the actual steps you took to expose. That’s ok. I found a better video that actually was helpful.
Excellent video mate! Yes!!! keep them on coming! nothing in UA-cam with this level of simplicity, knowledge & professionalism!!! Thanks! question: So when you mention that due to you "exposing correctly using ISO 800" you are referring to setting up all your values: F stop, (or T stop), shutter... lighting wether natural or otherwise always keeping 800 as ISO. Then even if I go up or down with the ISO I am able to use that footage without clipping,?(within reason of course.. other wise if extreme I crash both shadows & highlights...). So is the Komodo capable to work well on dark situations? let's say nature or wildlife...? Thank you againL great videos man! keep them on coming!!!
Correct as to the iso. Cameras that use real raw formats such as red or arri, you set the camera to base iso which is 800 for the red and expose correctly with aperture, shutter and light. If nothing is clipped at 800, nothing will be clipped at any iso setting since the raw information is ALWAYS being recorded at the base iso of 800, only the image on screen is being displayed at your chosen iso (say iso 3200) and might appear over or underexposed. Your chosen iso will also be recorded into the file metadata. That way, your imported clip on pc will first be displayed at that iso value, but you can always set it back to the base iso value or any value for that matter. So you should always get the exposure right in camera at its base iso when shooting in raw. To your second question: is a red or a komodo great in lowlight? No. When there is little light available, you have your fastest lens on your camera and the image is still too dark at iso 800, you'll have to use the digital gain to compensate. Meaning increasing your iso. Remember that: You get your image always at iso800, and if it's too dark at iso 800 then the camera is getting only that poor (too dark) information into the camera. To compensate you boost the signal digitally by increasing the iso. The image gets brighter, but not better. The lack of information becomes apparent as noise the more you increase the iso. A komodo and most cinema cameras are useful upto iso 3200 with some denoising in post, but beyond iso 3200 is not recommended at all as the image gets way too noisy. Then again. These cameras are not built for lowlight. They're built for great dynamic range in normal, very well controlled lighting situations of the cinema world. Some reds and arris are better in lowlight than others, but then you have other issues. Something always gives.
@@carlosq00 you mention over and over that your exposure will never be wrong because of the way you setup your exposure, but i didn't see anywhere in this video where you showed how you set it up in camera. Just saying.
Help me understand your experience level so I can try to communicate more effectively. What’s your experience level what did you shoot on before and how do you set your exposure as in what do you use?
@@carlosq00 I have not used REDS a whole lot, but I have 20 years of shooting experience working on everything from small time commercials to feature films. My gripe is how you say you setup your camera to work in a R3D workflow and that you will never "EVER" clip your highlights or shadows, but you never show how you set up your camera. All you say is you are using RAW not PRORES and setting your ISO to 800. Is that it? Because I can put my Komodo in R3D and crank up the ISO to 12000 and my image is completely blown out and clipped. Are you talking about not clipping when making adjustments in post or in camera?
Thank you for taking the time to clarify. Let me try to type out the process. Because my point of interest or subject was the lightbulb which is HOT and easy to clip I then used supplemental lights and ND filters to help me achieve the ideal exposure where I protected the light bulb elements and avoided noise in the dark areas. I left my shutter angle at 180 degrees but manipulated the light in the environment to allow for the whole shot to be exposed properly and tamed down the actual light bulb with ND. The way it works in my head is to always start with what I need to be exposed correctly to get the shot then I build my lighting around the rest of the scene and rely heavily on IRND solutions to compensate along with flags and grids to shape my scene. to make this a little more or less complicated once I know my point of interest, I start with practicals, then use flags or grids to shape and sort out ND to make sure I balance out my contrast ratios. But it all started with the camera's sensor and settings starting point which is what dictated the rest of the process in that shot. I hope this is helpful, if it isn't them maybe a UA-cam series would be ideal since there are multiple moving parts. And when you do those few things, there is no way you will ever blow your exposure in post production because RED's R3D protects you by clamping the highlights and blacks in your exposure, allowing you to push and pull within the clamped signal.
thanks very nice explanation.
Glad it was helpful!
This was useful. Thank you Carlos!
Glad it was helpful!
Thanks..... great video, keep up the good work!
I am a KOMODO user.
Thanks for the good information, I appreciate it.
You are welcome
This is one reason why I subscribed and encourage others to do so. Even though this is RED centric, this opens up more than technical absolutes, but a way to approach any particular camera. 💯
Congrats on the 20k!
thank you
thank you
I realize this is a longer video, but I am trying to summarize 5 years of work and experience along with a 4 day REDUCATION training into a UA-cam video...so it is what it is.
