IPP2 Workflow - Missing Controls

[Han Vogen]

IPP2 seems to be missing many of the controls that are present in the Original and Legacy workflows in Davinci Resolve. Switching to Legacy or Original in Davinci Resolve apparently slows down the computer to an unworkable point. Has anyone else run into this? What does your workflow look like? Are there plans to add this missing functionality to IPP2?

 

[Phil Holland]

If you are talking about the Legacy controls not being in IPP2 controls that's somewhat the whole point of IPP2 as there's been rather significant Color Science improvements since then which has impacted how the controls work or has made other controls, well, legacy controls.

Legacy is two demosaics back now, IPP2 no longer needs "DRX", IPP2 has a better Chroma Noise Reduction than "denoise", IPP2 also has the Highlight Extension Algorithm, etc.

The IPP2 controls that are grayed out in your panel however are tackled in your Color Management Settings and/or Camera RAW Settings. Resolve, like many other applications, has many ways to work.

Some have just been renamed to make a bit more sense, like FLUT. Which is now Exposure Adjust. More precision if you are looking to adjust the ISO between the 1/3rd stop increments of just adjusting ISO on it's own.

 

[rand thompson]

Han,

Like Phil, I still think the way Resolve has IPP2 setup currently is great with both the LUT based approach and the IPP2 Color Managed workflow. I have still seen some debate around the internet that the LEGACY workflow was better. I've seen some mix REDLOGFILM and LOG3G10 together and use that as a starting point instead of RWGRGB. I guess this is like the CD/LP debate, some people still think you can hear a higher fidelity of music from VINYL Records than you can from Compact Discs.

If you so choose to use that Older development method here's the settings.

 

[Han Vogen]

Thanks for the replies. Since getting the Komodo I’ve only worked in the IPP2 workflow. But did wonder about the older workflows, as they appeared to offer control over aspects of the image that IPP2 does not. There does not seem to be an IPP2 equivalent for “image detail” and “de-noise”.

 

[rand thompson]

Han,

Thanks to the new debayer Algorithm in the current SDK from Red in Resolve, you automatically get a more detailed image than was possible before in older workflows. So there is really no need for additional detail enhancements and you may make your images start to look unnaturally sharp.And as Phil stated above you have the Chroma Noise feature that you can either select on a Project wide setting or clip by clip.

 

[Omar Saad]

Thank you guys for the detailed info, it's much appreciated. I've owned and shot on Reds since 2008, however, my last upgrade was to Epic X, until I bought my Komodo last year. As a result I pretty much missed the boat on learning IPP2 workflows when it was released. I've tried searching through old posts with limited success... I'm wondering if either of you could recommend a good Redcine and or Davinci tutorial that focuses on color correction and processing the image overall in IPP2? I've gotten so used to using the legacy controls that I feel a little adrift in IPP2.

If not, no worries... just figured it was worth asking.

 

[rand thompson]

Omar,

FROM RED

There are many tutorials spread all over youtube here's some from RED themselves and from BLACKMAGIC DESIGN for Davinci Resolve

FROM BLACKMAGIC DESIGN
DaVinci Resolve 17 – Training | Blackmagic Design

 

[Omar Saad]

Rand thank you so much! I don't know how I missed these. Much appreciated my friend!

 

[rand thompson]

Your're welcome Man, Let me know if there is anything I can help you further with!:encouragement:

 

[rand thompson]

Omar.

Here are, other than Davinci Wide Gamut or ACEScct workflows for red files, the three basic IPP2 workflows in Resolve for Red files'

IPP2 Output Transform LUT Workflows

IPP2 Color Managed Workflow
Don't change the Red Camera Raw settings above, The color managed workflow will "Gray-out" some of those settings anyway.

COLOR SPACE TRANSFORM

 

[rand thompson]

Alternative Workflows for Red

DAVINCI WIDE GAMUT

ACEScct 1.3-Project Settings

ACEScct 1.3-Node Based Aces Transform OFX

1) Highlight all of the clips you want to place into a GROUP, then Right-Click on one of them and from the pull-down menu select "ADD INTO A NEW GROUP" then name it.

2) Now go and select "GROUP PRE-CLIP". Next add a "ACES TRANSFORM" OFX tool on top of that and use the settings below.

3) Now go and select "TIMELINE". Next add a "ACES TRANSFORM" OFX tool on top of that and use the settings below.

NOTE: you will have to add a Node in the TIMELINE to begin this step

With HDR Color Palette

ACEScct 1.3-Node Based Color Space Transform OFX

Instead of using the AES Transform OFX on the "GROUP PRE-CLIP" and "TIMELINE" nodes, we will use the "COLOR SPACE TRANSFORM" OFX instead.

With Mild Yellow Preset Reduction in HUE VS SAT and AES TRANSFORM Gamut Reduction

ACEScct 1.3-Node Based Third-Party LOOK DESIGNER 2.4 OFX plugin

Instead of using the AES Transform OFX or Color SpaceTransform on the "GROUP PRE-CLIP" and "TIMELINE" nodes, I will use a third-party OFX called LOOK DESIGNER 2.4 instead.

 

[Han Vogen]

Wow, some great stuff here! Thanks to all.

 

[Omar Saad]

This is all great, thank you Rand! I'll be coloring some recently shot footage tomorrow, I can't wait to deep dive all of this. Cheers!

 

[rand thompson]

Alright then Omar, Happy grading!

 

[rand thompson]

Grade School: DaVinci Wide Gamut Workflow, Senior Colorist Q&A pt. 1

by Cullen Kelly

 

[rand thompson]

Grade School: DaVinci Wide Gamut Workflow, Senior Colorist Q&A pt. 1.2

by Cullen Kelly

 

[rand thompson]

Use DaVinci Resolve Like a Real Pro: Creative and Technical Color Balancing (DWG Workflow pt. 2)

by Cullen Kelly

 

[rand thompson]

Resolve Color Management EASY - BEGINNERS in under 15 minutes.

By
Darren Mostyn

 

[rand thompson]

Grade School: Uplevel Your Color Balancing & Shotmatching in DaVinci Wide Gamut

by Cullen Kelly

 

[rand thompson]

How To Be a Pro Colorist w/ Darren Mostyn | Creative Minds Ep.2

by Jay Lippman