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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 :)

Grading RED footage...

old 50-150 or new, clean sheet 50-150, or is that just a rumour and the lens has not changed? just a little ot, but hey so am I.
 
phaz said:
old 50-150 or new, clean sheet 50-150, or is that just a rumour and the lens has not changed? just a little ot, but hey so am I.
Click to expand...

Heh heh... I was just gonna say the same thing...

That pic isn't real, Jim! The 50-150mm lens is a myth!!!! :)

(still waiting for mine)
 
Jannard said:
Won't help you too much...

Jim

9_xxx.jpg
Click to expand...

Do you have a full res TIFF of this shot? Some of what I'm seeing is probably just JPEG issues, so it would be good to take a look at the full res file.

Thanks!
 
stevesherrick said:
Do you have a full res TIFF of this shot? Some of what I'm seeing is probably just JPEG issues, so it would be good to take a look at the full res file.

Thanks!
Click to expand...

What you should really ask for is the same shot on Build 15...

Just curious, what kind of jpeg issues are you seeing?

Jim
 
jim. i have a question i have not been able to find an answer to. i am applying a preset look to footage in redalert. When i Make a new _H proxy that proxy appears much darker than the image as i see it in redalert. i am using rec709 as my output LUT. i want to then throw the new proxy through my compressor droplet for the offline edit, but the issue is the blacks seem to really get crushed in the 'make new proxy' part of my workflow. what am i doing wrong???
 
skipdivils said:
jim. i have a question i have not been able to find an answer to. i am applying a preset look to footage in redalert. When i Make a new _H proxy that proxy appears much darker than the image as i see it in redalert. i am using rec709 as my output LUT. i want to then throw the new proxy through my compressor droplet for the offline edit, but the issue is the blacks seem to really get crushed in the 'make new proxy' part of my workflow. what am i doing wrong???
Click to expand...

I know this was directed at Jim but maybe I can help...


skip

The problem is that Red Alert us not displaying information on the computer monitor in the rec 709 space. You are attempting to color correct on a computer monitor which does not display rec709 the way a broadcast monitor would. Many people run into this mistake when trying to do Final grades in FCP without a monitor which will display the correct color space.

Right now you are in a trial and error mode. What looks good on the computer screen does not translate to QT and the reason is computer monitors do not display color the same way a broadcast monitor would.

It is for this reason I have been asking if a program like Red Alert can have a V-out. Programs like FCP, AE, photoshop, motion, color, or many other third party programs provide a way to be displayed on an output monitor so that when we are creating new looks like this we can see them in real time in the rec 709 space.

While I know RED ALERT is not a final grading tool, it can be a very useful tool for doing the quick kind of corrections you want to make to your QT proxies, but as you are discovering this is a bit painful if you can not see the final REC709 looks as you are correcting for them.

I am not sure how complicated it would be to implement, but I would love to be able to see the OP of RED ALERT through myKONA card to a BROADCAST monitor to ensure that the "one lights" look good.

Then I could still do the batch rendering in compressor or REDLINE.

I think this would make a great little piece of software better AND I would PAY for a version of RED ALERT that could do this.

David
 
Nice grading!

The shadows are deep but VERY well defined.
The metal objects have well controlled highlights.

Like it A LOT

Very nice work guys!
 
Jannard said:
What you should really ask for is the same shot on Build 15...

Just curious, what kind of jpeg issues are you seeing?

Jim
Click to expand...

There seems to be some compression blocking that is evident in the blacks. But this looks like JPEG compression, so I'm just going to ignore it unless there was a TIFF to compare to.

The image really does look fantastic. Can't wait for this build.
 
skipdivils said:
david,

thanks for the info. i am guessing kona will have a solution soon that has .r3d built in. that would be sweet.
Click to expand...



Maybe not r3d but i sure hope there is REDCODE support and acceleration in FCP. If REDCODE was RT enabled in FCP it would be very cool but I am sure apple would rather have us using their PRO REZ codec.

What users will eventually want and need is access to a HIGHER QUALITY QT FILE. That means after we have cut and graded we could access the FULL debayer (the same one that we can access in RED ALERT RENDERS) from within FCP or COlor or any other QT enabled application.



David
 
My cents on the subject,
Bearing in mind that once the photosite gets saturated with electrons then its game over, I work with the thought that silicon sensors have no over exposure latitude.

Not all A/Ds are the same. The bit allocation of tonal values is "mapped" in different ways by different companies.

It is work at this level that I believe Sony increased dynamic range between A/D and tape with F23 f900r and 1500 cameras.

Given that RED uses a 12bit A/D it does a good job, I hope Epic is 14bit:)





Mike Brennan
 
battistella said:
The problem is that Red Alert us not displaying information on the computer monitor in the rec 709 space. You are attempting to color correct on a computer monitor which does not display rec709 the way a broadcast monitor would. Many people run into this mistake when trying to do Final grades in FCP without a monitor which will display the correct color space.
Click to expand...

David-

I've been having the same problem as Skip (we were discussing it on another thread without finding a solution).

When I create a preset in REDAlert using REC 709, then select that preset in FCP's Log and Transfer and use it to create a ProRes file, the ProRes shot looks a lot darker than the original file in REDAlert (even after compensating for the display gamma difference between the two apps).

Exporting a ProRes file directly from REDAlert with the same color preset looks the way I want it, even after importing into FCP. I would like to use Log and Transfer instead, though, in order to keep the audio with the video.

I realize that my computer will not display REC 709 properly - I'm not trying to create a perfectly calibrated final grade in REC 709, just attempting to make a clip that will look decent in FCP during the offline edit. For the final grade I would export DPXs and work in a properly monitored environment.

Could the problem have to do with color management differences between REDAlert and FCP, rather than the difference between the computer display and a REC 709 video monitor?

I remember Michael Cioni from Plaster City demonstrating this at NAB, and it seemed to be working (although I don't recall what his colorspace setting was in REDAlert). Just wondering what I need to do to get it to work.
 
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