Thread: RED TECH | Post Workflow | Adobe Premiere Pro

Reply to Thread
Results 1 to 5 of 5
  1. #1 RED TECH | Post Workflow | Adobe Premiere Pro 
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    11,050
    RED TECH | Post Workflow | Adobe Premiere Pro


    By RED Digital Cinema


    Reply With Quote  
     

  2. #2  
    Senior Member Audy Erel's Avatar
    Join Date
    Nov 2016
    Location
    Jakarta-Bandung, Indonesia (Bali)
    Posts
    277
    This is huge information.. so the best way to get the most out of R3D in Premiere Pro is to apply the IPP2 output transform LUT in the 'Creative' tab of Lumetri. Not as input LUT, nor in the 'Master Effect' tab. I've been wrong all this time!
    SCARLET-W #004760
    Reply With Quote  
     

  3. #3  
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    11,050
    Audy,

    I just found that out after watching the Video Also. Dan Is the Man!
    Reply With Quote  
     

  4. #4  
    Senior Member Eric Santiago's Avatar
    Join Date
    Oct 2010
    Location
    Canada
    Posts
    4,280
    I'm curious as to whether it's safer to conform the RED raw to an editable format prior to the post-work.
    I ask this since I noticed a few posts regarding issues with the Adobe workflow and IPP2.
    Too much to bring up here but curious as to when do we stop using the RED RAW in any workflow.
    I come from the RCX first light then convert to whatever engine that's driving my edits e.g. Avid DNxHR, ProRes4444, etc...
    < Someday I'll be cool enough to have something witty here >
    Reply With Quote  
     

  5. #5  
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    11,050
    Eric,


    There was no issues with IPP2 in Adobe. The crux of that discussion was the Red Team members whom developed or help develop the Red IPP2 workflow wanting to Standardize the IPP2 workflow across multiple NLE's including Adobe Premiere . But, there were Red Members users whom have used a specific Red Raw R3D workflow for years which have made them good money whom felt the change Red made was counter-productive to that workflow. Nothing wrong with the IPP2 workflow in Adobe Premiere other than not having a well defined Color Management system existing inside of Premiere Pro Currently for IPP2 or other Color Managed workflows.

    You can stop using Red Raw anytime you feel you don't need the extra Latitude for Post Processing that Red Raw gives you in post and use another codec like ProRes, DNxHR/HD, Cineform...etc. But when will that be.

    In Davinci Resolve for instance, If the problem is how well Red Raw files playback on your existing computer system, you can lower the Debayer quality while editing and grading and when you are finished revert back to a Higher Debayer quality at the final stage of the Delivery encoding. You can lower the playback Proxy on the Color Page or set a lower proxy Codec like ProRes or DNxHR/ HD in thec" Project Settings" menu to use for the entire project until the end of your grade then use the original Red Raw file to encode into a higher quality deliverable file. You could also use" Optimized Media" as well for the entire project.

    So the only reason I can see for not using Red Raw files is if Harddrive storage is extremely limited or if the Red IPP2 workflow is a completely alien workflow to you.
    Last edited by rand thompson; 08-12-2021 at 11:16 AM.
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts