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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 :)

How to view RAW info in Redalert

Jordi Figueras

Jordi Figueras

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Sorry for this one, but I couldn't find any info using the search tool in the forum.

Just would like to know which configuration must I use in RedAlert to see the RAW image before grading.

As I understand, in the Colorspace it must be Camera RGB, am I wrong?

And what Output LUT/Gamma Space is the one that shows me the RAW image? 'Cause all of them seem quite different to me...

Thank you very much for your assistance!
 
Jordi said:
Sorry for this one, but I couldn't find any info using the search tool in the forum.

Just would like to know which configuration must I use in RedAlert to see the RAW image before grading.

As I understand, in the Colorspace it must be Camera RGB, am I wrong?

And what Output LUT/Gamma Space is the one that shows me the RAW image? 'Cause all of them seem quite different to me...

Thank you very much for your assistance!
Click to expand...

I think the point is you can't see "raw", and whatever gamma space you view it in, it's no longer raw. However, some spaces are more RAW-like than others, like REDlog and i think there's a linear setting.
 
What's your workflow? If you color correct from the R3D files, it doesn't matter.
If you do a first light in RA for ProRes (for example) to grade that later, Rec709 is giving you more latitude than RedSpace (which is pretty contrasty).
 
Hi there, Nomad

My current workflow is inexistent 'cause I'm having problems with the FCP Log & Transfer not doing anything with the clips, so by now I'm color correcting the takes in RedAlert and exporting as ProRes to do an HD cut in FCP. Our shots are willingly underexposed (we tried to push the RED ONE to the limit lighting with just two matches and a fluoro... and let me say it is awesome!) so I wished to know what differences are between the various LUT/Gamma Spaces that RedAlert offers 'cause they look pretty different... basically to know which is giving me the greater Dynamic Range to work with.

Thank you very much for your assistance! :)
 
Well, the greatest latitude will be offered by linear light, but it depends on scene contrast if it's really helpful. Remember, you are going from 12 bit to 10 bit, so it's wise to make full use of the target DR.
 
IF your doing your grade in RED Alert, DR and latitude doesn't really matter, just do whatever looks best. Those things only matter when you're preparing footage to go into a grading system like a DiVinci or similar.

Same goes if your going to grade with Apple's Color. If you edit with the proxies and then "send to Color", Color automatically references the full quality r3ds (at 2k res, for 4k you'll need a Scratch system). Or you can edit prores files and use clipfinder and it will pretty much do the same thing I hear.

If your doing the color correction yourself, just make it look good (the histogram in RED Alert can help you see range). You only need to be nit picky about colorspace and such if your preparing the footage for a colorist.
 
Hi Brandon!

It makes really sense to me what you are saying. I'm just doing the grade for the direction/productiopn team to be quite close to the final look. I knew the way to do a "real grade" was, on our budget, to go through Color, but having problems with the Log & Transfer in FCP, Color works but it doesn't allow us to get the grade back to FCP to do a final export... so we are just "visually grading" (of course as you suggested with the histograms in sight) the good takes and renaming the exports from RedAlert to Reconnect the media in FCP (although that means going to Color with less Dynamic Range, as I understand, that if we were going through the full FCP Log & Transfer to Color path...).
Anyway, it's working for us right now (even technically it's not the best way to go, I know) but I'm really thankful for all your advices in this matter.
Just for the record... if we could get the money to go through a professional grading system, which would be the best way to keep the Dynamic Range through all the post pipeline 'till the grading in the postproduction company? (I know that, once they get it, it's up to their workflow... but how about 'till we send it to them?)

Thank you very much! I hope someday I could also help you in some simliar way you've doing with me! :)
 
You don't need to use L&T to grade in Color, just drag and drop the M proxies into final cut, do your edit, and then send to Color. Color, on it's own, throws out the proxies and grades off the 2k r3ds. When your finished, render and send back to FCP and you have a 2k prores master version of your project, fully graded.

There are a few threads around here that discuss this at length. It's how I'd do it.

As far as the best way to keep DR is a professional DI pipeline, i'd think the answer would be you don't really need to worry about it. If the time comes that you have the money, just take your r3ds and FCP project to the posthouse and they'll fairly simply assemble an online version probably through a Scratch system. Any "mistakes" you made allong the way should be fairly irrelevant since they'll be going take to the original, "un-fucked with" .r3ds
 
Well, it really seems we'll have to reinstall our FCS system, 'cause when we render in Color and send back to FCP it always says there are some files not rendered and in FCP the new sequence (from Color) shows no grade at all.

Thank you very much to confirm what I thought... that if we can have the money, we may surely not have a problem at all! :D

You've all been really kind. Just hope this thread can help someone else with some similar questions!
 
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