Red Komodo ISO Noise and Clipping Protection - Part 2

The best way to shift the balance between noise and clipping protection on the Red Komodo is through the use of ISO.
Part 2 in the ISO use for the Red Komodo, and a continuation of how to properly expose the Red Komodo.
For further reading: www.red.com/red-101
#redkomodo #iso #redcamera #reddigitalcinema #cinemacamera #shotonred

[@B1TN3RD]

Best technical RED camera guide I have seen on KZbin. I have seen so many videos of people using the ISO value on the RED Komodo so wrong. Low contrast scene with ISO 3200 or even 6400 etc. Seeing that was so painful to watch…. Those people really need to watch your technical guides.

[@quinnbanks1889]

About time someone is going more in to details on the Red Komodo

[@brandonblackonline]

Great information! Would love to see a video where you do some real world tests of Bad vs Good exposure and noise comparisons etc.

[@nationalvideography2034]

Thanks... I'm thinking to do something like that soon.

[@jasonlartigue1976]

Thank you for this - very well explained. I get my Komodo next month!

[@bryangarciafilms]

some examples would be awesome.

[@Aidanhackwell]

Good video, underrated channel

[@nationalvideography2034]

Much appreciated!

[@loudandclearmedia]

FWIW, EVERYONE’S computer hates Neat Video. Extra points if it develops new interesting sounds after it’s latest multi-hour denoising session. Builds character.

[@jeremyalameda5061]

If I'm understanding you correctly, you saying I get an additional 2 stop of midtone and highlight range if I increase the ISO from 400 to 1600? Please go easy on me if I seem clueless because 99% of the time I am. Raising your ISO seems counter intuitive when it comes to getting more range out of the midtones and highlights.

[@nationalvideography2034]

It’s exactly counter intuitive, and back to front, that’s how Red’s ISO works… you get additional steps for the highlights within the tonal range. The dynamic range stays the same, but the steps within it, get reallocated to favour the highlights, Mid-tones stay the same. But the highlight increase in performance. They get smoother, more controlled.

[@majcyy]

awesome video, question - I've heard CVP mentioning that choosing the right ISO when shooting red RAW still has an impact on noise levels (which now is clear to me how thanks to you) but how does this work with the famous manipulations in post? is that highlight protection/ noise floor baked in the footage and by tweaking the iso in post I'm just moving this middle grey point, basically adjusting the brightness?

[@nationalvideography2034]

thanks!... the push and pull of ISO in post is very limited, your image may begin to degrade even after a half a stop adjustment. So, you need to physically compensate the light lost or gained by the ISO, which you can only do during capture. Otherwise, it works the same, the raw data doesn't change, I guess you could say its all in the codecs... but this doesn't mean its not important.

[@B1TN3RD]

I have one question: If I film like with ISO 2000 on a bright sunny day with the traffic lights perfectly balanced, the image output on the monitor is very bright, vice versa very dark if I use ISO 320 or 500 in a darker scene. Since setting the ISO correctly on set also has a positive effect on image quality istead of selecting the correct ISO value in post, how do you handle the too bright or too dark live view on the monitor?

Great video, clear and concise! BTW, at the beginning of the video, which "RED Handbook" are you referring to?

[@nationalvideography2034]

thanks!... its the online content at www.red.com/red-101

[@rodprod8522]

Red Raw captures ALL the data from the sensor so that you can change the ISO (& white balance) in post. ISO is only used for metering the shot (in the same way the LUT is not baked in either). so ISO level is something that can be changed in post - it is not baked in unless you are using a Pro Res codec.

[@nationalvideography2034]

Even with Red Raw you are only capturing the physical light hitting the sensor. You are therefore restricted to ISO adjustment in relation to the physical light level captured. If you push or pull the ISO too far in post it will degrade your image. So to be able to take full advantage of ISO and maintain optimal image quality you need to adjust it during capture and appropriately compensate the physical light level for the chosen ISO… ISO post adjustment is really, in my opinion, a marketing gimmick rather than an ultra useful feature. If you expose correctly you shouldn’t need to adjust ISO in post. That’s why you can’t for ProRes.

[@rodprod8522]

@@nationalvideography2034 Yes indeed, I'm fully aware of the distinction with Pro Res- and you are correct - the Gio Scope feature is a clever way to check exposure at sensor level

[@unfitcrit]

Is the ISO then acting as a way to "trick" camera users into slight underexposure? I'll say the ISO having little bearing on the RAW image (and the ability to change ISO in post) is incredible confusing lol

[@billravens8136]

Is there an elephant in the room? How significant is ISO if all shooting is done in RAW?

[@PARISONFIRE]

ok i try to understand what the hell is going on but i translated it for my low IQ brain like this: expose like recommended with the red exposuretools, tune your iso correctly for the shot with false colors to avoid clipperinos and your good to go. is that correct?

[@nationalvideography2034]

Super simply… protect the highlights, and use iso to either further enhance the highlights, or reduce noise.

[@michaelruebusch2275]

omg all the silly movie inserts are just distracting. Keep with the informative content and lose the nonsense, your videos don't need it.