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Exposure For Red/ Best ASA

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Anthony DeRose
Exposure For Red/ Best ASA
on Sep 30, 2009 at 11:52:30 pm

Have some questions about exposing the Red image.

I read the article posted on creativecow "Exposing the RED: Perfect Exposure, Every Time" which was very helpful but still have some questions.

Can you treat the camera the same way as a film stock and use a light meter to get your lens stop? I've read that most people use a meter to check their ratios and then go by the monitor and tools (predator, in camera spot, histogram) to get their desired stop. Is the monitor good enough to give you a idea of how you exposure is? One student project I worked on the DP treated the monitor as if it was a hvx screen setting his lens like that.

Also what is the preferred ASA to use. I read 320, but I've also heard people prefer 400 or 500.

Thanks

http://www.anthonyderose.com


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Noah Kadner
Re: Exposure For Red/ Best ASA
on Oct 1, 2009 at 4:43:34 am

It really comes down to practice. Most RED DPs use a combination of the onboard tools and a properly calibrated monitor to achieve a proper exposure. A light meter is definitely one way to go but probably not as common. As far as ASA you typically want to be at 320.

Noah

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Gerardo Flores
Re: Exposure For Red/ Best ASA
on Jun 17, 2011 at 4:09:17 pm

Hi Guys

Why you say that typically ASA must be 320???
I was mustily using 100 - 400 ASA before but whit the new cameras that
you have sometimes even more than 6000 ASA why not to use it....

I mean there is any other problems that can give me a high ASA apart form the noise???


Best Regards

learning after effects


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David Battistella
Re: Exposure For Red/ Best ASA
on Jun 17, 2011 at 6:13:25 pm

The recommended ASA rating for the camera from RED, the Manufacturer is;

RED M sensor 320 ASA
RED MX sensor 800ASA
EPIC MX sensor 800ASA

These are the guidelines given to us as the "sweetspot" for exposure of their sensors.

David

______________________________
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Gerardo Flores
Re: Exposure For Red/ Best ASA
on Jun 18, 2011 at 9:10:23 am

Thnak you David...

But please tell me what is the higher ASA that RED cameras are able to work with???
and what about those low light shoots???

We must always use enough light ti work with 320 ASA
or it is possible to do it in another way..

Please tell me and this settings ( RED M sensor 320 ASA / RED MX sensor 800ASA / EPIC MX sensor 800ASA ) are Just for RED cameras or is recommended to work like that whit every camera???

Best Regards

G.

learning after effects


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David Battistella
Re: Exposure For Red/ Best ASA
on Oct 1, 2009 at 10:51:54 am



Hey Anthony,

I'm glad you found the article effective.

[Anthony DeRose] "Can you treat the camera the same way as a film stock and use a light meter to get your lens stop?"

Yes. For sure. As a matter of fact you can rate the camera anywhere between 250 to 500 (depending on various lighting conditions) and then meter and shot accordingly. You should note that the native rate of the sensor, as suggested by RED is 320 and that is the camera's sweet spot. The push/pull ability of RED compared to film is not the same. if you blow stuff out on RED, it's gone.

[Anthony DeRose] "Is the monitor good enough to give you a idea of how you exposure is?"

Yes and no. Personally, I never use a monitor to judge anything other than the EXPOSURE of the RAW file. The reason is this. RED has a lot of variables in the pipeline. It's best to expose RED Mysterium for a correct histogram rather than what you see in the monitor.

Tools I use typically. Light meter set to 320 to gage what the sensor is getting. False color to see if and where the image is being blown out. Edge highlights for focus to tell me which pixels in the frame are the sharpest pixels in the frame (yes that is how it works, it actually measures the sharpest pixels, which I trust more than the tape now).

[Anthony DeRose] "Also what is the preferred ASA to use."

Three scenarios.
Outdoor high contrast 400 or 500ASA (a nice way to protect those highlights)
indoor light scenes 320 asa.

THE KEY:
Know your histogram and what it is reading. Exposing to the right with RED gets you the widest image data and leaves you the most room to move the image around in post. Riding the edge with RED and starving it of light really limits you in post and increases grain, etc. (which is a look you can easily achieve with properly exposed material).

I know that Noah suggests a properly calibrated monitor, but I actually think that can be a bit dangerous because it can fool you into what you think you are getting. To really understand the tool and use it to it's fullest in every situation (like that time you shoot in some uncontrolled situations) then it is better to know the tools I have above.

I'm not a big fan of lighting to the monitor with RED, I know it is necessary in HD or video to do this with calibrated monitors because WYSIWYG, but RED is no HD or video. it's Digital Cinema so treat it more like film.

Happy filming!
David




Peace
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Anthony DeRose
Re: Exposure For Red/ Best ASA
on Oct 2, 2009 at 4:28:49 am

Thank you for the help cleared up a lot. I also read in your article to keep shadows in the range of 20-30 IRE, skintones 40-50, and highlights 70-80.

In false color what color do they give if the image is underexposed? I know magenta is clipped whats it if the shadow is crushed?

Thanks

http://www.anthonyderose.com


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David Battistella
Re: Exposure For Red/ Best ASA
on Oct 2, 2009 at 9:18:07 pm



Teal, blue, dark blue, purple. Purple being the darkest part of the image.

Skin tone is pink!

David





Peace
Check out my new web series.
http://www.ripperhockey.com


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Dana Shelayne Kroeger
Re: Exposure For Red/ Best ASA
on Sep 23, 2011 at 10:57:18 pm

How can one compare the RED to film? Film does not require exposing the blacks to a certain point, thus overexposing all, only to crush it in post so there is no noise in the blacks. Not too mention, each RED is unique in it's true exposure. Don't trust 320ASA, test the camera. It can barely handle 2 stops in white highlights. A DP must use the RED tools to be safe. With film, all a DP needed was a light meter.

Lastly, if RED was smart, they would make a monitor that shows desired REDCine as opposed to forcing a DP to go back and forth from RAW to REDCine, to make the client happy.

If they do it, they owe me money for the idea. You heard it first hear, from me!

RED is simply a computer, not a piece of equipment built by people who understand photography or the rough conditions film cameras must be able to endure to make a grueling day. Yes, we all have had to adapt, but now we have a kazillion wanna be DP's that don't actually know how to light a scene, but get paid as DP's. The RED is NOTHING like film!


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