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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 :)

RED ONE Film Out Workflow Diagram with FCP/Color

Kaku Ito

Kaku Ito

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That's really cool, BUT I have had some issues with different results from DPX/r3d's when removing the LUT in color.

Haven't had time to re-check. Have you doublechecked this
 
I'm going to update this workflow since I could make DPX go back and forth between FCP and Color but realized I had freeze frame.
 
Great Workflow explanation

Great Workflow explanation

Hi,
Thks for this great post.Just want to clarify that in the last stage if I send the DPX or CINEON out direct for film recording what happens...ie without the DI?
( The question may look silly but still......)
Thks
HS
 
Hi,

We saw the DLP out of DI (Da Vinci), looked really good and the film out was identical to what we saw on DLP. When we took the DPX to the DI (out of Color) we saw some gamma shifting, the highs were pushed up little and dark area was pushed down a little.
You could go direct but it would be nice if the film recording facility has LUT for Color DPX.
 
Kaku Ito said:
You could go direct but it would be nice if the film recording facility has LUT for Color DPX.
Click to expand...

Which is exactly what we offer...

LUT's specific for your display and of coarse for Color...

Read the links on my signature...
 
Evangelos,

I actually want to offer something like that in Japan. Maybe franchising?
 
Digital Projection

Digital Projection

Hi,
What happens if the output is not for film but only to be released digitally on D5 format to be shown on projectors...Do we require the same LUT ,Gamma etc or we can work in a video workflow?
Thks
Harcharan:innocent:
 
In Japan, I hear DLP projectors at theaters are not so precise in color setting so one has to master the project on a tape really perfectly (I would think).

So, you would have to have a good reference monitor, color grade it according to that, then lay it out on the tape and check to see if transfer looks the same as how you grade it. When you can't really expect various projectors to be not matched, all you can do is to master it at very much in the middle of everything, so it would play all of the range within the standard I guess. What do you think Evangelos?
 
Refence monitor???

Refence monitor???

Hi,
What reference monitors are you using for grading for film out?I have an Sony LMD1700 with HD-SDI input through my Kona 3 card?Will this serve the purpose or anything special is required..I heard CRT monitor are best for Color grading ...such as Sony FW900 24inches.
Thks
HS:sarcasm:
 
D5 is 4:2:2 10-bit and Kona 3 can output 10-bit 4:2:2. I don't think LMD1700 can monitor 10-bit (since the panel is 8-bit I assume), the correct way is to get master monitor with 10-bit panel like BVM-L170 or PVM-L230. I own a BVM-D24, then adjusting my Bravia 50 inch 10-bit Panel (connected via HDMI from Multibridge Pro) side by side gets pretty close (it does have viewing angle issue), so I haven't tried it yet but new Sony LCD master monitor with 10-bit panel should be pretty good. With your Kona 3, you can even monitor 4:4:4. Anyone tried these yet?

I was told only issues with FCP and Color are thier output even using Kona or Blackmagic turns 1.8 gamma. Anyone figure this out yet?
So, this is the reason why you should actually verify what you mastered on D5. I'm thinking I should get HDSDI waveform monitor.
 
For broadcast and REC709 or for 1080p Projectors these monitors are OK...

For film out stay away from LCD's... FW900 is a good example... but it needs color management to perform...

The problem is the low-low black linearity, below 10% (IRE)... its not only how deep is the black... When VGA cards with HDMI 1.3 came out, like the new ATI's, then a JVC 750 projector would be perfect for film grading... with color management again...
 
Evangelos,

How much can you setup my BVMD24 and Multibridge Pro for?
How do you over come FCP and Color output being 1.8 gamma?
 
Did any one tried the FCP.mga LUT thats on Colors display LUT's folder?

Try it as a view LUT or as render LUT and see if it fix anything...

BVM-D24 is one of the best monitors ever made it can outperform an FW900...

The consulting fee is 1500 euro's and include two film out test prints... read the link on my signature for more info...
 
No, where's that at?
 
ah, I see it in Color package content. How do you utilize that?
 
Found it in import menu....
 
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