Carlos I've been thinking about doing a reduction. Did you find it beneficial? worth the money?
@@BrandonTalbot I don't own a RED but like with any other camera. You just got keep practicing with it, day and night. In the privacy of your home to the streets at night. We all learn differently ,but I believe there is so much free knowledge out there when it comes to exposure and creating with certain cameras. Nothing beats, on hands , day to day self training of mistakes and discovery.
@@dcchavez97 totally agree, but this would expedite the process of learning my specific camera
Carlos,
Love your videos! Is there a way we could get on a private message? I’m doing everything you’ve talked about but I’m some shots, I’m still peaking the highlights and blacks.
The longer the video the better, I would not mind if you do longer ones for sure! For the first time things are starting to make sense!
Yes, this was extremely useful for a non-RED user!!
Great to hear!
Yes, very useful. Exposure is the one camera setting we need to nail on site so making sure we dial it in is extremely important. Thanks for the tutorial!
Glad it was helpful!
Carlos Thank you for putting your channel together + this knowledge. I’m a new Red Komodo 6k owner|Operator. This video is extremely useful
Very well explained, I usually set my ISO at 500 rather than 800 based on a REDeducation advice. But is mainly the traffic lights what I go by.
does this clip the highlights?
Carlos thank you for precious information. Red comodo is very capable camera in small package. To know how to operate it helps to get maximum of it without frustration.
thanks
using 800 iso red raw codec is not baked in correct ? but are you saying that if you adjust iso filming in prores that its baked in like it is with mirrorless cameras ?
Super useful information. Thank you!
great stuff, super helpful and easy to understand
Great to hear!
This is the stuff I’ve been waiting for!
thanks
YES!!!! keep up the great work! yeooooo
I put an order in on a Komodo and I'm stoked you're putting out more of this Komodo Content
My Komodo should be arriving next week so I’ve been watching as many tutorials as possible in preparation. Thanks for the great video and for making it easy to understand.
That’s great you went over this again. Very good job, you should be a Reducator!
haha thanks Frostie-Flake
Very useful and interesting. Thank you for those videos on red komodo.
Glad you like them!
Great presentation. Nicely explained and very helpful. Will re-watch several times and let it all soak in. Thank u
Glad it was helpful!
Awesome info!!!
Thanks Bro
You did a great job! I have been through this type of educational process before and I found your presentation easy to follow and very clear to understand compared to some others.
Awesome, thank you!
good stuff, man. Thank you!
Glad you liked it!
Congrats Carlos for your comprehensive video...
Thank you for this-- I'm curious how you would expose for a scene with moving parts or lights. What if there is a dark object that appears that causes the shadows to clip (similar to the base of the bulb)? Or if I'm filming docustyle where things can get unpredictable. How would you approach that?
I am very interested in the Reducation Tutorials as a gemini user:) Please make more videos from the Reducation topic. I would prefer focus peaking or how to focus properly with the red tools. Cheers
You are an awesome help. I own a c550 m2 and a c70. I'm selling my c500 m2 and buying a komodo. I rented one and loved the look and workflow. Keep it up. Mot helpgul
Extremely helpful. Please make more videos.
Thank you, I will
Absolutely helpful, and would definitely appreciate more reducation based videos!
Noted!
Man, your content is gold. Thanks for that !
Thanks 🙏🏽
Please continue to make these videos!
ok
Great information, Carlos. Thanks!
Glad it was helpful!
Thank you. this is very helpful
Glad it was helpful!
Thanks for putting in the work on these videos. So helpful.
Done red raw bake in the highlight roll off ?? If I’m recording raw and I have to blow highlights (background window etc) how do you set up for that ?
What happens with R3D is that you set the clip point for highlights (per your example) and that clip point can’t be adjusted in post. That clip point in the highlights will also set your clip point in the shadows and similar to the highlights that can’t be adjusted in post. You are however able to push and pull the exposure and luma within the two clip points. What that means in practical terms is that if you intentionally clip your highlights you will lose all color information and won’t have the ability to recover it. If your scene needs more highlight protection exposing for a higher ISO is beneficial and balance out the exposure through filtration.
@@carlosq00 probably the best explanation for use of iso with red I have read so far. Thank you for this.
Thank you, very useful to have it summarized here!
Glad it was helpful!
Absolutely. Keep up the good work. Are you going to add the Komodo to your workflow?
