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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 :)

FilmConvert - Film Stock Emulation for Red Cameras

George A. said:
Hi Lance,

Why not RedColor3?
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Hello George,
It's going to sound a bit lame, but we kept it at RedColor2 simply for consistency - our product has evolved over a few years now, and we didn't want customers to suddenly be presented with a new default basis.

If there's heaps of interest though in changing this by yourself and others who've used our stuff, we'd be super happy to change it in the next update - so let us know what you think, as we're always keen to hear from folks on this sort of stuff.
 
Lance Lones said:
Hello George,
It's going to sound a bit lame, but we kept it at RedColor2 simply for consistency - our product has evolved over a few years now, and we didn't want customers to suddenly be presented with a new default basis.

If there's heaps of interest though in changing this by yourself and others who've used our stuff, we'd be super happy to change it in the next update - so let us know what you think, as we're always keen to hear from folks on this sort of stuff.
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Lance I completely understand why you would make that choice. Sometimes consistency is just as important as providing a wealth of options. Having said that, if it's possible to offer an advanced mode where one can go in and choose a different color space, I think that would be very beneficial as long as you are able to tune what you are doing to that color space.
 
Steve Sherrick said:
Lance I completely understand why you would make that choice. Sometimes consistency is just as important as providing a wealth of options. Having said that, if it's possible to offer an advanced mode where one can go in and choose a different color space, I think that would be very beneficial as long as you are able to tune what you are doing to that color space.
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YES PLEASE!!!!
 
Sorry, I'm a bit confused by the filmconvert website and documentation. Are these plugin tools strictly for use with Red footage, or could one use them with say, Canon 5DM3 footage? It's not clear from the website - the examples are for Red footage, but the first paragraph refers to "Digital Camera Footage..."
 
Zach Nelson said:
Sorry, I'm a bit confused by the filmconvert website and documentation. Are these plugin tools strictly for use with Red footage, or could one use them with say, Canon 5DM3 footage? It's not clear from the website - the examples are for Red footage, but the first paragraph refers to "Digital Camera Footage..."
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Hey Zach, Apologies for the confusion - FilmConvert is designed to be used with multiple types of cameras - part of what we do that we think is unique, is that we profile the colorimetry and response of different models of cameras, so that when you're given a film simulation by us, it's tailored to the camera and picture style / profile you've chosen.

Right now, we explicitely support RED, Canon 5D MII & MIII, as well as the Panasonic GH2. We've got plans in the works for a bunch of other cameras as well (we've been working quite hard at making this realllly efficient, so that we can do a bunch of em.), so that you can mix and match within your production. This is a huge part of our value proposition, for as we add new cameras, you'll be able to recieve new profiles with no further cost.
 
Steve Sherrick said:
Lance I completely understand why you would make that choice. Sometimes consistency is just as important as providing a wealth of options. Having said that, if it's possible to offer an advanced mode where one can go in and choose a different color space, I think that would be very beneficial as long as you are able to tune what you are doing to that color space.
Click to expand...

Hey Steve, Thanks for that - indeed, we've always been concerned about making sure that we're stable within a production workflow.

Happily though, we're just about to release a management tool that will let folks download individual profiles, so at that point, we'll be able to add a bunch more color profile combinations for RED stuff - up until now, the build and packaging has been a bit expensive, but once we've cracked that, we should gain alot of additional flexibility on what we can offer.
 
Lance Lones said:
Hey Steve, Thanks for that - indeed, we've always been concerned about making sure that we're stable within a production workflow.

Happily though, we're just about to release a management tool that will let folks download individual profiles, so at that point, we'll be able to add a bunch more color profile combinations for RED stuff - up until now, the build and packaging has been a bit expensive, but once we've cracked that, we should gain alot of additional flexibility on what we can offer.
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Cool. Thanks for providing that update. That's very good to know.
 
Lance Lones said:
Hey Zach, Apologies for the confusion - FilmConvert is designed to be used with multiple types of cameras - part of what we do that we think is unique, is that we profile the colorimetry and response of different models of cameras, so that when you're given a film simulation by us, it's tailored to the camera and picture style / profile you've chosen.

Right now, we explicitely support RED, Canon 5D MII & MIII, as well as the Panasonic GH2. We've got plans in the works for a bunch of other cameras as well (we've been working quite hard at making this realllly efficient, so that we can do a bunch of em.), so that you can mix and match within your production. This is a huge part of our value proposition, for as we add new cameras, you'll be able to recieve new profiles with no further cost.
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Sounds great, thanks!
 
Juan Melara said:
Any chance of getting StatusM Log output via the After Effects plugin? If thats added, you've got my money!
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Hello Juan,
We do have a nascent plan to provide some more log-like stuff in After Effects - we probably won't provide StatusM directly (as the colourimetry of status M does in fact seem to confuse a lot of people), but we do have a mind to include a print-density version of the simulation instead.

