RED Komodo at ISO 250

Because of its higher contrast, noise is much more visible in HDR – a fact ignored by camera reviewers – and what may be acceptable in SDR might very well turn out to be unsatisfactory when mastering in PQ ST 2084. CVP shoots their B-roll with the Komodo set to ISO 250 for the cleanest image possible, so naturally we just had to try it out for ourselves. Recording at lower ISOs redistributes more of the sensor’s dynamic range below middle gray while decreasing noise, which is what we generally want when shooting interiors or moody, low-key scenes.

As you can see from the before and after shots of the waveform monitor in DaVinci Resolve, we didn’t go crazy with ETTR, just giving the sensor as much light as necessary.

Below is a screenshot of the shadows in the folds of the curtains with no noise reduction applied, enlarged 999%. This is one of the things we love most about the Komodo: there is no in-camera noise reduction and the noise doesn’t look over-processed and plastic-y like other RAW-ish codecs.

And here is the same frame with minimal noise reduction applied, a great result. Applying any more than minimal chroma noise reduction to a7s III ProRes RAW only made the noise clump together, making it look even worse.

10 thoughts on “RED Komodo at ISO 250

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      1. Nice ^^
        For information, the B+W 803 Master MRC Nano pro nd filter has a cold/blue effect on the colors, stronger than what I would I expected for a fixed ND.
        Hope you will be happy of yours.

      2. In an email yesterday, Kolari said they were expecting a shipment of EOS adapters today. I ordered 3 & 4 stop drop-in ND filters and one 52mm 3-stop screw on filter for the Canon RF 35mm macro. The cost was pretty astronomical. 😅

  1. Yes, maybe the color cast comes from the automatic white balance of the camera which certainly adapts itself when I put the filter on the lens.
    I should make a test with the wb fixed and see with and without the filter to really see the color cast of the filter itself.

  2. New try: when setting a white balance (5300K for eg), I can barely see any color shift with or without the B+W filter (when exposing the same way with and without).
    So this B+W ND seems to be very good.
    You should not have bad surprise since Todd was also very happy of the Kolari 🙂

    Then, on the field, the problem is: how to set the white balance when we want to keep the current light atmosphere (if I want to keep the warm atmostphere of the end of the day for eg and don’t want to neutralize it with a grey card), knowing that automatic white balance is not a good idea when using a filter because the camera tries to compensate but sometimes not correctly and/or too much?

    1. Good question! In movies and serial dramas, they always retain the feeling of the time of day, so blue-ish in the evening, greenish under fluorescent lighting, orange for indoor tungsten lighting… a strict white balance destroys all that.

  3. Exactly, I never found the answer.
    Maybe having some Kelvins values of reference in mind depending on the time of the day but it’s almost sure we forget to change it…

    1. In film, it’s probably the production designer who creates the tone, then they often choose certain lights for their particular characteristics, put gels on lights and maybe the DP adjusts Kelvin manually and finally the colorist does their magic. For us, maybe just adjusting Ks manually since we don’t have a budget? ha Here’s a fun video with Lawrence Sher discussing color in film.

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