Thread: Resolve IPP2 colour managed issue... ?

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  1. #11  
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    For whatever it is worth, when using FCP X I always get the exact same IMAGE (colors/contrast/rolloff) as processing in RCX and this matches closely to ProRes out of the camera, but I have never been able to get images to look the same in Resolve, no matter what settings I pick. I just tried this again recently, and quite frankly this is the main reason I have not moved to using Resolve. This is just doing the IPP2/log3G10 and settings to low contrast/soft. Maybe someone could post a comparison of images from RCX and Resolve with the settings to match?
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  2. #12  
    Senior Member rand thompson's Avatar
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    John,



    Here you go.


    Redcine-X Settings

    Preferences found under "Edit" at top left-hand corner of Redcine-X

    Be sure to Enable "Show Advanced Controls" Under the "General" under "Preferences" So that you can use the IPP2 Settings below










    Resolve Project Settings




    Ignore the "Decoder Settings" Area, you can leave these settings as they are, They don't really do shit.






    High Con/ Very Soft IPP2 Output Transform Lut Added as in Redcine-X








    Redcine-X






    Resolve


    Last edited by rand thompson; 01-06-2020 at 03:39 PM.
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  3. #13  
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    I see you added the LUT as a node but not from the settings menus which only produced your LOG starting point? It seems this should be able to be setup right from the decoder settings, which is what I was trying to do. Thanks!
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  4. #14  
    Senior Member rand thompson's Avatar
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    Jon,


    You could also pre-select an "Output Transform" Lut in the Project settings to automatically transform the RedwidegamutRGB/ Log3G10 image.


    In the " Color Management" Table Under the "Lookup Tables" heading in "3D Output Lookup Table" select the IPP2 Output Transform Lut you want to use. Then you won't have to use nodes to apply the Output transform lut. However, you will be locked to that IPP2 transform for the entirety of your project. The Node based approach allows you to choose the best IPP2 transform to optimize your footage.




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  5. #15  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by Jon Dishler View Post
    For whatever it is worth, when using FCP X I always get the exact same IMAGE (colors/contrast/rolloff) as processing in RCX and this matches closely to ProRes out of the camera, but I have never been able to get images to look the same in Resolve, no matter what settings I pick. I just tried this again recently, and quite frankly this is the main reason I have not moved to using Resolve. This is just doing the IPP2/log3G10 and settings to low contrast/soft. Maybe someone could post a comparison of images from RCX and Resolve with the settings to match?
    Hi Jon

    Re Resolve output lining up with Redcine

    There are quite few ways to do this but unfortunately 1000s of ways to mess up;-)

    ...can I suggest you open 1 clip in redcine and export a JPG/TIFF snapshot and a R3d snapshot... if you the create a fresh Davinci project and import them both in.. what do you see? they are identical for me!.. The RMD files will carry the meta data needed to interpret the r3d and the still image will have that meta data baked in.

    Redcine is basically the Red SDK with a GUI. Resolve uses the Red SDK = they will produce identical results if no further tools are engaged.

    Now what gets tricky is that people can badly set stuff up and them ofset the result of what is incorrect process within their grades and get away with it... now if it works that is fine but soon as it doesn't things get annoying!
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  6. #16  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by David Rasberry View Post
    Have DI workflows been abandoned?

    My normal workflow for mixed source footage in Resolve is to process each source on its own timeline for color managed base corrections and color space conversions, then export each corrected source independently to a master quality DI for editing and finishing. In my case I use Cineform since I’m on a PC. Final grades are done to the DI footage in a uniform project environment after editing.
    Sorry I missed this..

    No we are normaly fine as the finally assembly is not done in Resolve and by then we are firmly in Rec 709 with al footgae prepared with a Gamma asumption of 2.4. I have however been looking to HDR and need to be able to move between different tone mappings so figured Resolve may be where we finish completely.
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  7. #17  
    Senior Member Michael Lindsay's Avatar
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    it is interesting that nobodies workflow seems bothered by this.

    Just so I am clear: if I have a RCM project with IPP2 output mapping engaged 'any' GX or Line up chart will be 'wrong'! There is no way to interpret this footage so that it is rendered correctly. Is this not odd?
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  8. #18  
    Quote Originally Posted by Michael Lindsay View Post
    it is interesting that nobodies workflow seems bothered by this.

    Just so I am clear: if I have a RCM project with IPP2 output mapping engaged 'any' GX or Line up chart will be 'wrong'! There is no way to interpret this footage so that it is rendered correctly. Is this not odd?
    As i mentioned earlier, if you were running under ACES i think you'd have the same issues and ACES is a pretty standard workflow for lots of people.

    I guess the question has to be what is the project you've got and the issues. As i thought, you had what was a 'finished' project and need to make changes - so because the project is 'finished' it has all the output mapping baked in?

    I don't think it's that unusual to operate under one final output map

    What's a GX chart (colour calibration?)

    cheers
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  9. #19  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by paulcurtis View Post
    As i mentioned earlier, if you were running under ACES i think you'd have the same issues and ACES is a pretty standard workflow for lots of people.
    sorry Paul I do belive you but I haven't got around to testing... I will try and do this over the weekend...

    I guess the question has to be what is the project you've got and the issues. As i thought, you had what was a 'finished' project and need to make changes - so because the project is 'finished' it has all the output mapping baked in?

    I don't think it's that unusual to operate under one final output map
    of course this makes sense... how do you even composite 2 clips on a timeline if they have 2 differnt output maps applied?

    I don't really have a pressing project issue to solve... but what I am always trying to do is find A) greater Elagancy, Speed, self sufficancy but with clarity and easy communicability of workflow! B) also increase quality ... C) look to the future (HDR is pressing)

    In the simple senario of using Resolve as our gradeing aplication (what we normally do) we don't really have an issue but we are playing with the idea of doing more editing/finishing within it and this is where I see this issue..

    If I going to use Resolve as a more genral purpose mixed use tool it is becuase I am trying to save time by concertinaing direct work with R3d files and other assets and the higest quality (maths not LUTS) aproach seems not avaible in this scenario.. also I can't believe guys using Resolve to work with Komodo rushes in 2 months time will have the training to really get their heads around RCM and best approach Red rushes exploitation...

    What's a GX chart (colour calibration?)
    Sorry I was vague... any colour or contrast line up chart (SMPTE etc)... for example I have a home made chart (I made in fusion years ago) that I stick on the front of sign off material that forces the viewer to check that black and white is where it is suposed to be on their viewing device... I currently have to use a double export to inc this..

    thanks for taking my post seriosily it is helpful dialogue...:-)
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  10. #20  
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    Quote Originally Posted by rand thompson View Post
    Jon,


    You could also pre-select an "Output Transform" Lut in the Project settings to automatically transform the RedwidegamutRGB/ Log3G10 image.


    In the " Color Management" Table Under the "Lookup Tables" heading in "3D Output Lookup Table" select the IPP2 Output Transform Lut you want to use. Then you won't have to use nodes to apply the Output transform lut. However, you will be locked to that IPP2 transform for the entirety of your project. The Node based approach allows you to choose the best IPP2 transform to optimize your footage.




    Thanks for your help Rand, that is exactly what I needed!
    Jon
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