what's wrong? can't get gamma right on export

[XiaoSu Han]

Hi!

I did quite a bit of reading the last days since I am going to be a RED owner soon, I also downloaded a few R3Ds (thanks to Gregor Hagey) to play around in RED Alert! and now something puzzles me.



When exporting from REDAlert, the thing on the picture above happens, the gamma is much higher than in the REDAlert window, how could I prevent this?

Color Space is REDspace and Output LUT is set to REC709, everything else should be normal, quarter size ProRes HQ

Anyone got experience with that and how I can change it?

thanks in advance for any help

[OsamaRasheed]

hi Xax
this problem happen as i think because of 2 resones

2, the Quick Time movies always have a problem with Gamma. it always jump with the gamma. and for this i usually check on the option box in the project stting in after effect MATCH LEGACY AFTER EFFECTS QUICK TIME GAMMA ADJUSTMENTS.

1, the RAW files have no color space. that mean when ever you will export file from rel Alert it will be out with out color space and it will be assigned by the movie player or editor. so it depend on which software and which ability it has to change the color of space of the footage. for example that after effect can mange the color space changing. sorry there are five color space exporting options in red alert as you know : REDspace. red log,REC 709... etc. but the real problem when you go into your system and check which one is can the system handle you will find only REC 709 'HDTV REC709' , pleas correct me when i am wrong, but this color space is small and it bitty to use it with Red raw. it could have more color option when you use bigger color space like ProPhoto RGB..

my salutation that i use to get the best from the raw files is:
1. export files as TIF or DPX.
2. if i wanna to edit the files with FCP OR Avid I export the DPX or Tif Footage to Offline Files with low resolution, and then Make the Offline and Online workflow Just like that i have high resolution Footage which been scanned from 35mm cameras. in 2K or 4K.
3. Export EDL or XML and reconnect them in After Effect or some where else where you can there with high quality work Like Smoke or Flame.
5. make your Color correction online.
6. make output


i hope that wasnt ballshit what i said.and it could help you. i still searching for the best results.
and i hope there some correction or comments from every one who read this.

Osama RAsheed
Berlin Is so ******* :cold:

[Uli Plank]

Hi Osama,

I'd say if you are working with FCP and Color, then Crimson or Clipfinder will be fine for the workflow until Apple publishes the integrated solution.

If you are living in Berlin, please join us at the user meeting. More details at www.reduser.de . And if you feel too cold there, jump on the train to Braunschweig one hour away, it's nice and warm today ;-)