RED Komodo 6K: Technical Guide Part 1
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- Опубліковано 31 тра 2024
- In Part 1 of this RED Komodo video series i'll be looking at the setup of the Komodo exterior and main panel interface and breaking down how to setup areas such as optimal exposure, how to use the Komodo's monitoring guides and tools, how the Komodo traffic light system works, the difference between RED's ISO in comparison to other cameras, and how to perform a black shading calibration.
0:00 - Komodo External Body, Accessories & Kit Contents
2:55 - External Monitor
3:15 - How to Prevent SDI Circuit Damage
3:43 - Connecting the SmallHD Monitor for Camera Control
4:32 - Powering up and Batteries
4:56 - Live Menu Panel and Status Bar Overview
5:50 - T/E Temperature Exposure Status Area
6:32 - Performing a Blackshade Calibration
7:59 - Remaining Status Bar Overview
9:06 - Live View Page - Core Exposure, Recording and Monitoring buttons
11:36 - ND filters
12:04 - Recording Information & RGB Histogram
12:42 - Traffic Light System - How To Correctly Expose the Sensor
15:00 - RED ISO. How is it Different in RED Cameras
16:50 - ISO Technical Breakdown
18:53 - Traffic Light and ISO Real World Exposure Workflow
27:46 - Guides and Tools Overlays
28:16 - Focus Magnification
28:37 - Guides and Tools
29:17 - False Colour: The 2 Variants
31:37 - Peaking, Focus and Edge
32:19 - Zebras and Tools Tab
33:10 - Guides Tab
33:43 - LCD & SDI Tab
34:57 - Outro
I don't even own a RED yet but I'm bookmarking this vid until that day. Great Vid
me too ☺️
Same here
U guys got this. I'm not wanting a red but gl to u guys
😅 same here!!!
Thank you so luv for taking the time and making a so detailed video 🙏
Been looking all over YT for an overview like this. Thorough and clear. Thanks!
Perfectly explained! Great value content, thank you!
amazing content ! Thank you for taking this time to make such rich contents for all of us. Looking forward to watch the part 2
Richly detailed and excellently presented content. Especially the traffic lights and ISO ballet 🙂. Thank you very much!
EXCELLENT tutorial. Best one I have found so far, thanks for sharing and investing your time on this.
Best guide i have seen so far. thanks
Wow- just wow. What a fantastic tutorial.
IMPRESSED.
A pleasure to watch. No BS
Truly truly amazing tutorial. Been thinking about getting a red soon! Just bought the SmallHD monitor w red camera control. A few more jobs and I’ll have that red!
Thanks for the detailed information!
Just placed my order for the kx . Missed the storm trooper . But can’t wait to be apart of the red community . Great video .
Awesome! Thanks from India! 🥰🙏
Very informative and detailed video, thank you
Thank you for this amazing breakdown.
My pleasure, glad it's been helpful 😊 you've got some great drone footage on your channel 👌
Best technical explanation of a RED camera I have ever seen. Especially the part with traffic-lights system and ISO importance and how they go hand in hand. Keep it up man, love your videos! I am planning on getting the Komodo next year.
Ian I am a bit confused about the ISO explanation. First you said, tha the ISO is metadata and thus not baked into the R3D file. However you also told, that it is important to select the ISO correctly while shooting, e.g. lower ISO to preserve your highlights and vice versa, like mentioned at 26:21. But how is that affecting the R3D file, when ISO is only metadata as you told before?
Second question: What would be the lowest ISO you would go on a Komodo? 400? 250?
Btw in the meantime I also received my Komodo and I love it! 😍
Even though the ISO is not baked into the R3D file (and can be adjusted in post) the noise and grain is baked into the R3D, and this will be determined by the ISO you set, so even though you can change the ISO you still need to think about which ISO is best for the environment your shooting in, and which ISO will give you a good balance of Latitude to digital noise in that specific shooting environment.
If I shoot at ISO 800 the noise will be lower than ISO 1600, and even if I alter the ISO in post from 800 to 1600 the R3D’s grain will still remain and appear like it was shot at ISO 800. Does that make sense?
Your essentially burning in the noise and grain based on the ISO you shoot at, but the ISO can still be adjusted to higher or lower values in post which is specifically affecting where your stops of dynamic range are placed.
I generally stay at around ISO 800 as a base, and move between 400-1600, I rarely go to 250 or 3200.
Amazing glad your enjoying the camera, it’s still up there as my favourite ☺️
@@ianthurstan Hi Ian,
Thank you for your detailed explanation, that makes sense, didn't knoe that you are baking in the noise. Thanks to your explanation I am always being aware of the correct ISO settings while shooting: Lower ISO when I want to maintain my details in the shadows, when pulling the ISO up in post and vice versa, setting a higher ISO while shooting when I want to retain my highlights.
