Great explanation! Just ran across your channel, subbed!
@contentm38933 ай бұрын
Thank you. Not sure why people don't understand this.
@B1TN3RD4 ай бұрын
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?
@JeffBourke4 ай бұрын
This is why I never understand people applying display LUTs etc on their cameras because it ruins all your exposure tools - zebras, histo etc.
@JeffBourke4 ай бұрын
I think RED patent the traffic lights and goal posts now so all sports and traffic authorities gotta pay royalties to RED.
@AngelVivaldi5 ай бұрын
Incredibly helpful and very well explained! Been enjoying a lot of your Komodo vids, appreciate the effort! If I may suggest a small piece of advice for your videos - they would be much more enjoyable without all of the random cut scenes. They just waste precious time from viewers who are looking to get clear and quick answers. Much love and here's to more growth!
@TrevorGay6 ай бұрын
Fantastic breakdown! Thank you!
@FlashFilmAcademy8 ай бұрын
all true!!! I did a video about the Komodo and people lost their minds! - check it out bro - kzread.info/dash/bejne/rGR5t9CfidDXp7Q.html I'M GOING TO LINK YOURS IN THE COMMENTS!
@airfilm_it8 ай бұрын
red helium, what is the difference between "exposure" and "video" regarding exposure check?
@nationalvideography20348 ай бұрын
Exposure deals with the sensor’s dynamic range parameters without ISO and lut implications, basically the levels of the raw capture. While video shows you the final levels sent to the monitor, that are effected by ISO and look settings. In exposure mode red tone is overexposed and purple tone underexposed. Great for setting up initial exposure, and keeping check while recording. Video has many tones depicting varies IRE ranges, and is useful for dialling in skin tone and checking the final look. The next videos are on this topic.
@lennartintv9 ай бұрын
Great! Thans
@peterstanley5842 Жыл бұрын
great explanation. I had to watch it a couple of times but I got there in the end. thanks.
@lukewell6451 Жыл бұрын
But then how do you light a scene? do you light a bright scene for iso1600 or do you simply light the scene with iso800 in mind and then switch to iso1600? which would make the appear to bright on the monitor.
@nationalvideography2034 Жыл бұрын
I would say you light for iso1600… having an iso in mind will dictate a lot of other choices, and help you achieve better physical light balance… i.e., when you compensate for the extra stop of light. 800 is a good starting point if you don’t know if the scene is low or high key, or if it’s a mid key scene.
@BalaKrishna-bq5iz Жыл бұрын
Lot of building up RED cameras as some mythical creatures that behave differently than "other caneras". But no, many "other cameras" behave the same way too. When you change ISO, it doesn't change dynamic range any more or less than RED but change the distribution of stops. And CineEI on Sony FX3 or FX6 or even the high end Venice caneras is the same of what you discussed here. Despite them capable of capturing great lowlight images at 12,800 the cleanest if the shadows are at lower ISO and cleanes of the highlights are at higher ISOs. Lets not hype up RED to be working with some alien technology, Its the same sh*t as everyone else. RED's hype as a production cinema camera is dying and hence they target wannabes with Komodo and youtube community is doing the marketing for them by painting this camera more than what it is.
@nationalvideography2034 Жыл бұрын
I think the fact you are comparing it to a 100,000 dollar leading Hollywood production camera like the Venice says it all... also, just because Sony or other cameras have something similar doesn't demish it on the Red. I think there is not enough discussion on the implications of ISO across all brands.
@jahpuy_art479 Жыл бұрын
bonjour je vit en France et j'aime tes videos je voulais comprendre du coup les signaux haute lumières peuvent s'allumer mais les barres doivent pas monter c'est ca ? sa serai bien que tu montre avec ta komodo en extérieur comment bien calibrer les iso les traffic lights etc
@nationalvideography2034 Жыл бұрын
Hi! thanks... Yes, it can.... and will try!
Жыл бұрын
Great video, clear and concise! BTW, at the beginning of the video, which "RED Handbook" are you referring to?
@nationalvideography2034 Жыл бұрын
thanks!... its the online content at www.red.com/red-101
@sitebstudios Жыл бұрын
The Pocket 6K is a beast. A shame it was dismissed so quickly.
