Colors...

[Luca Volpe]

Hi guys recording in pro-res if I want to have a flat image to then color it what is the best configuration in camera with these parameter:
video source
color space
graded hamma space

also, if I record with prores and raw with the following parameter the grading will be backed in the pro res?
video source: graded
color space: dragon color 2
graded gamma space: redgamma4

can someone tell me working an all these paramenter what exactly will be backed in the pro res?
im a little confused...lol...thanks
luca

 

[Jon Dishler]

My experience is if you set the raw to DC2 and gamma to RG4 this will be baked into the ProRes file. If you use log setting, that will be baked in and allow for better grading of ProRes afterwards, but flat on monitor. If you use a LUT then it will show in the monitor but not be baked into the ProRes file. Others please correct if I am wrong.

 

[Luca Volpe]

In fact I was wondering how to do to have a graded image on the monitor and not backed in pro res...

 

[David Mullen ASC]

Does the camera allow one gamma setting to be used for the ProRes recording but another gamma used for the display?

 

[Brendan H. Banks]

Does the camera allow one gamma setting to be used for the ProRes recording but another gamma used for the display?

Also looking for an answer to this. Would love the R3Ds to record in RedLogFilm (I know, I know I can change it later but it would be easier to start with it there) and the ProRes to bake in a LUT for proxy editing. Post-production teams like me more when I provide LUT'd proxies side-by-side with the R3Ds

 

[Alvise Tedesco]

Hi guys recording in pro-res if I want to have a flat image to then color it what is the best configuration

Luca, everything is baked in the Prores. So white balance accurately and record Redlogfilm If you want the higher headroom for grading later.

 

[David Mullen ASC]

Also looking for an answer to this. Would love the R3Ds to record in RedLogFilm (I know, I know I can change it later but it would be easier to start with it there) and the ProRes to bake in a LUT for proxy editing. Post-production teams like me more when I provide LUT'd proxies side-by-side with the R3Ds

R3D's are raw files, if you recorded a color log gamma image, it wouldn't be raw anymore.

 

[Brendan H. Banks]

R3D's are raw files, if you recorded a color log gamma image, it wouldn't be raw anymore.

Yeah, I totally understand that. Perhaps I used the wrong phrasing -- would love to have the metadata in the R3Ds flagged for REDLOG, while either recording REDLOG+LUT images to the ProRes OR DragonColor/REDGamma to the ProRes. My ultimate goal here is to have proxies that have nice gamma, color, and contrast for the offline while pre-flagging the R3Ds for REDLOGFILM for the online. I find having the R3Ds flagged for anything other than REDLOGFILM entices a busy colorist/finisher to use DragonColor and REDGamma as a jumpoff, when really I want it to start from a more raw (yes, double entendre haha) place.

I guess this is more my curiosity about the capabilities of the side-by-side recording than hard, tangible needs. I mean, the cam isn't even in my hands yet!