Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

Don Burgess, ASC

I sort of agree with him -- RAW Bayer conversions tend to be on the muted side, whether or not one is using the Red, Phantom, or Arri D21 -- and it's not as simple as just cranking up the chroma after conversion to get a saturated image. I did two Red movies, one desaturated and one super-saturated, and had more problems timing the saturated version because you start to see noise problems in certain channels as you crank up the colors, plus crosstalk issues become more visible. I had similar issues with some Phantom footage in a D.I. environment so it's not just a Red issue.

A desaturated movie hides a lot of color sins, so to speak.

What was interesting about the desaturated movie, "Manure", was that the RAW conversions tended to look pretty close to the final faded look before color-correcting even began.
 
Okay, so that there is why have a long way to go. I do see the muted colors in RAW but I don't treat that "as-is". I usually go to "11" and since I have yet to throw something into a full blow up I just don't dig that deep into the science of the color. Great info David, I really appreciate how active you are on reduser!
 
Does anyone have any example footage of high saturation images with the latest Red build? I'm just wondering if this is an earlier build issue that has been resolved.
 
BradWright said:
Does anyone have any example footage of high saturation images with the latest Red build? I'm just wondering if this is an earlier build issue that has been resolved.
Click to expand...

here are some stuff I graded, some are "very" old. Don't know what build but I belive that the rentalhouses doesn't use alfa/beta-builds when the rent out cameras.

http://shotlab.se/edet.php
http://shotlab.se/mcd.php

I have more stuff on our website, but we are remaking it so now I can't link to a specific clip or even search. We used to have it so you could search for Red and get all the stuff shot on Red sorted for you, maybe on the new site :) Just had a look, and quite a lot of stuf are shot on Red (not as meny as on film yet) like, Comhem, Centerpartiet, Aftonbladet, Unibet-sport, Saab, Iltasanomat, Playstation3.... is you want to click around yourself

www.stopp.se



/Carl
 
I think that when people say that Red has a desaturated look they probably are using RedSpace (colorspace), witch I agree with, it does get a bit desaturated especially if you also start your grade from RedLog (gammaspace).
Low saturation + low contrast together results in VERY low saturation. But thats the same with film in one sence. If you do a propper Log-scan it will look milky in contrast and color. But when you ad contrast the color usualy comes with it.

Onmy DaVinci I have a way to increase the contrast (white up, black down) without tuching the saturation (think they call it something like Luma/Red/Green/Blue separation inside they system and I only controll the Luminance in Lift/Gain. If I would do that to ad Contrast on a RedLog/RedSpace image it would for sure look extreemly desatureated and that would be without doing any desaturation to it (taking croma out)...
If I did it that way I would have to increase the saturation (as a "secendary") on top of that and my client would for sure think after that session that Red always needs heavy up-saturation applyed to get a nice natural picture.
So if a DoP works with a Colorist that likes doing that, and does that... he sould probably get the impression that Red IS desaturated.

But if I instead would have used another grading-controll what doesn't separate LRGB and ad contrast (Luma/Red/Green/Blue-Lift down, Luma/Red/Green/Blue-Gain up) then the color would apear at the same time as the contrast would and I wouldn't had to up-satureate it with a secendary, probably actually De-saturate it a bit, espesially if I started with RedLog/Rec709.

But the super nice about RAW... is that now with the SDK out (even for Linux:) I have the freedom to deside HOW I want it setup DURING the grading and no as a "one setting export" prior the grading (as it was in the beginning)

I've found that if I want a "nice trendy cool look" I set it to RedSpace (colorspace) but if I need "correct color-representation" I set it to Rec709 (colorspace) cus that way I get more colors to start with and they seem to be more true to what it was.
Like on a commercial we did for Comhem, the first time we did that we hade to pick every color-patch in the logo to get it the way the client wanted it. That time we didn't have Red-support in our Resolve, so we got it as 2K DPX with RedLog/RedSpace.

The next time we did the commercial with them we just got Redsupport so we could then grade directly from the r3d native. And then we set the colorspace to Rec709 and the Logo looked perfect, and we could spend the time on setting a look for the overall image without having to worry about the correct color in the Logo.

Here is a link to one of them, so you understand how important it was to get the logo right.
http://www.youtube.com/watch?v=1o2hSApLaCI
 
The 'Book of Eli's' (I've only seen the trailers on apple, mind you) look reminds me of what a great photoshop artist would do with the RED image,

Desaturated, yes, but lovingly detailed tonality within that restriction, big washes of turquoise, brown, over top of graphic ruined landscapes. Definitely not a film/analog color look at all. Which is good because it helps point the way to ideal looks for a RED project...

It's pretty cool that within the first few years of this new and different technology, artists are digging in and going off on great tangents.
 
I hope that the new RedColor will give us a perfect mix of RedSpace & Rec709.
Both Correct colors and a nice image :)
Although, until it's in the LinuxSDK I can't use it
/carl
 
Matthew Bennett said:
The 'Book of Eli's' (I've only seen the trailers on apple, mind you) look reminds me of what a great photoshop artist would do with the RED image,

Desaturated, yes, but lovingly detailed tonality within that restriction, big washes of turquoise, brown, over top of graphic ruined landscapes. Definitely not a film/analog color look at all. Which is good because it helps point the way to ideal looks for a RED project...

It's pretty cool that within the first few years of this new and different technology, artists are digging in and going off on great tangents.
Click to expand...
+++

I remember watching the first trailers on Apple a long time ago. Back then I wasn't that thrilled with the look.

Now, with the movie so close to release, it looks like they've tweaked the look slightly and I'm really excited to see it. It looks like an excellent application of the RED One.
 
C_Skaff said:
here are some stuff I graded, some are "very" old. Don't know what build but I belive that the rentalhouses doesn't use alfa/beta-builds when the rent out cameras.

http://shotlab.se/edet.php
http://shotlab.se/mcd.php

I have more stuff on our website, but we are remaking it so now I can't link to a specific clip or even search. We used to have it so you could search for Red and get all the stuff shot on Red sorted for you, maybe on the new site :) Just had a look, and quite a lot of stuf are shot on Red (not as meny as on film yet) like, Comhem, Centerpartiet, Aftonbladet, Unibet-sport, Saab, Iltasanomat, Playstation3.... is you want to click around yourself

www.stopp.se



/Carl
Click to expand...

I don't even speak swedish and I had to laugh at that McDonalds commercial. Good example of how a story can be told in images even without words. And what great looking images!
 
You must log in or register to reply here.
Back
Top