DRAGON plus DaVinci Resolve 10 plus Red Rocket-X = real time renders

[Neil W. Smith]

6K, UHDTV and HD all at the same time

6K, UHDTV and HD all at the same time

Nobody would work this way. Nice thing about Resolve is that it doesn't care about the resolution.
Timeline resolution should be set to viewing resolution or delivery resolution, in your example 1920x1080, not the source clip resolution.


Try rendering out a 3996x2160 timeline of the same scaled Dragon clips to an exr sequence and let us know how long it takes with and without the Rocket-X.

Cool thing with Resolve is that you can do it both ways ... for the purposes of the testing we're doing at the moment, I set Timeline rez to the native res of the DRAGON sensor and let Resolve to the scaling to HD for monitoring out to the SDI BMV Sony and UHDTV 3840x2160 ... then do FULL debayer on the 6K files out to whatever deliverables we need ... at the moment I'm focused on FCP X to Resolve round-tripping for a variety of reasons and how best to grade with a reference quality 1920 HD SDI monitor at the same time as looking at the 6K output on a UHDTV.

DCI 4K is certainly going to be important for DRAGON deliverables but also think that the UHDTV market place will benefit greatly from the extra resolution combined with advantages of Nyquist/Shannon downsampling ... trouble is there is no way to easily grade on a 4K monitor at the moment (well not one that we can afford anyway) so I'm trying to get the best of both worlds ... accurate calibrated grading on a Sony BVM HD monitor combined with FULL debayer viewing on a UHDTV.

I'm sure 6K 16bit OpenEXRs will also be used heavily by the VFX community but for most of us on working on an Apple platform, 6K ProRes4444 online or HD PR for offline seems to be the way to go with final grading conform done in Resolve 10 back to the DRAGON .r3ds and rendered out quickly using RR-X.

I'm at home at the moment cutting the HD ProRes versions of the DRAGON files I rendered out yesterday ... running FCP X on my Retina Display with a USB 3 shuttle drive attached while sitting next to the pool ... now this is what I call work!

Neil

 

[M Most]

Agree with the mis-use of the term "Lin" ... Poynton gets his knicker in a twist over it as well ... I'm using it as shorthand code for Rec. 709 essentially.

But you shouldn't, even if other, less informed people do. As we move forward, and things like scene referred color and/or ACES become more important and more widely used, using proper terminology becomes even more critical when describing or implementing workflows. And that makes it something that should matter to you.

 

[Neil W. Smith]

video gamma versus Linear ...

video gamma versus Linear ...

But you shouldn't, even if other, less informed people do. As we move forward, and things like scene referred color and/or ACES become more important and more widely used, using proper terminology becomes even more critical when describing or implementing workflows. And that makes it something that should matter to you.

Valid point and well made ... will stick to Rec.709 and video gamma from now on ... leave use of "Linear" to how it should be used correctly.

To RedUser folks who don't quite understand why 'Log to Lin' is not technically correct any more and shouldn't be used in the brave new world of digital acquisition and file-based workflow, I'd highly recommend that you Google 'Charles Poynton' and read a couple of his White Papers covering 'video gamma' ... not the easiest of reads but well worth the effort.

Mike, haven't you published something on video gamma, ACES workflow and Linearity that the RU folks can read?

 

[Sidney L. Plaut]

Trouble is, getting LUTs to do the DRAGON RAW footage total justice is a bit tricky ... getting them 80% right is relatively easy but dialing them in so they really translate the color matrix of the sensor and preserve it's wide RAW/Log tonal range over a Linear image requires considerable skill and finesse, especially when it comes to something like the new DRAGON sensor ... this really is a new kind of camera beast ... we're developing new 6K post workflows that not only take good care of the data pipeline but also preserve the integrity of the sensor and make best use of its incredible dynamic range.

Applying a vanilla LUT to DRAGON is not going to bring out the best in her.

Neil

Dont know what a vanilla LUT is - but what RED needs to get a decent foothold back here in Scandinavia, (which is now prob. 90% alexa land now), is an official LUT from RED, and not from users. - just like Arri and Sony and Canon... etc

I am sick and tired of trying to explain to posthouses why there isnt an offical LUT to grade from redlogfilm, - fortunately I can point to Nick Shaw's antler post and his LUTs - (thank you Nick) - but it makes no sense at all that RED hasnt made one - or that you Niel or anyone else for that matter will have to sit and guess what the sweet spot is for the dragon when going from RedLogFilm to rec709. (when compared to Arri's excellent LUT for the Alexa).

 

[Paul Provost]

I haven't touched any dragon files yet, but what happens if you just debayer to rg3 / rc3?

 

[George A.]

So 1 minute of Dragon 6K footage is 10GB?

Where did you see that?

I doubt that a 256GB SSD card would hold only 25 minutes of 6K footage...