Yes, I've been shooting all motion exclusively on RED now for a couple of years. I very recently started using the C70 again from time to time.
Thanks for this, I should be getting my Komodo in 2 weeks so this was very useful!
Glad it was helpful!
I know this is a older video but I ask what wattage( lights ) did u use on each side in this image because with red its expose with your lighting as well
Very helpful, thank you!
Great video. Very helpful. To the point. Thank you, sir.
Extremely helpful thanks 🙏
There is a Church Group that used the Komodo to broadcast live events and I thought it was pretty interesting. The Komodo has some versatility I didn’t expect and Red no longer makes available for other cameras. I want to find out what their settings were for that use case.
I haven't played around with that feature and I do remember that huge module that allowed us to tether and broadcast in the days before DSMC2...
yes so helpful!
Que bueno Carlos!
I dont shoot with red yet but this is def a informative video for dslr users who are seeking to upgrade..
Nice. Thanks!
You bet!
thank you. could you also please make a video on Netflix preferred settings for komodo.
For me being that I have not taken the course I feel a bit lost cause in my camera all the light in the high lighted area do not change all three are still lit no matter what I do.
Thanks Carlos. This helps alot.
great, thanks
Thanks for this video :)
Any other komodo owners finding the are constantly need NDs or shooting around 200/300 iso north indoors and out. Any where between 1.4-2.9.
yes if you are shooting wider than f/4 you will need ND on a Super35 sensor regardless of brand.
Muchas gracias seria genial toda esta información en español.
Great video!
Thanks!
If i shoot with 800 iso, and with RED Cine X i increase to 1600, the result is the same as to shoot direclty with 1600 ISO instead 800? I mean in therms of video noise.
not really, that is one thing I should make a point of showing, because everyone always wants to jump in and comment about how it doesn't matter what ISO you choose, blah blah blah...when in reality, Light, ND, and Noise all play a factor.
Very interesting, but when we saw the clipping at the end, what would be the solution when you want the upperside of the bulb in the frame for instance? When the clipping is in the highlights and in the shadows? Curious about that....
bouncing the light or using graduated ND filters help that type of situation
Even though I don't have a Komodo - still very interesting the way RED exposes an image - how about a C70 exposure video - I would be interested to see how you expose an image with the C70.
great suggestion
Another vote for the same thing.
Very educational
fantastic info - ty!!!
Glad it was helpful!
I love all of the hard work and time you’ve been putting into our videos. I’ve been looking for a good review of the rf 24-105 f4 vs rf 24-70 f2.8. Do you think you’re up for the challenge?
Glad you like them! Someone on here called my AF videos SPAMMING which really left a bad taste in my mouth. So IDK at this point, just being transparent and honest.
This is really helpful, but i didnt understand what to do if i have my trafic lights clipping in the highlights and in the shadows at the same ?
Im from arg
physical low contrast filters help. It also depends what's worth saving in the scene, generally I choose to save the highlights
@@maxharper9282 yes i been renting red a lot lately to feel more comfortable and i found exactly what you're talking about! Thanks♥️
what is the brane name of the dimable light bulb you are using in this video?
good day, you stated komodo temperature light changes from green a lot forcing you to black shade calibration. have you found a fix?
with the current firmware this is not an issue.
What camera did you use to shoot this video? Is this the Komodo?
Thank you so much for this video!
Really informative video! Was wondering how I should properly adjust the exposure then if I see my traffic lights light up for the same channel in both the shadows and the highlights?
I suppose at that point, you have to choose what is important in that shot.
Great video, thanks!
You bet!
Excellent video, just purchased a Komodo (27 June 2021) and would love to know if these guidelines still apply or have there been any advice changes since this video was made?
yes it still works the same way.
Wow. This really makes RED look very versatile. Can you show us how you work with RED files from camera, to post organization? My understanding of RED is that shots are broken up into 4GB chunks. Is that true? If so, how do you work with them in post? Yes, please make more REDucation videos.
The broken out files only happen if they are captured in ProRes - R3D doesn’t have that issue
Thank you!
Welcome!
@@carlosq00
Sir, I have a question for you.
When I’m done shooting on a Red, can I transfer those files directly to an external hard drive?
My MacBook is very old and wouldn’t be able to handle files from a Red camera.
Hey Carlos, thanks so much for this! The only thing I was hoping you'd do, is explain how you use the camera to correct over/under exposures while shooting in R3D, besides the ISO since it is metadata then. Thanks!
do you mean while on set? as in add or remove ND or Light?
@@carlosq00 Yes on set, adding or removing light to correct exposure.
