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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 :)

FEB Update / IPP2 Preview 2

Hi Guys
Still waiting for my Epic-W upgrade from my scarlet-W. Put it in order in october. Any heads up would be amazing :) Keep up the good work.
 
Sergio Perez said:
Red team, any new Red Videos, specially one showcasing the IPP workflow and management in camera and Redcine X? That would be really useful for imbeciles like me. Thank you !
Click to expand...

+1 Like to see this too!
 
Sergio Perez said:
Red team, any new Red Videos, specially one showcasing the IPP workflow and management in camera and Redcine X? That would be really useful for imbeciles like me. Thank you !
Click to expand...

Most likely won't happen until they officially release it. What is happening now is just a preview.

BUT, for more information just read this thread. The first ~5pages are really helpful and Graeme addresses a lot of things. It's pretty easy to catch on to between posts from Graeme, Jarred, and Phil.
 
This new Helium sensor and IPP2 have made me fall back in love with Tungsten lighting.
A003_C005_0325NC.0000507.jpg


Medium contrast Rolloff 4
 
I've been working with IPP2 a lot lately. What Graeme has done for all of us is absolutely amazing. Thank you Jarred Land and everyone at RED Digital Cinema for putting these tools into all of our hands. I have been wanting to do a "fair" test between my Scarlet-W and my Epic-W for months. I am not saying this is perfect, mostly because the Scarlet-W was shooting legacy. So thankful for this new pipeline.

 
Thomas Koch said:
This new Helium sensor and IPP2 have made me fall back in love with Tungsten lighting.
A003_C005_0325NC.0000507.jpg


Medium contrast Rolloff 4
Click to expand...

I like tungsten too! But nowadays I prefer to have it "in" my shots and not "on" them!

Awesome shot btw!
 
thanks for doing this Tim

what differences are you seeing between the helium and dragon in general and with the new pipeline apart form the obvious being able to monitor in camera on the epic

they look really close, but i guess that could be the youtube compression as well
 
with ipp2 I am seeing all red footage from all bodies matching pretty darn close to one another. The EW resolves more detail and of course is more sensitive to light. You can see by my test that you can match the two sensors without any difficulty using ipp2.
 
Tim Daust said:
with ipp2 I am seeing all red footage from all bodies matching pretty darn close to one another. The EW resolves more detail and of course is more sensitive to light. You can see by my test that you can match the two sensors without any difficulty using ipp2.
Click to expand...

That's certainly the intention and I'm happy it works in practise for you!

Graeme
 
Hi, can someone please explain to me what you guys mean by saying "you can't monitor IPP2 in Dragon"? I can change the Gamma setting in the menu of my Scarlet-W to RedWideGamut + Log3g10 and see it while filming, so what am I'm not monitoring exactly? am I'm missing something here? I'm actually really happy from this set up shooting Prores only as the image looks cleaner and has better colour and more flexibility then Dragoncolor2+Redlogfilm that I used to use.
 
Oron Cohen said:
Hi, can someone please explain to me what you guys mean by saying "you can't monitor IPP2 in Dragon"? I can change the Gamma setting in the menu of my Scarlet-W to RedWideGamut + Log3g10 and see it while filming, so what am I'm not monitoring exactly? am I'm missing something here? I'm actually really happy from this set up shooting Prores only as the image looks cleaner and has better colour and more flexibility then Dragoncolor2+Redlogfilm that I used to use.
Click to expand...

You CAN monitor IPP2 on Dragon. By using RWG+Log3G10 + 3D LUT.

You have to change the 3DLUT to get different highlight roll offs, contrast, etc. - as opposed to just changing a drop down menus in the impending full IPP2 implementation.

Also, some of the full IPP2 pipeline abilities are more limited on Dragon with respect to CDL, etc.
 
Mark L. Pederson said:
You CAN monitor IPP2 on Dragon. By using RWG+Log3G10 + 3D LUT.

You have to change the 3DLUT to get different highlight roll offs, contrast, etc. - as opposed to just changing a drop down menus in the impending full IPP2 implementation.

Also, some of the full IPP2 pipeline abilities are more limited on Dragon with respect to CDL, etc.
Click to expand...

Plus the Dragon will only work with previewing the 3D LUT with the less precise 17x17x17 so you may see banding and such. But its just for Preview anyway. Unless you get an OMOD of course.
 
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Mark L. Pederson said:
You CAN monitor IPP2 on Dragon. By using RWG+Log3G10 + 3D LUT.

You have to change the 3DLUT to get different highlight roll offs, contrast, etc. - as opposed to just changing a drop down menus in the impending full IPP2 implementation.

Also, some of the full IPP2 pipeline abilities are more limited on Dragon with respect to CDL, etc.
Click to expand...
Thank you for the very helpful reply! I'm not sure what is CDL?

Anyone knows if the luts the published here (which are great by the way, as I tasted them on FCPx) could be uploaded into the Scarlet-W?
 
Oron Cohen said:
Thank you for the very helpful reply! I'm not sure what is CDL?
Click to expand...

Long answer:

https://en.wikipedia.org/wiki/ASC_CDL

Short answer:

digital "printer lights" for very basic post production color adjustments (ideal for dailies).

If you are too young to know what printer lights were - printer lights are from the photochemical color timing processes where filtered light (red, green, and blue) was shone through the film to change the balance of color in the shot. Measured in points 0-50 for each channel.

CDLs are a wee bit more powerful than printer lights - but not much :) But still - very, very handy for fast, easy workflows.

Pretty much every feature film released before 2000 was "colored" this way. Let that sink in.
 
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Mark L. Pederson said:
Long answer:

https://en.wikipedia.org/wiki/ASC_CDL

Short answer:

digital "printer lights" for very basic post production color adjustments (ideal for dailies)
Click to expand...

Funny, I've made a few prints of films I've shot in the past, and know how to work with the grader using the points system doing a film print, but thought the system went away with digital! Had no idea it still exist. Thanks again for the info.
 
Oron Cohen said:
Funny, I've made a few prints of films I've shot in the past, and know how to work with the grader using the points system doing a film print, but thought the system went away with digital! Had no idea it still exist. Thanks again for the info.
Click to expand...

CDL does more than printer lights, but you can restrict it so that it’s only printer lights. (if you wanna be stupid)
 
Tim Daust said:
I've been working with IPP2 a lot lately. What Graeme has done for all of us is absolutely amazing. Thank you Jarred Land and everyone at RED Digital Cinema for putting these tools into all of our hands. I have been wanting to do a "fair" test between my Scarlet-W and my Epic-W for months. I am not saying this is perfect, mostly because the Scarlet-W was shooting legacy. So thankful for this new pipeline.

Click to expand...


Hey Tim in this test with the epic-w were you shooting with an auto blackshade or a manual one? So far my only complaint with the helium color has to be the green bias in the shadows but I suspect that's a blackshade issue at the core.
 
Josiah,

Both cameras had manual blackshade run just before this test
 
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