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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 :)

Apple Color REDCODE plugin 4.0 beta

Hi all,

First post for me. I trying this beta frameworks.
Unfortunely, like the others in color 1.5 I have less detail than the FCP debayer.
I don't understand why, everything is Ok with previously plugin on Color 1.0 and since Color 1.5, render is "smooth". And now is the same with this Beta. An idea ?

source : redcode (17,20,21)
render prores 4444 / 2K
sequence parameter : prores 4444 / 10 bit
system pref : High Half
Color render : Proxy render FULL
internal pixel format : floatting or 12 bit
hardware : ATI Radeon 4870 / x1900
 
I went into Library/Frameworks and nothing was there to begin with. When I copied the REDCODE.Color.framework into that folder and opened Color, my plugin was still on version 2.9. Could my copy of Color be accessing a different frameworks folder somewhere?
 
@ Neal Bryant.

It's the system library, and not user library. Maybe you are in the wrong library ?
 
Sweet. Thanks for not letting Color fall behind. Almost there. Just Rocket support and debayer control (both I assume on Apple's end) and we will have a solid grading solution.
 
Cal Brunker said:
Graeme, it's crazy how much FLUT™, redgamma and redcolor have changed the look, I think it might be the biggest step up I've seen in my footage from the beginning. Thank you!

Apple better get on supporting the rocket, and FLUT™/SHADOWS etc. in a hurry!
Click to expand...

AMEN!

- JL
 
I always have used the proxis in FCP, and it works fine when they are sent to Color.

Just a peculiar situation: it only allows me to select either 8 bit of Floating Point; the 10 bit is shaded.

Any explanation? I am picking Floating Point. Is there any problem with this?
 
THe precision choice is GPU dependent. Pick float as 8bit would really limit possible quality.

Graeme
 
Graeme Nattress said:
THe precision choice is GPU dependent. Pick float as 8bit would really limit possible quality.

Graeme
Click to expand...


Thanks Graeme. Yes, I always use floating point for the reason you allude to. However, just to satisfy my curiosity, what GPU issues could be limiting me? I have installed a NVIDIA GeForce 8800 GT. The system profile also mention that my two monitors support 32-Bit Color.

Thanks,
 
Luis Otero said:
I always have used the proxis in FCP, and it works fine when they are sent to Color.
Click to expand...

It does indeed work "fine" but you are missing out on the greatness inherent in your footage (sharpness / detail + FLUT and new color science). I've had clients call out the lack of sharpness enough times now that I can no longer recommend this workflow (at least, not until Apple's debayer codec improves, which it undoubtedly will sooner or later).

Just a peculiar situation: it only allows me to select either 8 bit of Floating Point; the 10 bit is shaded.
Click to expand...

Color is GPU dependent, so this may be a limitation of your particular graphics card.

I am picking Floating Point. Is there any problem with this?
Click to expand...

I always use Floating Point (my understanding is that this is the best choice... correct me if I'm wrong). I've had no issues or client complaints with this selection to date.

Best,

- Jordan
 
Luis Otero said:
Thanks Graeme. Yes, I always use floating point for the reason you allude to. However, just to satisfy my curiosity, what GPU issues could be limiting me? I have installed a NVIDIA GeForce 8800 GT. The system profile also mention that my two monitors support 32-Bit Color.
Click to expand...

My ATI Radeon HD 4870 (which I consider to be only average, no?) supports all precision options in Color. Could possibly be a drivers issue?

- Jordan
 
Jordan Livingston said:
It does indeed work "fine" but you are missing out on the greatness inherent in your footage (sharpness / detail + FLUT™™™ and new color science). I've had clients call out the lack of sharpness enough times now that I can no longer recommend this workflow (at least, not until Apple's debayer codec improves, which it undoubtedly will sooner or later).
- Jordan
Click to expand...

Jordan,

Thanks for your response. However, since the proxies allow me to have the RED tab enabled, why would it not give me the best of the best, due to such flexibility? If the footage is transcoded, my understanding is that the RED tab cannot be enabled. Am I missing something here? Can you clarify, please?
 
Luis Otero said:
Jordan,

Thanks for your response. However, since the proxies allow me to have the RED tab enabled, why would it not give me the best of the best, due to such flexibility? If the footage is transcoded, my understanding is that the RED tab cannot be enabled. Am I missing something here? Can you clarify, please?
Click to expand...

Because the debayer control is not as sharp as what you can do in Redcine (vintage or X) and you don't have controls over adding sharpness, noise reduction or optical low pass filtering at the RAW level like you can in Redcine.

Personally... I use vintage Redcine because it suits my workflow, and I don't make ISO adjustments in Redcine (leave it set at 320) and I transcode to a LOG space then put the contrast back in the image in Color. My grades look super sharp as a result.

RED Tab in Color is a nice tool, and convenient, but it's not arguably the best way to "transcode" the footage.
 
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