We'd be curious to hear if you're super-keen on statusM specifically, or if a PD version would work just as well?
 
Basically I'm just after a Log output of the simulations without your print LUT applied, is it possible to output that without it being StatusM?

Also I'm noticing a big posterization issue with Red footage in the highlights, just below the clipping point. It's not really visible with your print LUT applied, but very visible in statusM. It appears to be a Redgamma issue and not a Filmconvert problem.

It's caused by the sharp Redgamma curve in the highs. I reverse engineered Redgamma and then tweaked it to create a softer rolloff. This solved the issue completely and creates a much nicer statusM output and even a nicer image with the print LUT applied.

Email me at: juanmelara at gmail.com if you want to see some pics of the issue, or I can post them in this thread...

Overall it's a great product!
 
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Lance, is there a way to utilize an HD-SDI output via an I/O card such as AJA or BM? In the case of RED, is there a way to utilize the Rocket for the decode and send the frames to the video I/O card. Even if I couldn't get realtime performance out of this, it would still be very useful for me. I evaluate all video through HD-SDI to a broadcast monitor.

Thanks!
 
Steve Sherrick said:
Lance, is there a way to utilize an HD-SDI output via an I/O card such as AJA or BM? In the case of RED, is there a way to utilize the Rocket for the decode and send the frames to the video I/O card. Even if I couldn't get realtime performance out of this, it would still be very useful for me. I evaluate all video through HD-SDI to a broadcast monitor.

Thanks!
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Hello Steve, At the moment, we don't have a way to pipe the image out directly from our standalone application to an external monitor - the closest thing I could suggest, would be to pull an HDSDI output off of the plugin version of our software via Premiere, for example. This isn't perfect, nor would it be particularly zippy (as the Adobe plugin is not hardware accelerated yet), but ought to work.
 
Lance Lones said:
Hello Steve, At the moment, we don't have a way to pipe the image out directly from our standalone application to an external monitor - the closest thing I could suggest, would be to pull an HDSDI output off of the plugin version of our software via Premiere, for example. This isn't perfect, nor would it be particularly zippy (as the Adobe plugin is not hardware accelerated yet), but ought to work.
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I will see if I can try that.

Just out of curiosity, how big is the challenge of passing along the frames to an HD-SDI out? Is this something on the roadmap or not explored at all yet? I know you already have a ton on your plate.

I think it would be interesting if the RED workflow could go as follows.
> Import R3Ds into Film convert either via file based import or EDL/XML
> Assign RED color/gamma space according to what is supported through Filmconvert (this will require Filmconvert to be matched up with the various RED spaces)
> Create looks
> Pass frames along to I/O card such as AJA/Blackmagic for viewing on professional monitor. Perhaps offer choices of REc709, RGB, etc (Resolve, Premiere, FCP X and Avid are able to do this). Realtime is not necessary in my opinion. Just getting an image to the monitor, with perhaps 10-12fps would be great.
> Red Rocket then assists in transcoding (I assume it has been optimized to do so in current builds already) to a variety of output codecs.

Is this feasible do you think?
 
Steve Sherrick said:
I will see if I can try that.

Just out of curiosity, how big is the challenge of passing along the frames to an HD-SDI out? Is this something on the roadmap or not explored at all yet? I know you already have a ton on your plate.

I think it would be interesting if the RED workflow could go as follows.
> Import R3Ds into Film convert either via file based import or EDL/XML
> Assign RED color/gamma space according to what is supported through Filmconvert (this will require Filmconvert to be matched up with the various RED spaces)
> Create looks
> Pass frames along to I/O card such as AJA/Blackmagic for viewing on professional monitor. Perhaps offer choices of REc709, RGB, etc (Resolve, Premiere, FCP X and Avid are able to do this). Realtime is not necessary in my opinion. Just getting an image to the monitor, with perhaps 10-12fps would be great.
> Red Rocket then assists in transcoding (I assume it has been optimized to do so in current builds already) to a variety of output codecs.

Is this feasible do you think?
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Love these ideas!
 
I just downloaded the trial, and damn!
This is beyond awesome!

Definitely buying this.
How long is the promo code valid for, Lance?
 
Lance Lones said:
Hello Jason,
Indeed, we've got a fine promo code for the Red User forum folks that's valid for a limited time: redUser

Which will get you $60 off the bundle, and $40 off the individual plugins.
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Great ideas Jason! What exactly is available in CS6 for the Windows PC power users here on Red?

Do you have a link for us yet?

Will this product work (for PC) across R3D 4K, 5K and 6K?

Are there any RED cameras (or frame rates) that it won't work for?

Is there any (minor) difference at all about procedures we should expect to follow when using Scarlet vs. Epic with this product?
 
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