I really do love the Komodo till now. It has also pretty good low-light performance and even in really worst low-light scenarios when applying the denoiser from Davinci 😁
Thanks for this 🎉
great video with lots of valuable info.
Super informative
Thank you so much
Subbed
very helpful every things clear and easy to understand and its free thanks lan good job I benefited a lot
This was so rich with information. Thank you!
Awesome, glad it was of value to you ☺️
Great work my friend
awesome video Ian
Great video!
Awesome 👏
HAY QUE ESCUCHAR ESTO CON AUDIFONOS PRO PARA VOLAR DE VERDAD!!!!!!! TREMENDA EXPERIENCIA!!!!
This is fucking amazing thank you. I think the most important takeaway is that the RED ISO, whilst floating, moved the stops of DR .. you can't just shoot at any ISO and adjust in post. Thank you so much.
Hi all,
Was just wondering if it was possible for the RED komodo to output 1080p50 over the SDI port? thanks
I'm thinking between that and FX9, but honestly it seems the dynamic range here is much better. It looks like something that totally can be used for a feature film (I was a little worried because of the super 35 sensor instead of the full frame, but it does look great)
It can easily be used on feature films 👍 the FX9 is a great camera, and perfect for broadcast/corporate work, and tbh has more flexibility than the RED for different projects, within that medium, but if it’s mainly features/ short form film or music videos/creative digital media content that your making, I think the image just looks a lot nicer from a RED
Tbh I’d get the cheaper FX6 over the FX9 if I wanted a camera mainly for broadcast and corporate…if you can afford them, buy both lol
This looks like one hell of a studio cam, like something compact enough that you could fit behind a monitor . I would change it up for a slim battery, that you'll have a few minutes to reconnect the power cable. I hope somebody is able to kill the RED patent so we could get micro 4/6/8 cams from companies that won't require you to use proprietary storage media.
10tb SSDs that are affordable are just around the corner. It would be wicked cool if we could get a camera that uses for redundancy dual m.2 drive sleds that you could fit what ever drive you want. Look at how micro SD cards have fallen in price, maybe we'll get 50tb drives that are affordable to inde studios in the next 20 years.
My argument for high resolution footage is how ships use to squeeze through the panama canal before they got upgraded locks, sure you could do 4k footage on a 4k camera but wouldn't it be nice if you got feet of clearance on each side for the ship/shot instead of inches?
When you would like to have clear in variable ND adapter, what you should do? Does it have a clear mode, or should you have to swap it to a standart ef-rf mount? Thanks.
You can get a clear filter that you swap out in the mount ☺️
This was fantastic! I now use edge peaking all the time. Do you know if
There’s an electronic level?
Yeah edge is great with wireless follow focus systems as well, especially when you have a large external monitor to look at 😊
I don't think the komodo has a built in leveler (at least not on the firmware iteration I'm using) but it would be great if they implemented one; I normally use ond of the small square sprit bubble levellers on the handle for cameras that don't have a built in one
There is no electronic level as of yet and it is INSANE that they don´t have this SIMPLE feature.
Which SDI cable is this? and is it 12 G?
you explained the shit outta that camera yo
shouldn't you connect everything, and the sdi cable with the power off ? I watched another video and another guy said Justin Phillip said to make sure everything is powered off when connecting cables , then you can power on. I'm so confused. help
I’ve always been told to make sure any external sources are already powered on before you connect the SDI to ensure there isn’t a surge of power during the initial turn on phase, which could potentially damage the SDI. There may be other methods of doing it to prevent damage but I’ve done it the way I’ve talked about in the video hundreds of times and never had an issue with either of the 2 Komodo’s that use ☺️ I normally make sure the external monitor is powered down before removing the SDI.
Tbh the SDI has more chance of being damaged if the external device (I.e the monitor, or any other accessory) is being powered by the Komodo’s battery, for example by a dtap power solution. If the accessory has its own battery it’s less likely to damage the camera 👍
Quick question, when u turn on focus peaking, and set the color to for example white and level to 4 or even larger number, do u see any grain on the Komodo screen? Thanks in advance
Hiya, yes depending on how high the peaking gain is set the peaking will sometimes pick up noise (which can be distracting for some people) tbh I normally just use edge assist rather than traditional peaking, although the regular red peaking is very easy to see on the Komodo and I’ve never had trouble getting good focus with the camera (even without an external monitor) ☺️
@@ianthurstan oh yea you right, find the noise especially obvious in color white even the gain level is relatively low haha, thanks for getting back to me!
💎💎💎
Can you use regular Sony NPF battery? Or is it something else?
