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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 :)

Graeme Nattress discussing IPP2 with Post Magazine

As one of the many who have been testing IPP2, REDWideGamutRGB, Log3G10, and the 3D LUT Transforms I can confirm that this new pipeline/workflow is both easier to mentally grasp while producing a meatier image developed up from the raw data. It's very nice, well thought out, and extremely tested.


Some quick highlights from the article for the anti-clickers:

The robust new color-processing pipeline includes better management of challenging colors, smoother highlight roll-off, improved shadow detail, more accurate mid-tone hues and enhanced resolution via a new de-mosaicing algorithm.

“At the same time that IPP2 was being developed, Red was planning new camera bodies, so owners of cameras with Helium sensors will get the appropriate hardware in the body to run the new pipeline in its totality,” says Nattress. “They can see the results of the pipeline while they’re shooting.”

The ASC-CDL (American Society of Cinematographers’ Color Decision List) is now available as part of the new Red camera bodies so “grading decisions can be made on-set and carried through to post,” he adds.

All R3D files are now defined by a single color space and gamma that is well documented, standardized and camera agnostic.

REDWideGamutRGB is a new color space designed to encompass virtually every color recordable by Red’s current and past cameras. It simplifies many workflows since all subsequent color operations have a common starting point regardless of camera, look or output.

Log3G10 is a new log-encoding curve, which precisely encodes the full tonal range from Red’s current and past cameras. The “3G” in its name represents the mapping of 18 percent mid gray to one-third of the maximum possible code value; the “10” represents the extent of the log curve encoding a linear light value up to 10 stops above mid gray. It serves a similar function as REDlogFilm and the Cineon specification, but allows for a greater dynamic range and HDR output standards.

With IPP2’s comprehensive approach Red has “tackled the technical and aesthetic aspects of the image as well as the workflow aspects of the image,” Nattress explains. “On the post side, there’s no guess work as to color and gamma space now. There’s just one best possible option.”
Click to expand...
 
Phil Holland said:
As one of the many who have been testing IPP2, REDWideGamutRGB, Log3G10, and the 3D LUT Transforms I can confirm that this new pipeline/workflow is both easier to mentally grasp while producing a meatier image developed up from the raw data. It's very nice, well thought out, and extremely tested.


Some quick highlights from the article for the anti-clickers:
Click to expand...
Phil how much do you use the lut and how often do you punt on the lut and use a different lut or other method, I find myself fighting the lut in work flow and am use the rwg/l310 as a starting point. In any case the DR of IPP2 is great and thanks to the G and the team over at RED. It's nice to invest in something that grows and becomes more relevant over time.

steve
 
Steve DiMaggio said:
Phil how much do you use the lut and how often do you punt on the lut and use a different lut or other method, I find myself fighting the lut in work flow and am use the rwg/l310 as a starting point. In any case the DR of IPP2 is great and thanks to the G and the team over at RED. It's nice to invest in something that grows and becomes more relevant over time.
Click to expand...

I've been fortunate to use and test the RWG/Log3G10+Transform LUT workflow since last year. I have been using it very, very often. At this point it's taken place of my "thickening LUT" if you've seen that on RU.

In terms of the Transform LUT, in my case mostly the Rec.709 one, I'm using it often and "grading beneath it". However, I've also spun about 6 or so Transform LUTs of my own that are friendly with Rec.709, but much more leaning towards a subjective palette. Moderately similar to what Panavision is doing with Light Iron Color honestly.

I'm bidding on a project at the end of the month I'll likely be involved on the color side with as well. If it's awarded, I'll be crafting LUTs based on the IPP2 workflow. Come NAB time you'll see half a dozen things out from me with IPP2 all over them.
 
Phil Holland said:
I've been fortunate to use and test the RWG/Log3G10+Transform LUT workflow since last year. I have been using it very, very often. At this point it's taken place of my "thickening LUT" if you've seen that on RU.

In terms of the Transform LUT, in my case mostly the Rec.709 one, I'm using it often and "grading beneath it". However, I've also spun about 6 or so Transform LUTs of my own that are friendly with Rec.709, but much more leaning towards a subjective palette. Moderately similar to what Panavision is doing with Light Iron Color honestly.

I'm bidding on a project at the end of the month I'll likely be involved on the color side with as well. If it's awarded, I'll be crafting LUTs based on the IPP2 workflow. Come NAB time you'll see half a dozen things out from me with IPP2 all over them.
Click to expand...

Phil I appreciate you answering the question, I have not seen the thickening lut, but would love to try it. I am always trying to make things look like real life in my work. If it is easier my email is info@colorroomfilms.com rather than water down this thread.

I love the rwg/lg310 flow but usually do raw correction once in the flow, the exposure/color tweaking then lutify me. I exclusively work in event films, aka weddings where lighting is never consistent, hence why i chose RED

Thanks again!

steve
 
It's been great to watch this unfold over the past many months. Graeme has really nailed it with the help of many Redusers and a swath of imagery from across all kinds of shooting situations. The new curve puts the stops above middle grey, much more like film. You still have to expose correctly, but the processing balances the image in a much more pleasing way!

Thanks Red and thanks Graeme for all your hard work on making last gen and next gen R3d that much better.

David
 
David Battistella said:
It's been great to watch this unfold over the past many months. Graeme has really nailed it with the help of many Redusers and a swath of imagery from across all kinds of shooting situations. The new curve puts the stops above middle grey, much more like film. You still have to expose correctly, but the processing balances the image in a much more pleasing way!

Thanks Red and thanks Graeme for all your hard work on making last gen and next gen R3d that much better.

David
Click to expand...

Thanks David. Yes, I've used many Red users, some unknowingly, to get objective feedback on many aspects of this. Many Red users also know that I ask for interesting shots to go into my suite of R&D test footage, and this has enabled me to test all the code on the widest variety of images possible - real world images from actual productions, not the kind of boring test charts I'll often shoot. I also took the cameras out myself and shot things that interested me, flowers with strong colours, still life fruit, my kids, sunsets, sunrise (how did I get up early enough for that....). All this has gone into refining the code and algorithms to ensure they work well across the widest range possible. And all through the power of RedCode R3D.

Graeme
 
Is the new/sharper debayer algorithm already enabled or just in the IPP2-enabled RCXbeta?

When can we expect release builds to drop? A month? 6-months?
 
They speak about the Helium sensor but I suppose IPP2 is also optimised with Dragon sensors (or even M-X)?

"curent and past cameras"

Pat
 
Great read, it's always something else when RED is opening up about technical details that others would never talk about and hide in well protected castle at the end of the world. The geek in me loves to learn more about this stuff and understanding the processes we are working with.

Graeme is a magician. Great work man! Thank you.
 
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