Don't let the thumbnail deceive you - you can see our bouncy gimbal work in the video. This was only the second time we’ve bothered to calibrate the sensor before a shoot. Up next - trying to figure out a workable follow focus solution for the set of Meike lenses. https://youtu.be/xKzpW0ctQdw
Komodos Galore on Netflix Action-Comedy
“Some days on Day Shift we deployed four RED MONSTROS and 10 KOMODOs plus. For scenes with pyrotechnics, we’d add more KOMODOs. Sometimes we rolled 20 cameras.” - DP Toby Oliver on Netflix vampire flick “Day Shift” Not something we're interested in watching, but you can read more from Oliver here.
Reference White Using False Color
ITU-R BT.2408-5 defines reference white as "the nominal signal level obtained from an HDR camera and a 100% reflectance white card resulting in a nominal luminance of 203 cd/m2 on a PQ display or on an HLG display that has a nominal peak luminance capability of 1000 cd/m2. That is the signal level that would result... Continue Reading →
Skin Tones & RED False Color Modes
The ITU-R BT.2408-5 recommendation for light skin tones is a signal level of 45-55% for a PQ reference display but we've been viewing the false color modes of RED's Control app on our iPhone with output color space set to Rec.709 and the SDI display preset at SDR and exposing skin at IRE 61-70. What... Continue Reading →
RED: Exposure Strategy in Practice + DL
Image prior to color correction. It looks far more contrasty and saturated than it really is because it's a photo of the LG OLED. We wore the yellow polo not only because yellow is our favorite color, but because with every camera we've ever used, it is virtually impossible to recover highlights in the collar... Continue Reading →
Create Color Separation & Textural Depth in DR18
Note: The video should be watched in a pitch-dark room. HDR is supposed to be graded in an environment with ambient lighting at 5 nits, which might help to explain why so many complain about HDR being so dark. Unlike SDR, the PQ curve is absolute, meaning that, unlike SDR, the image can't be made... Continue Reading →
RED Komodo Noise Revisited
No, you're not having flashbacks, we've covered this before. But since we were testing out our shiny new Meike T2.1 50mm s35 prime, we thought we'd take the Komodo's auto WB for another spin. And just like our other footage where we dialed in our own Kelvin, it looks like there is indeed an unmistakable... Continue Reading →
RED: How ISO Works
Clarity and conciseness are such rare commodities these days! Nowhere has this been more evident than in the deluge of muddled videos cluttering YouTube since the release of firmware update 2.00 that adds Cine EI to the Sony FX3. Whenever possible, when searching for reliable information, it’s usually preferable to go straight to the source,... Continue Reading →
As Easy as Using an iPhone
It's so liberating to be able to view the false color guides and histogram, adjust white balance, ISO and aperture, pull focus, change the aspect ratio and frame rate and format media - all with an iPhone.
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... Continue Reading →
The Daejeon Chronicles 