@nationalvideography2034 Жыл бұрын
agreed... great cameras!
@KyleSVT Жыл бұрын
Appreciate your videos on the Komodo
@nationalvideography2034 Жыл бұрын
Thanks!
@8ways2fly Жыл бұрын
I really enjoy your videos! The simplicity when explaining everything makes it so much fun to watch. Thank you! Also, a small question: did you try the newest beta 1.7.4 FW update?
@nationalvideography2034 Жыл бұрын
Thanks!.. no, I haven’t yet.
@tommyfilms2765 Жыл бұрын
I can't tell you how much I appreciate this and all the other videos you make, thank you! I've felt like I've been an outlier for the longest time for having an exposure strategy that differs from ETTR and leans into retaining shadow detail where possible. One question I have is when shooting using a lower (or higher) ISO value, is there a way to accurately 'correct' or compensate the luminance difference for reference monitors connected via SDI? I'd like to have client monitors, AC monitors and even my own SmallHD onboard monitors' luminance-related tools remain relatively accurate when shooting at different ISO's but I'm not sure how? I always double-check exposure through RED's meters to be safe but it would be nice to have a calibrated reference monitor that I felt I could relatively trust for run and gun work. Simply adjusting the brightness levels on the SmallHD seems like a potential recipe for disaster. Is there a conversion/calibration LUT that RED makes which solves this issue?
@nationalvideography2034 Жыл бұрын
Thank you!… I’m not sure… interesting question. I would say tho, that Red meters would be best to use at all time when possible, and you always have to be careful relying on live preview as monitor brightness can effect it, histogram is a good tool to quickly double check it.
@DoxieDin Жыл бұрын
Sometimes I can't believe I found your channel! Each video is a godsend for a Komodo owner! 😍
@PARISONFIRE Жыл бұрын
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 Жыл бұрын
Super simply… protect the highlights, and use iso to either further enhance the highlights, or reduce noise.
@EvanRisucci Жыл бұрын
This video sums it all up. I’ve had it wrong this whole time. Coming from the Sony lineup….
@BalaKrishna-bq5iz Жыл бұрын
Sony cameras (A7siii, FX3, FX6.....) behave the exact same way. This isn't something unique to RED. And this isn't some feature, this is just us misunderstanding how camera sensors react. High ISOs let us see more into shadows but its the highlights that are cleanest there. Likewise, its the shadows that are cleanest at low ISOs. I routinely run FX3 at 12,800 even when there is more than enough light and use a good ND. That gives a very pleasing highlight rolloff/gradation.
@nationalvideography2034 Жыл бұрын
That’s interesting that it works the same on Sony, it must be across the board how ISO functions on digital sensors. I agree it’s not a feature, rather it’s the functionality of the sensor. But it all works to make up its characteristic. I haven’t seen a lot of videos discussing this on the Sony in detail, definitely a good topic.
@TheContentRoom Жыл бұрын
The Sony FX6 was the best investment ever.
@marcelriedel928 Жыл бұрын
Where is the Komodo Exposure strategy? This is a general exposure explanation…
@nelsonpun4 ай бұрын
I watched the qhole thing and thought the same thing. Also rly hate how long it took to get to the point.
@ozzozz3529 Жыл бұрын
komodo price is similar to mirrorless?? size weight of mirrorless . stop lying bra.
@MrCoalmin Жыл бұрын
millky blacks?
@B1TN3RD Жыл бұрын
Best technical RED camera guide I have seen on KZread. 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.
@loudandclearmedia Жыл бұрын
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.
@directorjayalex Жыл бұрын
This is gold
@fernandosver4422 Жыл бұрын
This is a very common implementation of ISO in cinema cameras, the main difference is that brands like ARRI and Sony calls it Cine EI (exposer index), in my opinion a much better name than simply ISO. The other difference is that RED doesn't offer the real native iso for each of their cameras, something that to me sounds insane, on a cinema camera with cine ai you can of course go up and down the range with no loss in dynamic range, just like you described, but knowing the native iso is a much better starting point compared to red's solution of just start with 800 for all of our cameras. In fact they give arri and Sony display the amount of stops shifting in the highlight (above middle grey). Great video, and a really good way of explaining it. Thanks
@jasonlartigue1976 Жыл бұрын
Thank you for this - very well explained. I get my Komodo next month!
