Red camera high iso

Here are the full tech specs for the Monstro variant full information on all the variants can be found on the RED website. RED has gone out of its way to create a new purchasing system that gives everyone the same jumping-off point but then allows you to select the camera sensor and add-ons that fit your specific needs.

The 8K resolution will allow you to move in, crop, and focus on areas of your footage without loss of quality. It's cool, but also creates huge file sizes. The price tag is quite steep, and the huge file size that comes along with the resolution means long edit times, tons of storage, and niche viability. The RED Helium 8K can also go as high as 60fps at maximum resolution, but this sensor size is closer to the traditional Super The Helium sensor is pretty much the same as the Monstro VV, but smaller in physical size and has lost half a stop of dynamic range.

Do you need the RED Helium sensor? These two 8K sensor options for RED cameras will be both a headache and a kick to the wallet, so are there cheaper and manageable options? The Gemini has two shooting modes, one is standard mode with a native ISO of , and the other is low-light mode with a native ISO of Low-light is good for concerts, or documentary filmmaking, and produces less noise than the original RED Dragon camera sensor.

The standard mode is still ideal for digital cinema and narrative filmmaking. Do you need the RED Gemini sensor? The RED Dragon-X 5K is the smallest of all the sensors in the lineup and while it still produces 5K video like the Gemini sensor, it loses some of the vertical picture space due to the smaller physical sensor size. The RED Dragon-X 5K still allows you to film true 4K at fps, and still goes as high as fps in full HD, which is still the quality at which most streamable content is provided due to the huge file size of 4K.

Purchasing a camera almost always comes down to application, picture quality, time until next upgrade, and the price. What this basically means is that you need to consider what you will be recording on your camera, the picture quality you gain from it, how long until the camera becomes obsolete and needs to be upgraded, and how much the camera costs. Suddenly, you start to wonder who would win in a fight between a Dragon and an Epic but then you remember one is a mythical creature and the other is just a cool name for a really long poem.

How can you possibly know which RED camera is the best? Furthermore, how can you know which is a camera vs a sensor vs an integrated kit? The RED One is a camera body, brain, and sensor. They later offered upgrades to a megapixel sensor called the "M-X". The RED Dragon is a sensor. Originally it was 6K, but then RED took it all the way up to 8K, but since then decided to scale it back down to 5K, but not before improving and rebranding the Dragon 8K into the Monstro.

It has the original Dragon sensor but with 4. It has an integrated timeline, coloring toolset, and post effects software that allows for non-destructive manipulation of raw. R3D files.

RED has a few filmmakers who love their cameras, so RED did a little marketing scheme where they made custom cameras for a few filmmakers but then made them unavailable to the public. Very clever! This is the RED Xenomorph that features the 6K Dragon sensor — but more importantly, the camera body has everything fully integrated; including the wireless transmitter, on-board monitor, and wireless controls for the iris and focus rings so you can just attach a lens and go shoot.

Create robust and customizable shot lists. Upload images to make storyboards and slideshows. When looking at the Gemini 5K footage from the lowest ISO to ISO , the image seems to be very clean with very little to no noise present across the board. The picture becomes a bit different when moving up to the first native ISO of with a little bit of film grain introduced that can be observed here and there. Nonetheless, the aesthetic of the grain is still organic rather than digital and unpleasantly looking.

When we get into the low-light territory and ISO , however, the grain becomes more prevalent, bordering the look of true digital noise, even though the image is still usable. At ISO more digital-looking green and magenta-tinted noise starts to emerge. At this point, it would be hard to properly clean up the shot from the noise in the shadows and colored areas. At ISO 6, and 12,, the noise and noticeable color shifts become even more apparent, especially in the shadow area of the image.

The next test conducted in the video refers to how well underexposed and overexposed footage can be corrected in post. The first series of tests dealt with underexposure. At one and two stops underexposed, the footage is easily recoverable with the exception of some digital noise present in darker areas of the image.

At three stops underexposed, however, the level of noise in the footage rises significantly, exhibiting a magenta-green cast. Nevertheless, it appears that the noise could be cleaned up with some additional work. Finally, at four and five stops underexposed, there is noticeable color shifting and banding present in the video, making the clip pretty unusable.

At ISO and one stop overexposed, there are no problems found in the image when recovering the clip. At two and three stops over, the footage can still be improved regardless of the minor losses in image detail.