Thread: IPP2 color settings in Davinci - having some challenges

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  1. #1 IPP2 color settings in Davinci - having some challenges 
    Member chris ware's Avatar
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    Hello

    With IPP2 being the new standard, I have had some challenges setting up Davinci in the preferences before I begin my grade. I'm filming with an epic w and capturing r3d and prores at the same time. My prores in Adobe Premiere match the r3d in RedCine-X. They match identically. They also match what I saw in my monitor while filming.

    However, when I bring the r3d into Davinci the color doesn't match at all. Then I struggle with it, while trying to grade. Before IPP2, everything matched, and I used Davinci to tweak the raw and then output a 4k final file. I have tried several approaches to get the start point in Davinci to be the same as what I can see in redline-x with the raw, and or the prores in adobe.

    1. In Project Settings in DVR

    Color Science: ipp2
    color space: redwidegamutrgb
    curve: log3g10

    Then the first node gets a LUT from red to help transform it from log3g10 to rec 709

    2. In Project Settings in DVR

    Color Science: ipp2
    color space: rec 709
    curve: bt 1886

    3. In color space and transforms

    color science: Davinci yrgb color managed
    timeline color space: redwidegamutrgb/log3g10
    timeline to output gamut mapping: red ipp2 gamut mapping

    These are my three start points. However, none seem to give me the same start point results for color that redcine-x with the raw and or adobe with the prores. My monitor also matches redcine and adobe.

    How can I get Davinci to start out the same as the other three?

    thanks!!!!!
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  2. #2  
    Senior Member rand thompson's Avatar
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    Chris Try these


    In Redcine-X(Part 1)







    In Resolve(Part 2)


    Make sure your Colorspace and Gamma are the settings of your project. In this case REC709/Gamma 2.4(Bt1886) and be sure to use an IPP2 Output Transform that match this Colorspace and Gamma later in this project as well!!!










    Check all of these that apply to settings in-camera or from Redcine-X that you want to keep



    Uncheck all of the settings in-camera or from Redcine-X that you don't want to keep





    Part 3 in next post
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  3. #3  
    Senior Member rand thompson's Avatar
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    Part 3.....




    Be sure to place your IPP2 Output Transform Lut in the "Last Node" on your Clips Nodetree not in the "First Node"

    With Sample Node Tree, Only Last Node Used






    Make sure to use an IPP2 Output Transform that match the Colorspace and Gamma of this project, in this case REC709/Gamma 2.4(Bt1886).










    Redcine-X






    Resolve


    Last edited by rand thompson; 10-09-2019 at 03:52 PM.
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  4. #4  
    Senior Member rand thompson's Avatar
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    Chris,



    For a "Color Managed " Project, use these settings






    And you Don't use IPP2 Output Transform Luts in a "Color Managed Workflow"










    Redcine-X





    Resolve





    Resolve Color Managed


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  5. #5  
    Senior Member Curtis boggs's Avatar
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    Perfect Rand
    ---------------------------
    Curtis Boggs
    www.cboggs.com

    Cinematographer-DP-Colorist
    Epic-W 8k - G&E
    Sigma Cinema prime set
    Leica-R Cine mod prime set
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  6. #6  
    Senior Member rand thompson's Avatar
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    Thanks Curtis!!
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  7. #7  
    Senior Member rand thompson's Avatar
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    Chris,



    Here's ACEScct. I requires a little more work and a "Gamut Mapping" OFX to help with a better "Highlight Roll-OFF".












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  8. #8  
    Senior Member rand thompson's Avatar
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    Chris,



    Here is the "Woman in Chair" image graded and not just the 4900-Kelvin and -16.00 tint used to show uniformity between the workflows.



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  9. #9  
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    Jesus, that looks like an awful lot of work. I've done 15-20 Red features in the last four years with maybe 2-3 preliminary nodes that set up the overall look, and then everything after that is a trim, a window, or a key. We basically just treat it like film and tweak the Log3G10 with a gamma curve. It's not that hard. If you have a color reference chart, you actually do it very accurately. (Alexa LogC is not all that much different except in the approach.)

    We do try to preserve the DP's choices for ISO, Exposure, and Color Temp, but we'll tweak if necessary if we get into a weird mixed-lighting thing or an overexposure problem. And we refer to the dailies as a reference to understand what the director and DP have been looking at in the months prior to finishing.

    We generally have to work very quickly, so we're talking 250-300 shots in one 10-hour day. If we had 7 nodes and a LUT in front of everything, we'd be there for weeks. Sometimes, simplicity is a better way to go, particularly when you have to hit a specific budget and schedule. And that is almost always the case, particularly for episodic TV and features.

    Fixed Node Trees are valuable, and there's info about those out on the net and on MixingLight.com. We have certain predetermined values we regularly use for Red because we know the starting point works (in about 2 nodes), and you can make an argument for LUTs or DCTLs. I try to stay away from LUTs specifically because of the self-destructive nature of that process and the need to sometimes work in HDR and SDR.

    You can also make a case for ACES, but that presents additional challenges.
    marc wielage, csi colorist/post consultant daVinci Resolve Certified Trainer
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  10. #10  
    Senior Member rand thompson's Avatar
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    Marc,


    It Looks worst than It actually is. I just got to the point where I was doing too many things in very few nodes. The node tree I show above is just my way of knowing in which Node I did what in. I got tired of going through nodes looking for what I did what in. This way I can go into the corresponding Node for each correction. It probably takes about the same amount of time as placing multiple operations in one or two nodes. It's my way of organizing my color correcting thoughts. I also find that certain operators don't work as well with other operators if they are placed in the same node.


    Most of the time I don't use every node, but I'm trying to discipline myself to no more than two operations per Node. The only luts I use now are the IPP2 Output Transform Luts, which IMHO do a great job of transforming the RWG/LOG3G10 image to their respective color spaces and gamma curves.


    I'm also using ACEScct which does terribly with Luts if they work at all.
    Last edited by rand thompson; 10-10-2019 at 12:12 AM.
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