@jakubkacmar9846 Жыл бұрын
Unique channel. I absolutely love this long talks. Please, keep it up!
@MfcoolProductions Жыл бұрын
Wow thank You!
@superboychao Жыл бұрын
different ISO moves the dynamic ranges, that is the key to RED exposure, so opposite to normal conception, so recording at higher ISO means more highlight information even though it looks blown out on the image but it's not, at the same time of course more noise in the shadow
@jakubkacmar9846 Жыл бұрын
Really big thanks. You deserve my subcribe.
@rodprod8522 Жыл бұрын
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 Жыл бұрын
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 Жыл бұрын
@@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
@cubul32 Жыл бұрын
Why isn't ETTR the same as protecting the highlights - that's what it is supposed to mean. You find out where your sensor clips and you expose under that value. Make sense.
@Cinnovations Жыл бұрын
Absolutely the opposite. Exposing to the right keeps the shadows clean the pitfall of exposing to the right is blowing out highlights possibly.
@user-zv7lm8uk7h Жыл бұрын
Ettr means give the sensor as much light as possible.
@cubul32 Жыл бұрын
@@user-zv7lm8uk7h right, but it still means that you expose right before you clip, which is protecting the highlights. I don't even know why I posted this Q.
@Cinnovations Жыл бұрын
kind of. You mean to a point. @@user-zv7lm8uk7h
@ReadytoChop5 ай бұрын
ETTR applies to sensor light, not ISO. When raising ISO you are ETTL for highlight detail, it's the opposite.
@KalleTheodor Жыл бұрын
THIS Video gives me hope, that I finally learn and understand(!) something, when it comes to exposure. - Not yet after watching this, but I dive into the other videos now... Thank you! 😀
@unfitcrit Жыл бұрын
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
@jeremyalameda5061 Жыл бұрын
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 Жыл бұрын
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.
@philpritchard5173 Жыл бұрын
👍
@majcyy Жыл бұрын
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 Жыл бұрын
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.
@michaelruebusch2275 Жыл бұрын
omg all the silly movie inserts are just distracting. Keep with the informative content and lose the nonsense, your videos don't need it.
@AlfredoReyesEsparza Жыл бұрын
I needed to know this!!!? Thank you
@fatheadmediapro Жыл бұрын
Thanks for this. I feel I've already wrapped my brain around this, but I like to remind my brain of this every once and awhile to reverse all the years of shooting on other systems 😅
@Bobbylopezcreative Жыл бұрын
This is completely counterintuitive, and the exact opposite of how we learned to use ISO in traditional Mirrorless cameras. That said, this has been the best explanation I’ve seen so far. Great work.
@nationalvideography2034 Жыл бұрын
Thanks!
@JitDawgBruhDang Жыл бұрын
Your exposure strategy is wrong. You do NOT get the most flexibility underexposing opposed to over exposing. You get more data and flexibility when you expose to the right. Denoising reduces resolution and increases render speed, editing time and limits certain other adjustments. ETTL while doing bleach bypass will introduce a lot of noise artifacts… You’re wrong… it’s better to barely clip the highlights than barely clip the shadows, especial with thorough grading.
@brandonblackonline Жыл бұрын
Would love to see a 2023 video of this bro! The Lumix S5 Mk 2 would be an interesting comparison.
Пікірлер
Great explanation! Just ran across your channel, subbed!
Thank you. Not sure why people don't understand this.
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?
This is why I never understand people applying display LUTs etc on their cameras because it ruins all your exposure tools - zebras, histo etc.
I think RED patent the traffic lights and goal posts now so all sports and traffic authorities gotta pay royalties to RED.
Incredibly helpful and very well explained! Been enjoying a lot of your Komodo vids, appreciate the effort! If I may suggest a small piece of advice for your videos - they would be much more enjoyable without all of the random cut scenes. They just waste precious time from viewers who are looking to get clear and quick answers. Much love and here's to more growth!