Hiya, the camera uses Canon batteries by default, not Sony NPF ☺️, or you can get mounting modules which use other batteries such as VLock
Hey Ian does this apply to a red Komodo X? Thank you for this video
I've not used the Komodo X but i'd guess that the majority of the menu interface is the same or extremely similar
6:27 I'm confused here. You say when the "T" is discolored it's because we may need to do a black balance...but then at 6:41 you say a black balance should only be done when the "T" is at the optimal temperature. This sounds like a paradox to me. Am I misinterpreting this?
Hiya, I think you may be misinterpreting, so when the T is red or yellow it’s advised to do a black balance. When the camera is initially turned on it will always be yellow or red for a few minutes while the camera warms up; If the T has stayed yellow or red after the camera has been on for 10-15 mins (which is when it will have reached optimal temp) then you should perform a black balance
hello what are the settings that you advise me to film? log3g10?
Hiya, if you're shooting with the R3D files then you'll always be recording in Log3G10 with the RedWideGamut, which is what I'd reccomend 😊👍
You can always add colour correction Luts as an overlay on the display monitor, but the original file will always be flat and retain the most dynamic range.
In post production you can then make technical and creative colour adjustments to suits your own style.
I wouldn't reccomend shooting in Prores, the R3D files are far superior 👍
@@ianthurstan ok thanks
Great indepth video, thanks for doing this! One thing I don't think you can say at 25:54 is that changing ISO only with no other exposure adjustments (aperture ND, shutter) is having an affect on your dynamic range. The video that I think explains this best is this one where Red themselves explains using ISO as an exposure tool ua-cam.com/users/liveQfLkWyhGh7A?si=tOyD0EcBEo1ryqWb&t=1276 (this is good starting point from where to watch). The main takeaway for me is that changing ISO shooting R3D won’t give you highlight or shadow protection in of itself, it’s got to be done in tandem with an exposure change (aperture, ND, shutter). They say this explicitly at 34:40. Your examples do look like there is more highlight detail but after watching the Red video I don't think they would agree with you that you are affecting the dynamic range balance with only an ISO adjustment. But maybe I was wrong and maybe you were making exposure adjustments (apeture, ND, shutter) in your example,
Hiya, sorry if my explanation caused any confusion, for clarity I was indeed making additional exposure adjustments with the ND and not just the ISO; from what I understand changing the ISO from its base justs adjusts where the dynamic range prioritizes its self within the highlights and shadow, (it doesn’t reduce the dynamic range like in a lot of cameras, it just shifts it), but you do of course need to make alterations to other exposure tools (like the ND) to ensure your still capturing the correct amount of detail across your chosen areas ☺️ especially if you want your image to be a correct as possible.
hope that makes sense and clears up any confusion 👍
I worry that the use of the words "supplied". What exactly does that mean?
Hiya, this video was originally designed for my film students who are able to book out this camera alongside a range of accessories that we provide in the camera bag, so ‘supplied’ means we’re giving them these additional items with with camera
🙏🌹🇮🇳 PSSPPP 🇮🇳 PALOJU JAI SRIRAM 🇮🇳🌹🙏
The letter H is pronounced AYDGE, not "haydge".
Does Komodo shoot ProRes RAW? I thought it only shoots 6K RAW???
It’s shoots in either R3D Red Raw or ProRes, it doesn’t shoot ProRes raw, at least in my firmware iteration R3D is amazing and all you’d every really need, it’s an incredible raw format
Yeah, I’m not quite understanding what the point of ProRes is - w/o the RAW??? So you can edit in FCPX but the metadata is already baked in??? What’s the point… the only reason (that I know of) to shoot 4K is to be able to manipulate it in post… but not RAW no Post Color Grading etc 🧐
I know that’s 6K RAW but that’s a big fat file and even my (2018) MacBook Pro is gonna complain… though it looks like you have to work with proxies… so it’s reset more a matter of storage… if 5 hours of 4K compressed is many TBs then 6K uncompressed is gonna be way more expensive to put on my NAS and backup on my DAS…
@@georgerady9706 so most people enjoy shooting in ProRes because it’s a very efficient codec which works really well across computers (Mac especially) and it’s good as a master codec when exporting your finalised project. It’s also good as a 4.2.2 10-bit codec for modest colour grading and alot of people prefer using it instead of traditional DNG Raw codecs if they are filming things which don’t require intense colour manipulation ( such as with vfx work).
However RED’s R3D RAW files are much better than older DNG formats, and you have different RAW compression choices which means quite often you can get similar files from RED RAW as with ProRes HQ,
For me there’s no reason to shoot ProRes in the Komodo, all major editing systems work beautifully with R3D files,
Yeah I use proxies regularly 👍
Thanx
Found this too…
ua-cam.com/video/bxcPhckSSbQ/v-deo.html