So having the traffic lights ON is not necessarily a bad thing if we don’t care to retain the information in those areas...right? Gracias for making this!
That is correct in high dynamic range situations it is likely that you will choose between your highlights or dark areas
The decision between this and the bmpcc 6k pro is so hard!
for me the decision between a stable post production with uncompromising consistency makes the decision easier to choose RED over Blackmagic. Don't get me wrong Blackmagic cameras are terrific for what they are but there is always something that you compromise on. I'm in the USA which to me means I need North America frame rates even if 50p is close enough it isn't the frame rate that I need for what I do. The smaller than average super35 sensor means I have yet another calculation to make when selecting my lenses...and so on. For those of us who use Full Frame coverage glass, you get closer to using the full image circle on Komodo much closer when compared to the Pocket 6K Pro...
@@carlosq00 in my case, I'm not a professional. I'm a photographer as hobby and I want to dip my toes into narrative cinematography. The RF mount and overall size is what leans me to the Komodo. I can share glass with my R5 and even use a speedbooster. Although I'm not too impressed by the compatibility with EF lenses and features like AF and IS.
Overall, I'm trying to take a step back to differentiate my needs from plain G.A.S.
what do you think about "expose to the right"? record bright as possible (using f stop or light, not increasing iso) without cliping the highlights. and how do you expose for skin? do you use false color for that?
I'm going to show what happens in a video this week or next at the latest.
@@carlosq00 looking forward! Thank you!
Muy buena Información
First of all thanks for your channel and contents.
In your first setup it doesn't matter to start at 800. you can start at 6400 if you want, as long as traffic light is not flashing. And also in some cases you can go with flashing traffic light, it depends on your frame but in red control app you can see more detailed traffic light info and this can help your exposure as well. PS: check your false color also.
thank you Nuri for your contribution
So I'm guessing you use a light meter set at ISO 800 at the desired f-stop and shutter angle and select the correct ND to achieve the correct exposure! Finally I understand after all these years.
I'm glad it was helpful
This was great information. Can you do this for the C70 as well please?
thanks will work on it
Great
very helpful I'm sure your amn awesome DP.
Awesome explanation! Thank you very very much! So the "only" things I have to effect the exposure are, lighting (or ND filter) and aperture, if I want to stick to a certain frame rate and shutter angle. Would that be correct? 🙂
Im waiting for the DYNAMIC RANGE... results
Soon
I’m still somewhat confused about temperature. Please make a video sharing all your RED temperature knowledge lol.
haha Green = Go anything else wait for it to turn green LMAO
I have been working with the Red Komodo for several months now and I have been having problems getting the traffic lights properly ballanced, and hence the Komodo properly exposed. I seem to have to make the immage very bright to not clip the shadows at ISO 800. Then the image end up looking way to bright. I find the especially the case when I try to use the Canon speed booster on the Komodo. Your image dosen't look near as bright as mine at ISO 800. Can you tell me what I am doing wrong?
Can you send an R3D so I can take a look at how you are exposing and share any details on F Stop if you were using a lens that didn't communicate the metadata?
@@carlosq00 will do! Thanks.
Very informative and well presented well done. Would love to see more of this related to Komodo as well as maybe an a7siii or fx6
Noted!
Question. Ignoring the post production aspect of things, with the Canon cinema line, the lower ISO has greater dynamic range in shadows and vice versa. Would that be equivalent to what red does?
Hey man! Great video!! Question for you: nearing the end of the video, your traffic lights were on on the top and bottom. If this happens during a shot, and you want to properly expose your image and can’t reframe, what would you do in that situation?
Cheers!
there are times when life gets in the way of the shot, fortunately RED and ARRI cameras make that look artistic vs like a camcorder...so when and if I had to, I would save the shot by nailing the point of interest and allowing the rest to fall where it will...without asking for forgiveness.
@@carlosq00 Hi Carlos! Thanks for your explanation! I´ve been using Sony for a while and recently started to use the Komodo. About the dark areas, considering what you just said about exposing for the point of interest and let the rest fall where it will, do the dark areas get noisy on RED cameras or the worst that could happen will be the loss of information?
Great video, as always. I shoot my Dragon-X at 800 all the time, but I'm curious how you would expose a very dynamic shot. So in your lightbulb example when you had the traffic lights illuminated on both ends of the scale, would you stop down to protect the highlights and then deal with the noise as you bump up the shadows in post?
