Been using a LUT workflow with the Epic, but it just got easier....

[Timur Civan]

For a long while now, i've used the Epic in a "Non traditional way" and in my opinion have been getting better results.

It all started about 2 years ago, Tom Wong and I designed a "Alexa" workflow, where we run the Epic in REDLogFilm, he would paint a LUT, then run that image to all the monitors on set. you can see that work flow here: http://www.negativespaces.com/blog/2012/10/21/a-video-workflow-for-the-red.html

That was all well and good, but in order to use this method, i needed a DIT on set. What about when i want to use the benefits of a LOG work flow when im with a tiny crew? The answer is the DP7 PRO's latest firmware update. It has a built in 3D lut viewer.... This is so freaking cool... I can put in my favorite DE-LOG luts, that use the full range of the sensor, and let you use your dynamic range to the maximum. You can then apply that very same 3D LUT in daVinci, and have the footage match perfectly, and start grading.

Check it out.http://www.smallhd.com/luts/index-t...utm_medium=email&utm_campaign=3dLutswordisout

I've been using this for a while now, and i have to say its absolutely fantastic.

 

[darren scott]

this is awesome stuff. I don't own a RED but shoot on it occasionally...but I own a BMCC. This def makes me consider this monitor.

 

[Jake Wilganowski]

Hmm, I've been looking at this also. Why is this better than using red log and redline x and exporting a look? Is it just because you an use standard luts that are from a non-red world? Can you, for example, load in a Kodak lut?


And can't the Odessey 7q do this also? Or is it not enabled?


It would be great if someone could take popular luts and transform them into redcine x code.

 

[Timur Civan]

ITS better because you have much more control in DaVinci, and yes its universal, so it can apply to all grading software.

 

[luigivaltulini]

For a long while now, i've used the Epic in a "Non traditional way" and in my opinion have been getting better results.

It all started about 2 years ago, Tom Wong and I designed a "Alexa" workflow, where we run the Epic in REDLogFilm, he would paint a LUT, then run that image to all the monitors on set. you can see that work flow here: http://www.negativespaces.com/blog/2012/10/21/a-video-workflow-for-the-red.html

That was all well and good, but in order to use this method, i needed a DIT on set. What about when i want to use the benefits of a LOG work flow when im with a tiny crew? The answer is the DP7 PRO's latest firmware update. It has a built in 3D lut viewer.... This is so freaking cool... I can put in my favorite DE-LOG luts, that use the full range of the sensor, and let you use your dynamic range to the maximum. You can then apply that very same 3D LUT in daVinci, and have the footage match perfectly, and start grading.

Check it out.http://www.smallhd.com/luts/index-t...utm_medium=email&utm_campaign=3dLutswordisout

I've been using this for a while now, and i have to say its absolutely fantastic.

Timur,
a question, when you apply the lut, the output on HDMI, or the second output HD-SDI remain clean or even get it the lut?

 

[darren scott]

These should answer some questions

http://www.youtube.com/watch?v=ygbEZCiY8vA

http://www.youtube.com/watch?v=Un9HUk4YnVw

 

[Timur Civan]

Timur,
a question, when you apply the lut, the output on HDMI, or the second output HD-SDI remain clean or even get it the lut?

When using the full DIT workflow, they are LOG. But the DIT distributes a painted image to client, director and DP monitors.

When im by myself, usually the DP7 is the only monitor on set, and its just takes the RLF image and paints it.

 

[Doug Beatty]

Hmm, I've been looking at this also. Why is this better than using red log and redline x and exporting a look? Is it just because you an use standard luts that are from a non-red world? Can you, for example, load in a Kodak lut?

From what I understand, Red Metadata is only capable of storing 1D LUT information into the Log/Gamma readout. Graeme, please correct me on this since I am passing on second hand info, but that's all I could find on the matter.

That said, since we're trying to emulate an analog look in the digital realm, you have to transform sensor readout values of hue, saturation, and luminance (x, y, z -or- 3D if you think of the color space as a giant cube) at any given exposure. Since you can't realistically plot every single data point, there is some interpolation that has to happen.

This is a long way of saying R3D metadata isn't robust enough today to handle all of that information and why you need a LUT box or SmallHD DP7. This is a big deal IMO since the cheapest and most portable LUT box on the market is about as expensive as the DP7 LCD.

You can read more detailed info about LUTs on Steve Shaw's helpful site.

 

[Jake Wilganowski]

Can the odyssey 7q do this?

 

[Jason Kraynek]

Timur, are you using the DCI or the rec709 color space on the dp7?

 

[Timur Civan]

709 I believe.

 

[Jason Kraynek]

gotcha. thats what the smallHD guys suggested as well

 

[amber smith]

This is the future of the workflow