Fantastic breakdown! Thank you!
all true!!! I did a video about the Komodo and people lost their minds! - check it out bro - kzread.info/dash/bejne/rGR5t9CfidDXp7Q.html I'M GOING TO LINK YOURS IN THE COMMENTS!
red helium, what is the difference between "exposure" and "video" regarding exposure check?
Exposure deals with the sensor’s dynamic range parameters without ISO and lut implications, basically the levels of the raw capture. While video shows you the final levels sent to the monitor, that are effected by ISO and look settings. In exposure mode red tone is overexposed and purple tone underexposed. Great for setting up initial exposure, and keeping check while recording. Video has many tones depicting varies IRE ranges, and is useful for dialling in skin tone and checking the final look. The next videos are on this topic.
Great! Thans
great explanation. I had to watch it a couple of times but I got there in the end. thanks.
But then how do you light a scene? do you light a bright scene for iso1600 or do you simply light the scene with iso800 in mind and then switch to iso1600? which would make the appear to bright on the monitor.
I would say you light for iso1600… having an iso in mind will dictate a lot of other choices, and help you achieve better physical light balance… i.e., when you compensate for the extra stop of light. 800 is a good starting point if you don’t know if the scene is low or high key, or if it’s a mid key scene.
Lot of building up RED cameras as some mythical creatures that behave differently than "other caneras". But no, many "other cameras" behave the same way too. When you change ISO, it doesn't change dynamic range any more or less than RED but change the distribution of stops. And CineEI on Sony FX3 or FX6 or even the high end Venice caneras is the same of what you discussed here. Despite them capable of capturing great lowlight images at 12,800 the cleanest if the shadows are at lower ISO and cleanes of the highlights are at higher ISOs. Lets not hype up RED to be working with some alien technology, Its the same sh*t as everyone else. RED's hype as a production cinema camera is dying and hence they target wannabes with Komodo and youtube community is doing the marketing for them by painting this camera more than what it is.
I think the fact you are comparing it to a 100,000 dollar leading Hollywood production camera like the Venice says it all... also, just because Sony or other cameras have something similar doesn't demish it on the Red. I think there is not enough discussion on the implications of ISO across all brands.
bonjour je vit en France et j'aime tes videos je voulais comprendre du coup les signaux haute lumières peuvent s'allumer mais les barres doivent pas monter c'est ca ? sa serai bien que tu montre avec ta komodo en extérieur comment bien calibrer les iso les traffic lights etc
Hi! thanks... Yes, it can.... and will try!
Great video, clear and concise! BTW, at the beginning of the video, which "RED Handbook" are you referring to?
thanks!... its the online content at www.red.com/red-101
The Pocket 6K is a beast. A shame it was dismissed so quickly.
agreed... great cameras!
Appreciate your videos on the Komodo
Thanks!
I really enjoy your videos! The simplicity when explaining everything makes it so much fun to watch. Thank you! Also, a small question: did you try the newest beta 1.7.4 FW update?
Thanks!.. no, I haven’t yet.
I can't tell you how much I appreciate this and all the other videos you make, thank you! I've felt like I've been an outlier for the longest time for having an exposure strategy that differs from ETTR and leans into retaining shadow detail where possible. One question I have is when shooting using a lower (or higher) ISO value, is there a way to accurately 'correct' or compensate the luminance difference for reference monitors connected via SDI? I'd like to have client monitors, AC monitors and even my own SmallHD onboard monitors' luminance-related tools remain relatively accurate when shooting at different ISO's but I'm not sure how? I always double-check exposure through RED's meters to be safe but it would be nice to have a calibrated reference monitor that I felt I could relatively trust for run and gun work. Simply adjusting the brightness levels on the SmallHD seems like a potential recipe for disaster. Is there a conversion/calibration LUT that RED makes which solves this issue?
Thank you!… I’m not sure… interesting question. I would say tho, that Red meters would be best to use at all time when possible, and you always have to be careful relying on live preview as monitor brightness can effect it, histogram is a good tool to quickly double check it.
Sometimes I can't believe I found your channel! Each video is a godsend for a Komodo owner! 😍
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?
