Mark Toia
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This is the primary reason why RED is getting a bad name from clients when they see there images in an offline or grading suite for the first time.
I've been to 4 modern day (BIG) post houses in the last 3 months posting my jobs. (which I usually do in house but I've been Overseas posting in these cases)
The 4x I have walked in and seen my pictures I have just died!
What they did is transcode DPX's with on set LUTS from REDcolour or REC709 or something completely effected by burnt in Contrast/colours/whitebalances that was shot on set. etc.. which is very very hard to grade out.
The secret is to expell all that and start from the NEG base... ooops the R3D LOG base.
The same way we have done with 35mm for the last 20 years.
This thinking is what has saved me in POST. I pretend the R3D is NEG and post the same I have for the last 15 years. Problem fixed. If I have an issue with the shot, I go back to the R3D (like I would with the neg) regrade the info I needed from it. Same old system.. why change it, It wasnt broken.
The only problem is (alot) of people are not using the R3D's in this way. They are trying to grade what is already incamera graded. (like what ARRI LOGC PRORES are)
Post house and individuals transcode the same way for there AVID or FCP files with the same ugly looks generated on set.
They say they have been doing it this way for years!... It's no wonder people blame RED, when in fact is was just bad transcoding and nothing more.
So I call in all the POST techs and go through the best easiest way to get the best files from REDLOGFILM, REDLOG transcoding to all or any formats they require.
My method is this. Transcode everything to these settings . (Via baselight, RED CINE X. etc etc etc...
SET GAMMA to : REDLOGFILM, or REDLOG,
SET COLORSPACE to: to CAMERA RGB,
(to get even cleaner whites to start from, MAX out the SATURATION for viewing only, balance the kelvin control to get a (new) pure white balance, once happy with the balance then bring your saturation back to default. DONE.. PRESS RENDER and never look back.
All of a sudden the FCP & AVID guys are grading in the edit suites in pure LOG, The Flame guys have LOG, the Colorist can either grade these same log files or connect directly to the R3D's and have even more grading fun.
A lot of Colorists also don't set there grading tool settings to these settings, but if they do.. they will have the power and more.
I show every Post house I have gone to this method and all of a sudden, RED is AWESOME. There eyes light up!
Post production has always slowed the RED revolution. But all the tools are there to get the most from this camera.
LOGC PRO RES FILES is the only thing that saves Arr's arse in POST.
Once you export REDLOGFILM PRORES like I have just showed you and start grading, It smashes ARRI's LOG C exports.
There is many ways to POST RED. This is one that serves me well, I edit in real time, grade in real time, export in realtime.... I kill it.
Have fun guys.
Some demos:
http://www.zoomfilmtv.com.au/ftp/REDLOG_realtime_grading/Pro_res_in_real_time_(Car).mov
http://www.zoomfilmtv.com.au/ftp/REDLOG_realtime_grading/Pro_res_in_real_time_(Face).mov
http://www.zoomfilmtv.com.au/ftp/Dynamic_range/Dynamic range from a 4444 PRORES _ FROM RED.mov
http://www.zoomfilmtv.com.au/ftp/Dynamic_range/REDMX_latitude_test..mov
http://www.zoomfilmtv.com.au/ftp/FCP_3way_colour_correct/colour_key_RED.mov
EPIC X... where aaaaaaaaaaare youuuuuuuuuuuu......
