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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 :)

Controlling the "look" before letting the files go?

I found the same " look" doesn't work for everything. If I can't attend the transfer I will take a few frame grabs from my copy of the raw files, treat them and email them to the colourist or editor. Its doesn't always work but at least I tried.
 
George Odell said:
Interesting. I asked (the DIT) about white balance but was only shown the color temp "slider". This is what I was after with my original post and now I have that answer. Thank you for bring this to my attention.

I also found a thread from this past April asking more or less the same question... how to do a WB on the Epic.

http://www.reduser.net/forum/showthread.php?77495-WB-(white-balance)-Epic-questions
Click to expand...

I'm going to point out a potential gotcha here since you might make the same mistake I and Will have both made when setting WB using Auto Calc. After you set the WB using Auto Calc, it is really easy to leave your tint set incorrectly by simply using the slider to change it back to a standard value.
If a user either looked at the LCD display or opened up the Color Temp menu option and looked at the display reading 5600k, he might be fooled into thinking he was all set for daylight shooting, but have no idea the tint was changed without looking at the hidden menu found by pressing and
holding the color temp menu. For this reason, I disable my side handle's default Calc. WB function, it's too easy to hit that by accident, think you're correcting the mistake by using the slider to reset only the temp. value, and then shoot some weird tint values until the mistake gets discovered.
I've often wondered how many of us are shooting with what we think is the standard color temp. for our scene and have no idea the tint is still set at a non-standard value.
http://www.reduser.net/forum/showth...Epic-questions&p=992162&viewfull=1#post992162
 
George Odell said:
I assume changes made here become part of the RAW file and not the meta data, correct?
Click to expand...

NO -

Nothing ever changes the RAW file*; you only ever make changes to the meta data.

*when I saw nothing; I mean using any of the control functions on the camera or in RCX.
 
George Odell said:
Nothing? Even the color temp slider?
Click to expand...

Right. Well, in a manner of speaking... The value you enter via the slider is stored in metadata, but that metadata is part of the RAW file. Additional software might add metadata via a sidecar file, but the R3D still contains your in-camera settings in metadata. I'm pretty sure that is correct.
 
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Antoine Baumann said:
...the sensor is naturaly at 5000...
Click to expand...

OK. So now we're getting somewhere. If Antoine is correct and the CMOS chip is calibrated for 5K (more or less daylight color temp) then setting the color temp slider to 5K (essentially nulling any color shifting) with the tint set to 0 (ditto) should give you the unadulterated, uncorrected RAW default image at all times.
 
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George Odell said:
OK. So now we're getting somewhere. If Antoine is correct and the CMOS chip is calibrated for 5K (more or less daylight color temp) then setting the color temp slider to 5K with the tint set to 0 should give you the unadulterated, uncorrected RAW default image at all times.
Click to expand...


But why? You can always, at any point in the pipeline get the unadulterated RAW image. Everything that you change is just meta data that rides in a file beside the RAW file and *can* get laid overtop. But at any point the unadulterated RAW file is still there - nothing ever changes it.
 
You misunderstood... or maybe I was not being clear. I would not suggest to leave things there.

Yes, set the slider to the proper color temp. Yes, set the WB for best flesh tones... if they exist... or use a grey card*.

I'm just trying to understand how the whole system functions and now I think I get it and all you folks have been great teachers.

Thanks : )


*BTW: there was some talk about using an (18%) grey card in some of the threads referenced and why do that. Other than the fact that you can set exposure correctly that way it's also a great source of perfect neutral color. Better than using a sheet of copy paper or the back of the producers script. I often get funny looks from folks when I whip out my grey card and I frequently have to explain why I use it.
 
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Who is in control?

Who is in control?

In most cases I do a one light grade in RCX-P or Scratch, bake an RGB image into ProRes, DNxHD, DPX, etc and send that off along with the R3D native files. If I do the first light in RCX-P, then the .RMD file in the metadata shows my intended color, and, hopefully, that's where the colorist will start.

Any control beyond that is typically held in the hands of those writing the checks, same as it ever was.

Cheers - #19
 
Remember, deciding wich metadata you use (the picture you look at as your reference) will make you decide to adjust exposure/filtering/lightning...
So deciding wich metadata to use (look) will, in the end, change your (raw) image.

Color temp of the MX is said to be close to 5000 kelvin. This would mean : If you want to have RGB values to clip (white) at the same level OR have the same amount of noise in the blacks you'd prefer to filter out any deviation of the 5000k. Remember that the R3D are very forgiving and you have a incredible headroom to play with. I would say it's as flexible as Neg in the scanning suite.

Pat
 
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