In these types of situations where the scene exceeds the dynamic range of your camera and when you can't control the lighting you'll always have to make a choice whether you want to protect the highlights or the shadows. In general, the priority would be to protect the highlights as clipped highlights are more disturbing to our eyes, but it depends on the situation or your scene. If you have a person in your shot (head taking most of the frame), you'd want to expose the face correctly disregarding the rest of the blown background (highs or blacks), as our brains look first and foremost for faces and eyes and the rest don't matter as much in these types of shots. But then again, maybe you're going for a stylized shot, say a dark silhoutte of a talent against a bright background. Then you'd expose the background correctly and let everything else fade into shadows (underexposure). There are no right and wrong answers, only right and wrong answers in context of what you're trying to achieve visually. In general, look at your image and see what areas are larger, the overexposed or underexposed area. Larger areas should in general be exposed correctly. A large portion of your image being overexposed will be more distracting then a smaller underexposed area. But always keep in mind the situation. Entire movies might be a little overexposed to convey the feeling of heat and blinding light in a desert or a sahara type of environment. Other movies will crush blacks in all scenes to convey a shady and dangerous environment where nothing is clear (think mafia movies such as Godfather). "Perfect" exposure is often overhyped and used more for the acquisition moment so you have all options in post, in post we'll tend to opt for more stylized look which might end up looking over or underexposed. But when you know what you're going for from start, you can "apply" that look in-camera. And sometimes you do so because you have no other choice.
I'm going to set up a shot like what you've described and will likely make a post about it may be a good opportunity to get that same shot with the various cameras to have a comparison if nothing else for reference.
Thanks for your contribution ScientiaCras2
@@carlosq00 my pleasure. Thanks for the great content.
I'm confused. Why do you say to set ISO to 800 when you show you can go all the way up and down and it doesn't clip.
i use 800 to set up my lighting and exposure. once nothing is clipping i then have the freedom to ride the ISO value up or down as needed in post. I need a starting point to get my lighting correct first and why i use ISO 800.
The exposure tool to talk about its not a waive form, its called an Histogram bro.
you're right thanks
Hola Carlos, buen contenido en tu canal, me suscribo.
Por favor, quisiera que me expliques cómo debo aplicar un LUT al video que grabé con mi KOMODO? Debo configurar algún espacio de color específico? generalmente no me funcionan cuando los aplico en premiere pro, sé que debo convertir a REC 709 antes de aplicar un LUT, pero eso cómo lo hago? Gracias!!
en ProRes or R3D?
@@carlosq00 en ambos, por favor, soy nuevo en el ecosistema de RED
Excelente video Carlos, podras hacer alguno explicando como exponer con las distintas opciones que ofrece Red Komodo, como tambien en prores. saludos desde Chile!
to be honest, I still don't understand. If the traffic lights are good, why even change the ISO? That's the explanation I kept waiting for. I never heard you say Why or for what benefit, changing the ISO has. If it's there, I missed it. How is changing the ISO in camera not the same as changing it in post?
when you increase the ISO you give the camera the ability to enhance detail in highlights as long as you don't trigger the traffic lights.
@@carlosq00 I had read previously about exposing with the waveform to protect highlights and shadows in various scenarios so, good to hear it in simple terms. Thanks very much for the reply!
Think of it like this…. Your iso is just effecting how you are monitoring your image, not directly what you are recording. It is just meta data, it isn’t amplifying the signal like it would be on other cameras. The sensor, like a film stock, will react to light the way it does regardless of your iso settings…… you use iso on RED alongside physical changes to your exposure to get the best image possible. In other words (and this is going to sound weird) if you are filming a high light scene try raising your iso. This makes what you are looking at on your monitor even brighter FORCING you to make a physical exposure change to restrict the light. Either by adding ND, closing up the aperture, reducing your lights outputs etc until it looks right on your monitor. That way you have bought yourself some extra head room where you highlights are concerned. The same is true the other way…….. but…. You have to always be aware of your RAW exposure tools (traffic lights). If you are exposing for the highlights you still need to be aware that you aren’t neglecting the shadows and introducing noise. These tools are there to tell you whats happening under your ISO settings, showing you exactly what it is you are actually capturing….. You can then make the adjustments in post to bring your exposed image back to where it should be, benefitting from the extra head room you bought yourself on set….. Hope thats helpful. Best thing to do is just experiment on your own time without the pressure of a client/director/producer breathing down your neck and get comfortable with it.
It was kind of helpful, but the title says how to expose, and I have no idea what you actually did to properly expose. You mostly played with the ISOs and said that because you properly exposed, no clipping occurred, and then showed us what clipping looks like. And that’s great info, but how do you actually do a proper exposure?
