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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 :)

IN camera Preset LOOK, I know I will get killed for this

Yeah, no one should get mad at you for using metadata to get a great look in the camera if that is what you want! Great work, I am favoriting this thread to be able to play with your settings!

And as you say, it's just metadata!
 
George D. said:
Hell, I wouldn't kill you for it. You've read my mind. The out-of-camera footage from our Red-One has always bothered me. I agree with you. I don't care if it is RAW and can be adjusted in post. I want to see it NOW with a lot more pazzaz than it normally would be.

I have set up our R1 as per your settings, but there are a few differences that I'd like to ask you about, since you know more about it than I do. I am still learning this camera.

- The FLUT will only go down to -4.0, so I guess I'll have to settle for that.

- And (I know this is stupid), but I cannot figure out how to change the Red Color to 3 and the Redgamma to 3.

Would you please be kind enough to tell me how to alter those settings in our Red-One so I can get closer to yours?

Thanks again, and I'm sure glad to know I'm not the only one that thinks that way.

Take care.

.
Click to expand...
George, your camera can't do Red Color 3/Red gamma 3....yet. New build coming soon that will allow that but not ready right now. So you have to view in RAW (no metadata applied) or Redcolor (older color science).

Personally, I'm not sure I would adjust FLUT in camera but YMMV.
 
scs.jpg


gunleik on my thread that is an honor:) you have some sick grades, I would love to get some of those 3rds and save some of those looks you did :)
 
LOL

I am not much in favor of doing in-camera looks, as you may well presume as it may well mess up your exposure, if you're not carefull.
http://www.reduser.net/forum/showth...RedCINE-Curves&p=995758&highlight=#post995758


However, I am all for everything that works and quite unreligious as to approaches.
If generalizing, though - I am pretty conservative... :)

Looks great!

No point in copying my grades to get looks. Really, isn't! :)
 
Uli Plank said:
Well, you can do a two-stage process: get them reasonably close to the intended look, render ProRes 4444 (or 422 HQ, if you can't afford it) and do a mild final grade.
Click to expand...
Many, many projects go this route with no problem. You're essentially creating a mild "best light" (with still enough correctable range for the final), then going to an extreme at the end stage in color correction. Nothing wrong with that, assuming you're doing a Rec709 or XYZ DCP delivery.
 
George,

There is no difference (other than what you see monitoring on set) between doing these settings in camera or doing them in Red Cine X so even though the Red One doesn't have Red Gamma 3, you can still benefit from it in your transcodes.

Just set up a preset in Red Cine X Pro and you can apply it to all your footage and see if you like it.

George D. said:
Hell, I wouldn't kill you for it. You've read my mind. The out-of-camera footage from our Red-One has always bothered me. I agree with you. I don't care if it is RAW and can be adjusted in post. I want to see it NOW with a lot more pazzaz than it normally would be.

I have set up our R1 as per your settings, but there are a few differences that I'd like to ask you about, since you know more about it than I do. I am still learning this camera.

- The FLUT will only go down to -4.0, so I guess I'll have to settle for that.

- And (I know this is stupid), but I cannot figure out how to change the Red Color to 3 and the Redgamma to 3.

Would you please be kind enough to tell me how to alter those settings in our Red-One so I can get closer to yours?

Thanks again, and I'm sure glad to know I'm not the only one that thinks that way.

Take care.

.
Click to expand...
 
Great thread Greg! Mike said you mentioned it at the party so I had to find it :) Honestly this is kind of what the camera is made for. I think people SHOULD be dialing in a quick look on their shoots for clients, then metering exposure in RAW. As long as you keep aware of your highlights and blacks in RAW, you should be great. I don't think anyone is saying to skip post color grading/correction at all, but this is a great example of what you can do by dialing your look pre-post. And honestly for a lot of people that send there footage right to prores anyway, and never relink to color, this is a great way to get a decent looking image. Kudos to Greg for being bold!

Did you use noise reduction on the high ISO shots?
 
Every lighting setup has it's own particular color temp, therefore it's own look, one cannot be simply copied.

I received my new Sekonic C-500 Prodigi color meter on Monday, and used it Tuesday and Wednesday on a shoot for Nissan Motors this week.

We are shooting with both the new Canon C300 and the Canon 1DS Mark 3. The ability to set the correct color temperature for cameras that processes a compressed file (Canon C300, Sony F3, Arri Alexa), is a huge. As you know, the more you have to correct a file the more damage you do to it, hence, having the color correct is one less damaging process in the workflow, and adds, in faster grading process as well.

I believe with the majority of motion being shot on compressed in camera processed files, the more a Sekonic C-500 color meter will be needed on set, to help give a cleaner file to post production.

Here is a link to my blog, http://reddigitalmotionandstill.blogspot.com/2012/05/correct-color-on-set-every-time.html

With respect to RED, it's meta data, but you can establish a near perfect look in camera, by dialing in the correct color temp and color correction. It can aid in less work for your post colorist, not eliminate, but a few less steps to the final grade. For all other cameras that shoot a compressed file, it's a slam dunk.

Stop guessing!

Von
 
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