FLUT Science...

[C.H.Haskell]

Some of this new science will go into a firmware build for the RED ONE. But a lot of this is "post science"... meaning it is just better with whatever you have shot or will shoot. EPIC and Scarlet have a bit more of the capability built in (FLUT™ Control)... but the RED ONE definitely improves with much of this.

Jim

I am working on a TV series that I feel could really benefit from this space implemented into the camera and would love to introduce this right away.
Will this be a build 21 update?

 

[Chris Vincze]

FLUT in RedLine?

FLUT in RedLine?

Hi,

Will the new FLUT tools, REDColor, REDGamma and REDFilm be available in REDLine? At the moment I can only find mention of them in REDCineX.

Cheers

Chris

 

[David Cox]

REDCINE-X to Apple Color

REDCINE-X to Apple Color

You really are going to love this. It includes...


4. FLUT™.
Graeme's baby. This one will be shown and explained at RED Day. You are going to love this. Money back guarantee... oh, forgot. It's free.

In REDCINE-X, you set Color Space (REDcolor). Set Gamma (REDgamma). Set or check your White Balance. Adjust the FLUT™ Control. Grade. Easy.

Jim

Re: HD workflow.

So, with the new science, does one render from Redcine-X to YUV-422 quicktime (for HD-Rec709 master) and send to Color, or render RGB444 and send to Color then render (from Color) to YUV for final?

 

[C_Skaff]

You really are going to love this. It includes...
1. New Color Space.
More accurate color science and a new color space called REDcolor. Remember that Color Space is not baked in to RAW. This will be the option to CameraRGB or REC 709. I pick REDcolor every time now. But all are more accurate.
Jim

I used to consider Rec709-ColorSpace was "better" then RedSpace-ColorSpace when delivering a green/blue-screen for key'ing...
would it be right to assume that RedColor is now even better and should be the recomended colorspace for croma-key?

Or have I got this wrong?

 

[Rob Ruffo]

I of course didn't mean the "Final LUT" thing literally, though most obviously realized that based on the .

I would never finish off anything other than the .R3Ds, and consider an extremely accurate, precise and reliable way to get my DP's vision from the set to the finishing session worth whatever it will take. Hopefully the DP can also come back for that final where he can look back and the finished product after months of clearing his head from it and give it a second pass together with me and the colorist.

This is an advantage of raw that is rarely discussed. On set you've often been staring at the same set-up for way too long. Shooting this set-up with baked-in color means decisions are necessarily made under non-fresh circumstances. Not only that, but sometimes the set has a strong color-tone that your eye adjusts to, and that throws you off when eyeballing tonalities. Grading raw, we first have a break before adressing grading issues.