Cineon 10bit Log encoding for DPX discussion thread

[Evangelos Achillopoulos]

Jump in and correct me if I'm wrong, but if there was a button in one of the Red transcoding apps (Alert, Cine, or Rushes) that simply output a properly encoded Cineon DPX file, you could have a traditional film-style post from that point on. A workflow that everyone knows, is comfortable with, and understands...

Alleluia... or... Halleluya...!:emote_happyhappy:

What's your way, using Autodesk's road or starting with redlog and make some adjustments?

The second... with losses...

 

[Rainer Fritz]

Steve, I'm with you, but have you tried to take a for example redlog material on your calibrated LUT and started to grade and made a print of it? If yes, please tell us your experience.....

 

[Steve Shaw]

Steve, I'm with you, but have you tried to take a for example redlog material on your calibrated LUT and started to grade and made a print of it? If yes, please tell us your experience.....

Yep, I do this a lot - and it works exactly as it should. No problems at all... I've done all sorts of different Red projects and have never had a problem with this approach.

I have listed my workflowe on the Light Illusion website - which is basically RedLog/CameraRGB - 10bit dpx. I use Quantel Pablo for this ingest and conversion and the DI grading.

I really can't see what the fuss is about? I never suffer 'losses' with this workflow???

 

[M Most]

Steve, I'm with you, but have you tried to take a for example redlog material on your calibrated LUT and started to grade and made a print of it? If yes, please tell us your experience.....

There's nothing inherently unique or unacceptable about the Redlog curve. The primary difference between it and a Cineon curve is that if one looks at Redlog material through a typical print preview LUT the material will appear overexposed. Offsetting the values down the histogram and/or reducing the values by either a brightness adjustment or a multiplication operation will put the image in a usable range. What Evangelos is taking about is the fact that this does not directly and repeatedly yield an image that is directly representative of the photographic intent. It is certainly usable, but requires some color correction expertise to achieve a "perfect" starting point. Steve is certainly correct when he says that there is really no problem. But Steve is also a colorist who knows how to achieve a proper image. The Redlog curve was designed to retain the most precision when converting Red RAW images to a 10 bit format. It was not designed to directly produce an image that is photographically accurate when put into a film targeted DI pipeline.