Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Gamma & Density's 3cP / RED Workflow Solutions Seminar - January 17th!

Tico said:
Sanjin, I have been testing it for the last few days and haven't come across any noteworthy bugs. Been working great so far over here. I've had problems viewing certain types of material (i.e. XDCAM) but I think I know why and will address that in due time. Right now, it's running on my testing platform.

At any rate, do you care to elaborate on the bugs you've found?

As always, thanks in advance...

:)
Click to expand...


The third happend that clip I set all the profiles wonted to have but then I've got (generate AppleProResHQ-not dailies) just the starter file and not that I profiled.

Repeated a couple of times, have got the same, started the new project and again happened the same thing.

Maybe I doing something wrong but more that is a bug in the software.
 
Nick Shaw said:
If you use the demo, and try to access a feature which is disabled, such as CDL export, a window pops up telling you to contact G&D for a time limited demo license.
Click to expand...

Thanks Nick!
 
Sanjin Jukic said:
The third happend that clip I set all the profiles wonted to have but then I've got (generate AppleProResHQ-not dailies) just the starter file and not that I profiled.

Repeated a couple of times, have got the same, started the new project and again happened the same thing.

Maybe I doing something wrong but more that is a bug in the software.
Click to expand...

If you choose a non-dailies export, it doesn't apply any color color correction.
If you export a 'dailies' ProRes, you will get the CC applied, and also an optional slate and timecode burn-in, depending on your settings.
 
I went ahead and purchased one. The color grading session for the feature film is coming up, so took my chance.
 
Tico,

I also spent some good hours yesterday to figure out something without the 3cp, but I'm hoping, too, that it will get the consistency we need!
 
Tim Sutherland said:
I think that with an 8-core, 3cP can go real-time, but I believe you have to de-check MAX like in scratch. I'll give an update soon.
Click to expand...

Don't mean to steer this thread away, but just a quick correction...

With new hardware from BOXX and Globalstor, you do not have to de-check MAX for realtime playback in SCRATCH.

Lucas
------
ASSIMILATE, inc.
LA, CA, USA
 
ok, so i bought 3cp today. am looking forward to playing with it very much. this will work with .r3d's correct? not proxies or anything weird. 4K .r3ds?

Also, can I get an HD SDI video feed out of this software that can display the colorized look on the .r3d's?

I know, I know, 'what are you doing buying this when you know so little about what it does?' is what many of you are thinking. I have a shitload of work coming up and I want to start playing with this option, as I am a big fan of the theory behind it, and its ability to make color settings talk to a wide variety of grading applications, so i bit the bullet, and bought it.....

playtime soon, and any advice on how YOU use this tool on set would be greatly apprecitaed....
 
I read in accompanying texts with the demo version something like:"..in case you want to export files from 3cp to use them in color finesse.." I guess that means that 3cp is not enough as a colour correction program; I wonder whether that is only because of a lack of secondary color correction possibilities, or are there other reasons?
 
Hans

Hans

hans de vries said:
I read in accompanying texts with the demo version something like:"..in case you want to export files from 3cp to use them in color finesse.." I guess that means that 3cp is not enough as a colour correction program; I wonder whether that is only because of a lack of secondary color correction possibilities, or are there other reasons?
Click to expand...

Hans,

3cP is tuned for use in production, feeding post-production. It's not
intended for final color correction, in the same way that a da Vinci
color corrector isn't intended for on-set use.

3cP is designed for use by cinematographers and post-production people,
and as such, has a simpler, easier-to-use interface than most full-blown
color correctors. Particularly when used on a busy set, there isn't the
luxury of doing the sort of fine-tuning and tweaking of color that you
would want to perform in your final color correction session.

The color correction created using 3cP is used to generate dailies and
the files for your editor, so that everyone viewing the footage, from
production until the final edit is locked, is viewing the "look" that
was intended by the DP.

Once the footage is edited, then it's time for final color correction,
whether for output to film, DVD, or the web. For that task, you're
probably going to choose to use a full-blown color corrector intended
for use by colorists, whether that's Color Finesse, da Vinci, Apple
Color, Pogle, Lustre, etc.

3cP makes it easy to transfer the color decisions you made on set into
these color correctors, either by direct transfer to Color Finesse or
Apple Color, or via ASC CDL to da Vinci, or 3D LUT to any of the other
correctors.

There's no reason why you *couldn't* use 3cP for final color correction,
but we believe in producing the proper tool for a job. And 3cP is the
proper tool for on-set production use.

Gamma & Density Team
323-436-7593
www.gammadensity.com
laoffice@gammadensity.com
 
luki said:
Don't mean to steer this thread away, but just a quick correction...

With new hardware from BOXX and Globalstor, you do not have to de-check MAX for realtime playback in SCRATCH.

Lucas
Click to expand...

Thanks for the info Lucas, I wasn't aware of that fact. Sorry, I didn't mean to disinform.

ok, so i bought 3cp today. am looking forward to playing with it very much. this will work with .r3d's correct? not proxies or anything weird. 4K .r3ds?

Also, can I get an HD SDI video feed out of this software that can display the colorized look on the .r3d's?
Click to expand...

3cP is indeed reading off the raw R3D files in every resolution. And yes, you can get HDSDI video out with a Kona card or Matrox MXO2. It's great that way.

hey tim,

care to post your step-by-step on what are you doing to calibrate your monitors for use with 3cP? thanks.....
Click to expand...

The monitor calibration works very much like the way the advanced options do color calibration within the OS. You use sliders to match colored circle to the background of lines, and then at the end you make fine adjustments based on their chart, which is pretty simple.

I've found 3cP incredibly great to use as a pre-production tool as well, doing quick corrections on location stills I've taken for a Day-For-Night shoot. The preset translated perfectly into apple color, which made things super easy.
 
in 3cp there is a option to set the vectroscope to 75% or 100%.
there is someone that can explain me better the difference and when using one option instead the others?
tnanks
ivan
 
3cp batch processing ?

3cp batch processing ?

after having 'graded' more than one clip in 3cp, how do I batch these for output render ? I can only do one at the time, the one loaded / active in the GUI ...
 
Did anyone see the full version of this in action? There was a lot of hype about a showing at NAB.
 
If anyone has used this on a Red One feature, please post your experience and the way you set up your shoot to best utilize the tool.

I'm curious how one can implement the 3cP grade into an external monitor feed on set. Do you need some kind of LUT box in the chain to do this? Or a Cinetal monitor? I presume you can't yet load 3cP looks into the camera?

I've read that 3cP is optimized to be used with a calibrated Apple Cinema Display. Is calibration of other monitors (i.e. Pany 17") supported?

Thanks.
 
MJ KERBER said:
If anyone has used this on a Red One feature, please post your experience and the way you set up your shoot to best utilize the tool.

I'm curious how one can implement the 3cP grade into an external monitor feed on set. Do you need some kind of LUT box in the chain to do this? Or a Cinetal monitor? I presume you can't yet load 3cP looks into the camera?

I've read that 3cP is optimized to be used with a calibrated Apple Cinema Display. Is calibration of other monitors (i.e. Pany 17") supported?

Thanks.
Click to expand...

I haven't used it on a feature, but I have used it quite a bit. For the external montior, I have set up a Pany 17" with a Matrox MXO2 card, and you can do the calibration on that as well.

As far as batch rendering goes, let me try something soon and I'll let you know how it goes. One really good thing to remember is that you can store up to 8 presets in the F1-F8 keys as mentioned in the manual, that seems really handy for me.

Tim
 
You must log in or register to reply here.
Back
Top