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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 :)

Second Day Goodies

> I don't know why you're grading in linear light though?

I'm curious why anyone would ever use linear, is that common in cine post work? My background is mostly photography and video, where I have never used a straight linear sensor curve, except doing technical measurements (spectrophotometry, as opposed to normal imaging for display).

wait- I see that apparently "linear" mode worked best on their display (!?) I have to wonder what kind of screen calibration is in use on that system outside of the red software. Well, no doubt all will become clear in time.
 
As you say, linear is mostly for special uses, but I'm sure Stu will now pipe up on the benefits and uses of linear data. I remember him having some good illustrations of the benefits of linear data on his blog.

Graeme
 
jbeale said:
I'm curious why anyone would ever use linear, is that common in cine post work? My background is mostly photography and video, where I have never used a straight linear sensor curve, except doing technical measurements (spectrophotometry, as opposed to normal imaging for display).
Click to expand...

It's the color space of choice for visual effects work, where you need pixel value to represent light intensities 1:1. But it's not so good for grading or looking at.

Chances are, RED images will look flat and low-con in Rec709, but that's the whole point of shooting RAW. The color correction controls in Red Alert look to be enough to get a nice contrasty image in Rec709 if that's what you want, but really you should probably apply that correction using dedicated CC tools later.

I think Brook might like the look of the linear images because they have the effect of crushing the living heck out of black?

-Stu
 
It will good to see footage from this shoot....
 
laguun said:
If they would have 4k@12bit or float RGB i would buy another seat in the blink on an eye.

It will be a really interesting IBC. It seems that several nle/finishing/D.I. manufacturers are pretty keen on directly supporting red.
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.. absolutely - i'm just finishing vfx for a second project at 4K on scratch - both were edited with avid - but from SD telecine stuff- so workflow would have been similar on FCP. at the moment just the option to ingest, edit and one-light non-destructively and put out VFX plates on an apple without the back and forthing from the 35mm neg are very attractive - a 2k pipeline in FCP (but able to export 4k plates for VFX) and a scratch online look very very good - basically the workflow lucas from assimilate was demoing at smpte/aftrs in sydney.

will be very interesting to see workflow evelopments at IBC.
 
ProLost said:
It's the color space of choice for visual effects work, where you need pixel value to represent light intensities 1:1. But it's not so good for grading or looking at.

Chances are, RED images will look flat and low-con in Rec709, but that's the whole point of shooting RAW. The color correction controls in Red Alert look to be enough to get a nice contrasty image in Rec709 if that's what you want, but really you should probably apply that correction using dedicated CC tools later.

I think Brook might like the look of the linear images because they have the effect of crushing the living heck out of black?

-Stu
Click to expand...

Yup, they can look a bit low contrast in REC709, especially in REDLog. And yes, the whole idea here is to get a good starting point for proper colour correction later on.

That's what the DI mode is for - no mucking around allowed in that mode - just get the white balance and exposure right and export, probably 10bit DPX log for a good grading.

Graeme
 
I imported Brook's last screenshot to Fusion 5.2 and added a Gamut node where the Output Space setting was set to "ITU-R BT.709"

This is how it looks now:

534_1188701509.png


It looks different (lower contrast) when displayed through the web browser compared with Fusion's view where it looks more balanced. I think that if you save this .png to your computer and reopen it, it will look better.
 
I don't think adding a post gamma is going help as the "brightness" control is a bit like a gamma control, but biassed towards the shadows much more than the highlights, whereas 'gamma' is centre-biassed.

I think if you want a bit of nice black crush to firm up the shadows, grade in 709 and add a touch of "contrast" - not much, just enough...

Graeme
 
Graeme Nattress said:
I don't think adding a post gamma is going help as the "brightness" control is a bit like a gamma control
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Graeme you are right but i didn't touch the gamma or the brightness. The Gamut node in Fusion converts images to different colour spaces.
 
Ah, but brightness had been altered in the original image before you adjusted it.....

Graeme
 
I apologize for the lack of activity her eon the board. We have been busy shooting alot of stuff. We are utilizing more time shooting and learning the camera..however we will get to posting alot more. Before we are done here, we'll post up some 2k dessert.
 
tonaci said:
Before we are done here, we'll post up some 2k dessert.
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nightcandy! man, the vfx renders i monitored here in the studio are done since 90 minutes and i am still sitting here :)
 
Also keep in mind that it's set to ISO 500, try setting that to 320 with a rec709 gamma curve
 
earthling said:
Thanks Rob, were you there for D day ?

See you at IBC next week right ?!
Click to expand...

Yes, I was there. I'll be floating around IBC on Friday. Have to finish REDCINE stuff and so on :)
 
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