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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 :)

color- color science

ThomtheEditor

ThomtheEditor

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Color and red alert used to have the same color science in that if something was done in red alert for example the same change would yeild the same result in color; now just opening up r3d's in color drastically changes what they were working off of in the proxies.

Any thoughts? workarounds? new fcs builds?
thanks
~T
 
This is something a fair number of us have been waiting for, but there's no news.

Personally, having experienced small-unit software development first hand, I'm going to guess that we're not going to see anything in the lines of a new Color Plugin until RedCine-X is done.
 
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that's fair enough; but at the same time it sucks when people expect to come in for a basic curves pass and it winds up being a full on balancing session!

Thanks for getting back to me; & if you hear anything if you could keep me updated or bump up this thread or something that'd be great!
~T
 
If it could work for your workflow, you could think about doing a new color science one-light in RA, ClipFinder, etc. to ProRes 4x4, as that is such a powerful codec now, and doing the detailed grade from that in Color. Now, as a DP, I really like the idea of staying RAW right through to Color as well, but if the color science hitch is losing you time, this might be the way to go for now.
Peace,

-Harry
 
Harry Lipnick said:
If it could work for your workflow, you could think about doing a new color science one-light in RA, ClipFinder, etc. to ProRes 4x4, as that is such a powerful codec now, and doing the detailed grade from that in Color. Now, as a DP, I really like the idea of staying RAW right through to Color as well, but if the color science hitch is losing you time, this might be the way to go for now.
Peace,

-Harry
Click to expand...

Just a bad idea.

Pro res is no the greatest thing since sliced bread.

Raw. That is the point and they should f-ing fix it.

Period.

I'm sick of being sold a good idea followed by a mountain of workarounds. Make it work as advertised.


sorry for the riff, but fix it in post is the stupidest, oldest, most ridiculous statement of all time!
David
 
David Battistella said:
Just a bad idea.

Pro res is no the greatest thing since sliced bread.

Raw. That is the point and they should f-ing fix it.

Period.

I'm sick of being sold a good idea followed by a mountain of workarounds. Make it work as advertised.


sorry for the riff, but fix it in post is the stupidest, oldest, most ridiculous statement of all time!
David
Click to expand...

Hey David-
I definetley agree that Pro Res is not the greatest thing since sliced bread. I mean, I have to say, bread, already sliced? Really cool :001_smile:
But really, I agree it needs to be updated, but I'm not sure I'd say fixed. It's not exactly broken. Heck, it can even still handle the newest footage off the newest builds, it just isn't using the new color science. So, it really is advertised as working. And I don't think my suggestion is just a bad idea. Honestly, I agree with you, RAW is the way to go. That's why I really like the whole RED workflow. But in the end, a finished product is not going to suffer tremendously because it was encoded into visually losless ProRes along the way. Anyway, no hard feelings man. I know how you feel, and I think pretty soon, things will start falling into place and working like we imagine they should.
Peace,

-Harry
 
Colors RED-raw workflow needs to be fixed. In many ways.

Untill then, DPXs are still the name of the game. Even in 1.5.

But DPXs are not a bad alternative...
 
DPX (And ProRes) carry a pretty heinous disk space/render time cost though. Not all of us have the super-maxxed out octo-macs and Red Rockets. As one of those people, native RAW support in Color is a pretty big draw. Whereas the lack of new color science is a major drawback.
 
I don't really think the old one was too bad either. Quite noisefree if you treated it right. The way Color handles the RAW files makes it kind of a show-stopper for some lines of work, while it may well fitr other. It's better in 1.5.

Better is not neccessarily good enough for all uses...

DPXs work "good enough" for more uses, but have the drawback of RAIDS and faster machines... Well, not really. Just the RAIDS, actually.

And you can have a working SATA RAID for pretty cheap these days... With a MacPro of sorts...

But I DO agree. RAW Should have worked in color, and the faults are so annoyingly irritating and -seemingly - unneccesary...

But, then again... Who am I to know what is neccesary...
 
Harry Lipnick said:
Hey David-
I definetley agree that Pro Res is not the greatest thing since sliced bread. I mean, I have to say, bread, already sliced? Really cool :001_smile:
But really, I agree it needs to be updated, but I'm not sure I'd say fixed. It's not exactly broken. Heck, it can even still handle the newest footage off the newest builds, it just isn't using the new color science. So, it really is advertised as working. And I don't think my suggestion is just a bad idea. Honestly, I agree with you, RAW is the way to go. That's why I really like the whole RED workflow. But in the end, a finished product is not going to suffer tremendously because it was encoded into visually losless ProRes along the way. Anyway, no hard feelings man. I know how you feel, and I think pretty soon, things will start falling into place and working like we imagine they should.
Peace,

-Harry
Click to expand...

Hey Harry,

It wasn't a shot at you. Let me soften my position. I'd like to see it implemented soon. It took me weeks to find a decent workaround to reconnect R3D media in Color. I love the results I am getting with the workflow I have implemented that works beautifully.

I am pretty sure that implementing the new science is an Apple issue and not a Color. They've some some nice things in 1.5 but I wish i'd see FCP updates as fast as I see itunes ones...

It's all good.
with peace
David
 
Gunleik Groven said:
I don't really think the old one was too bad either. Quite noisefree if you treated it right. The way Color handles the RAW files makes it kind of a show-stopper for some lines of work, while it may well fitr other. It's better in 1.5.

Better is not neccessarily good enough for all uses...

DPXs work "good enough" for more uses, but have the drawback of RAIDS and faster machines... Well, not really. Just the RAIDS, actually.

And you can have a working SATA RAID for pretty cheap these days... With a MacPro of sorts...

But I DO agree. RAW Should have worked in color, and the faults are so annoyingly irritating and -seemingly - unneccesary...

But, then again... Who am I to know what is neccesary...
Click to expand...

I agree with you here. I think that what we all see here is potential and possibility. THose two things are very attractive.

The ability to debayer the RAW in color and have the RED tab is a very powerful tool. It puts a very powerful tool into the hands of many users. A great colorist will do wonders with apple Color and for anyone that works in RAW that is the biggest feature.

I have the workflow down pat now, i'm just waiting for the COlor science.

David
 
What I HATE about the color workflow is that you are limited to doing a half high debayer. That is why I refuse to use R3D files directly in color, but I really wish that I could.

In regards to prores vs DPX, I agree with eveything people have said. I have done tests though in regards to the new 4444 codec and unless you are truely digging into the negative a whole bunch, I think it is fine for broadcast and DCP creation. For film out LOG DPX is still really the only way. Wha is everyone else thoughts.

Cheers
Matt Riggieri
 
I'm pretty sure 1.5 is doing a full debayer. Although I haven't actually seen it documented anywhere. But I'm currently working on a 2K shoot, and the renders don't *look* half-res.
 
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