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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

when to use REDLOG?

Zakaree Sandberg said:
When would I want to transcode for REDLOG?

special film stock lut applications?
Click to expand...

Redlog has absolutely nothing to do with film or film stocks. It is simply a way of putting most of the useful information in a 16 bit image into a 10 bit container. So you might consider using it if you were transcoding to 10 bit DPX files for finishing in, say, a video environment and wanted to keep all of the available information in the original image. Since it does not apply a proper gamma curve for HD video, however, you are also leaving it up to the colorist to re-establish what the image should look like as a starting point.
 
REDLog was designed as a data-transfer curve for the sensor data down to a lower bit depth.

REDLogFilm is also a good bit preserving mapping, but is better suited to post-grading than REDLog and is also easily invertible back to linear light with a Nuke Log2Lin node. When used in that way it will match with an EXR export.

Graeme
 
I am far form being a big budget house... But we do use redlog almost exclusively... Unless the client requests we start from redgamma or something else...
 
The colorist who does the coloring for a high end gentlemen's magazine monthly videos insists that I deliver Camerargb + Redlog. The client is very particular about skin tone and in repeated blind tests with all of the various combo's the colorist has preferred this combination.
 
I'm not keen on people using cameraRGB unless they're prepared to do all the colorimetry themselves. REDColor is accurate and (more importantly) good looking too and is the preferred choice.

For grading from log I'd prefer REDLogFilm over REDLog. It's hard to describe why it looks better, but it does. However, I've seen utterly superb results from REDLog, so I'm not complaining.

REDGamma works well enough for a more TV workflow, but I think going REDLogFilm will give the best results and be the most flexible with any VFX workflow you may encounter.

Graeme
 
We've been using redlog on TV commercials and promos since 2008, going redlogfilm on the the series now going online, and open exr (most likely) for the VFX work.

Most importantly, though:
Do some tests with your colorist (or yourself if you ARE the colorist...) and find out what gives you the best results, and:
No rule without exception. I can see images where I may well still choose other gammas, but relogFilm is def my stock answer...

Cam RGB used to be the way to go (and was also adviced some 2 years ago), I never was very friendly with the RedSpace gamma, but the redSpace matrix is actually very nice, I just managed to overlook that because I so disliked the gamma with the same name. Redcolor is cool, and the redcolor2 Jim mentioned sounds just about spot on...
 
Graeme Nattress said:
I'm not keen on people using cameraRGB unless they're prepared to do all the colorimetry themselves. REDColor is accurate and (more importantly) good looking too and is the preferred choice.

For grading from log I'd prefer REDLogFilm over REDLog. It's hard to describe why it looks better, but it does. However, I've seen utterly superb results from REDLog, so I'm not complaining.

REDGamma works well enough for a more TV workflow, but I think going REDLogFilm will give the best results and be the most flexible with any VFX workflow you may encounter.

Graeme
Click to expand...

This is why REDuser.net is such an amazing concept; the fact that at anytime someone has a question or theory they need clarifying they can speak out and get explanations and/or opinions literally from the geniuses that created the tech! :thumbsup:

All the best,
 
Straight from the horses mouth so to speak.

Graeme
 
I have only been using redgamma to date, but after reading this thread I gave redlog, and redlogfilm, a chance... boy do they allow you an amazing degree of control over the image!
 
been testing redlogfilm, and I agree, it gives an enormous amount of control in the image, and I'm seeing stuff in overexposed windows I didn't think would come back. Really great when you have the opportunity to start the grade from scratch.
 
Graeme Nattress said:
REDGamma works well enough for a more TV workflow, but I think going REDLogFilm will give the best results and be the most flexible with any VFX workflow you may encounter.
Click to expand...

Provided you understand what it is and understand the use of LUTs, and aren't just trying to use a bunch of custom drawn curves to convert it to a proper graded image - which is exactly what I see a lot of people trying to do, and getting odd greyscales as a result.
 
Everything needs a degree of understanding.....

Graeme
 
I feel like I havent been getting the best out of my image using redcinex alone..

so what Is a good "INDIE" method?

one light a redfilmlog in redcinex.. pump out 4444 prores... finish grade in adobe?
 
Tom.Wong said:
been testing redlogfilm, and I agree, it gives an enormous amount of control in the image, and I'm seeing stuff in overexposed windows I didn't think would come back. Really great when you have the opportunity to start the grade from scratch.
Click to expand...

That's some of the beauty of it...

Play a bit with the exposure/iso and see what more is left up there.

Linear @ 320 can be a nice sanitycheck for the highlights.
 
Zakaree Sandberg said:
I feel like I havent been getting the best out of my image using redcinex alone..

so what Is a good "INDIE" method?

one light a redfilmlog in redcinex.. pump out 4444 prores... finish grade in adobe?
Click to expand...

I think the answers depend on some of the questions.

1. What is your final deliverable? Film, broadcast tv, web, Blu Ray?
2. What is your grading system? Will you be using R3Ds, DPX, Quicktime?
3. Will you be using LUTs?
4. Who is your colorist and what is their experience level?
5. Has the entire system been calibrated?
 
Steve Sherrick said:
I think the answers depend on some of the questions.

1. What is your final deliverable? Film, broadcast tv, web, Blu Ray?
2. What is your grading system? Will you be using R3Ds, DPX, Quicktime?
3. Will you be using LUTs?
4. Who is your colorist and what is their experience level?
5. Has the entire system been calibrated?
Click to expand...

1.) tv/Web/digital projector
2. redcine, color, adobe suite, magic bullet
3. magic bullet
4. me. experience on the systems i named
5. not professionally
 
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