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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 :)

Experiences with the Epic MX and IPP2

J

Josh Tyron

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Are there any Epic MX users out there that have been using the new IPP2 color science? We use an Epic W and love it but are considering a 2nd camera for odd jobs and occasional b-roll. I have not seen a ton of them around but the lower cost of the body and the ability to use cheap redrocket cards make it appealing to use as a b-cam or 2nd tier job. Just wondering what others experiences have been. Does Red still service these cameras or have they went the way of the R1?
 
I've got an Epic MX and I've been messing with the beta IPP2 stuff in my grading in Resolve (I don't mess with RCX, really).

Red Color 4/RedGamma4 vs IPP2...
IPP2 has a nicer falloff on the high end relative to RedColor4/RedGamma4 and it's noticeably less crunchy overall. But it pulls the exposure down a stop compared to RC4/RG4. At least in Resolve it does. Maybe I'm doing something wrong, but footage that I set to ISO800 for RC4/RG4 I have to set to ISO1600 to get similar luminance when using RWG/Log310/IPP2 LUT.

ACES vs IPP2...
Compared to ACES (IDT = Rc4/RLF) the IPP2 seems to have an ever so slightly milder mid-tone contrast and the reds are a tiny bit understated. In ACES blown highlights are tinted a smidge due to color channel clipping, but that artifact is absent in the IPP2. And that's nice since that means one less corrective node to desat the clipped highlights. But again, though it's a stop darker to start with and needs an ISO boost to match luminance to what ACES gives me. It's not been a problem with noise so far, so I'm not overly concerned about the full stop pull ... yet. I need to do some more testing to find even greater assurance.

In general I've been pretty pleased with how the IPP2 is playing with my MX footage. It's certainly a nicer start point than the old RC4/RG4 look and it seems to play quite well when mixed in with ACES footage. But I'm just one guy and while I've been in VFX for 20+ years and have been color grading for the last 5 or 6 years I'm relatively new to the RED, so I would see if others chime in with greater experience on the matter.
 
Thanks for the feedback Keith! I'm confused by your exposure difference between DC2/RG4 and IPP2. Can you try the latest REDCine-X IPP2 beta to see if you experience an exposure shift when developing via DC2/RG4 and IPP2?

Graeme
 
Graeme Nattress said:
Thanks for the feedback Keith! I'm confused by your exposure difference between DC2/RG4 and IPP2. Can you try the latest REDCine-X IPP2 beta to see if you experience an exposure shift when developing via DC2/RG4 and IPP2?

Graeme
Click to expand...

I did some digging, and as expected this ended up being user error on my part. I had a luma curve look applied in camera to give a client preview that is a bit more contrasty with RC4/RG4. In Resolve I had the "Apply Metadata curves" check box enabled in the RAW tab. That accounted for the exposure shift (to the hot side in legacy mode). In Red Cine-X I just reset the luma curve from the metadata. Once I disabled those metadata luma curve adjustments everything fell into place.

As I said, I'm still learning my way around grading my RED footage. So, my bad. But my overall impression of IPP2's strengths stands. It's a very pleasing and solid workflow for older MX foootage.
 
Great that you found the issue Keith. Once again, thanks for your feedback!

Graeme
 
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