Super simply… protect the highlights, and use iso to either further enhance the highlights, or reduce noise.
This video sums it all up. I’ve had it wrong this whole time. Coming from the Sony lineup….
Sony cameras (A7siii, FX3, FX6.....) behave the exact same way. This isn't something unique to RED. And this isn't some feature, this is just us misunderstanding how camera sensors react. High ISOs let us see more into shadows but its the highlights that are cleanest there. Likewise, its the shadows that are cleanest at low ISOs. I routinely run FX3 at 12,800 even when there is more than enough light and use a good ND. That gives a very pleasing highlight rolloff/gradation.
That’s interesting that it works the same on Sony, it must be across the board how ISO functions on digital sensors. I agree it’s not a feature, rather it’s the functionality of the sensor. But it all works to make up its characteristic. I haven’t seen a lot of videos discussing this on the Sony in detail, definitely a good topic.
The Sony FX6 was the best investment ever.
Where is the Komodo Exposure strategy? This is a general exposure explanation…
I watched the qhole thing and thought the same thing. Also rly hate how long it took to get to the point.
komodo price is similar to mirrorless?? size weight of mirrorless . stop lying bra.
millky blacks?
Best technical RED camera guide I have seen on KZread. 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.
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.
This is gold
This is a very common implementation of ISO in cinema cameras, the main difference is that brands like ARRI and Sony calls it Cine EI (exposer index), in my opinion a much better name than simply ISO. The other difference is that RED doesn't offer the real native iso for each of their cameras, something that to me sounds insane, on a cinema camera with cine ai you can of course go up and down the range with no loss in dynamic range, just like you described, but knowing the native iso is a much better starting point compared to red's solution of just start with 800 for all of our cameras. In fact they give arri and Sony display the amount of stops shifting in the highlight (above middle grey). Great video, and a really good way of explaining it. Thanks
Thank you for this - very well explained. I get my Komodo next month!
Unique channel. I absolutely love this long talks. Please, keep it up!
Wow thank You!
different ISO moves the dynamic ranges, that is the key to RED exposure, so opposite to normal conception, so recording at higher ISO means more highlight information even though it looks blown out on the image but it's not, at the same time of course more noise in the shadow
Really big thanks. You deserve my subcribe.
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.
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.
@@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
Why isn't ETTR the same as protecting the highlights - that's what it is supposed to mean. You find out where your sensor clips and you expose under that value. Make sense.
Absolutely the opposite. Exposing to the right keeps the shadows clean the pitfall of exposing to the right is blowing out highlights possibly.
Ettr means give the sensor as much light as possible.
@@user-zv7lm8uk7h right, but it still means that you expose right before you clip, which is protecting the highlights. I don't even know why I posted this Q.
kind of. You mean to a point. @@user-zv7lm8uk7h
ETTR applies to sensor light, not ISO. When raising ISO you are ETTL for highlight detail, it's the opposite.
THIS Video gives me hope, that I finally learn and understand(!) something, when it comes to exposure. - Not yet after watching this, but I dive into the other videos now... Thank you! 😀
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
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.
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.
👍
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?
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.
omg all the silly movie inserts are just distracting. Keep with the informative content and lose the nonsense, your videos don't need it.
I needed to know this!!!? Thank you
Thanks for this. I feel I've already wrapped my brain around this, but I like to remind my brain of this every once and awhile to reverse all the years of shooting on other systems 😅
This is completely counterintuitive, and the exact opposite of how we learned to use ISO in traditional Mirrorless cameras. That said, this has been the best explanation I’ve seen so far. Great work.
Thanks!
Your exposure strategy is wrong. You do NOT get the most flexibility underexposing opposed to over exposing. You get more data and flexibility when you expose to the right. Denoising reduces resolution and increases render speed, editing time and limits certain other adjustments. ETTL while doing bleach bypass will introduce a lot of noise artifacts… You’re wrong… it’s better to barely clip the highlights than barely clip the shadows, especial with thorough grading.
Would love to see a 2023 video of this bro! The Lumix S5 Mk 2 would be an interesting comparison.
that's a great camera... and a good idea!
🎯🎯🎯🎯🎯🎯