Maybe rewatch and focus on the traffic lights section
@@carlosq00 wow seriously? I did rewatch. You just say that the traffic lights tell you when you’re peaking. You don’t once mention the actual steps you took to expose. That’s ok. I found a better video that actually was helpful.
Excellent video mate! Yes!!! keep them on coming! nothing in UA-cam with this level of simplicity, knowledge & professionalism!!! Thanks! question: So when you mention that due to you "exposing correctly using ISO 800" you are referring to setting up all your values: F stop, (or T stop), shutter... lighting wether natural or otherwise always keeping 800 as ISO. Then even if I go up or down with the ISO I am able to use that footage without clipping,?(within reason of course.. other wise if extreme I crash both shadows & highlights...). So is the Komodo capable to work well on dark situations? let's say nature or wildlife...? Thank you againL great videos man! keep them on coming!!!
Correct as to the iso. Cameras that use real raw formats such as red or arri, you set the camera to base iso which is 800 for the red and expose correctly with aperture, shutter and light. If nothing is clipped at 800, nothing will be clipped at any iso setting since the raw information is ALWAYS being recorded at the base iso of 800, only the image on screen is being displayed at your chosen iso (say iso 3200) and might appear over or underexposed. Your chosen iso will also be recorded into the file metadata. That way, your imported clip on pc will first be displayed at that iso value, but you can always set it back to the base iso value or any value for that matter. So you should always get the exposure right in camera at its base iso when shooting in raw.
To your second question: is a red or a komodo great in lowlight? No. When there is little light available, you have your fastest lens on your camera and the image is still too dark at iso 800, you'll have to use the digital gain to compensate. Meaning increasing your iso. Remember that: You get your image always at iso800, and if it's too dark at iso 800 then the camera is getting only that poor (too dark) information into the camera. To compensate you boost the signal digitally by increasing the iso. The image gets brighter, but not better. The lack of information becomes apparent as noise the more you increase the iso. A komodo and most cinema cameras are useful upto iso 3200 with some denoising in post, but beyond iso 3200 is not recommended at all as the image gets way too noisy. Then again. These cameras are not built for lowlight. They're built for great dynamic range in normal, very well controlled lighting situations of the cinema world. Some reds and arris are better in lowlight than others, but then you have other issues. Something always gives.
@@ScientiaCras2 hey mate! excellent explanation thank you! very much appreciated!!
Not helpful at all, you never showed us how you "setup your exposure" in camera.
So everyone else who has commented is wrong?
@@carlosq00 you mention over and over that your exposure will never be wrong because of the way you setup your exposure, but i didn't see anywhere in this video where you showed how you set it up in camera. Just saying.
Help me understand your experience level so I can try to communicate more effectively. What’s your experience level what did you shoot on before and how do you set your exposure as in what do you use?
@@carlosq00 I have not used REDS a whole lot, but I have 20 years of shooting experience working on everything from small time commercials to feature films. My gripe is how you say you setup your camera to work in a R3D workflow and that you will never "EVER" clip your highlights or shadows, but you never show how you set up your camera. All you say is you are using RAW not PRORES and setting your ISO to 800. Is that it? Because I can put my Komodo in R3D and crank up the ISO to 12000 and my image is completely blown out and clipped. Are you talking about not clipping when making adjustments in post or in camera?
Thank you for taking the time to clarify. Let me try to type out the process. Because my point of interest or subject was the lightbulb which is HOT and easy to clip I then used supplemental lights and ND filters to help me achieve the ideal exposure where I protected the light bulb elements and avoided noise in the dark areas. I left my shutter angle at 180 degrees but manipulated the light in the environment to allow for the whole shot to be exposed properly and tamed down the actual light bulb with ND. The way it works in my head is to always start with what I need to be exposed correctly to get the shot then I build my lighting around the rest of the scene and rely heavily on IRND solutions to compensate along with flags and grids to shape my scene. to make this a little more or less complicated once I know my point of interest, I start with practicals, then use flags or grids to shape and sort out ND to make sure I balance out my contrast ratios. But it all started with the camera's sensor and settings starting point which is what dictated the rest of the process in that shot. I hope this is helpful, if it isn't them maybe a UA-cam series would be ideal since there are multiple moving parts. And when you do those few things, there is no way you will ever blow your exposure in post production because RED's R3D protects you by clamping the highlights and blacks in your exposure, allowing you to push and pull within the clamped signal.
Very helpful. Thank you.