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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 :)

IPP3?

Just out of curiosity, have you seen philmColor?

My next release is incoming. But there's a great deal of color science in there beyond stylized looks.
 
Kemalettin Sert said:
No i havent yet Phil.

Also do we know if Red is gonna support 65 cube-size luts like Alexa 35?
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Don't know if the hardware is in there to support driving a LUT of that size. Also don't know why you'd need that in camera for that matter. Not currently at least.

I do release 33 and 65 cubes for Output Transforms. Creative Cubes I keep in 33 as that is the spec. Anything below 33 is something you shouldn't use however.

LUT interpolation is very critical however. Software and hardware-side everything at a minimum should be using Tetrahedral Interpolation. Most just do this now or have an option to enable it.
 
Phil Holland said:
Just out of curiosity, have you seen philmColor?

My next release is incoming. But there's a great deal of color science in there beyond stylized looks.
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New philmcolor!! Wooo

When are you thinking of dropping it?
 
Ryan Chernin said:
New philmcolor!! Wooo

When are you thinking of dropping it?
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Likely before Spring/NAB. A few things I'm working on, but I also have 8 months of filming ahead of me. Already whipped up and have been using a few things. Some of it was used on project on show at CES.

Debating on how to release it this time around. Won't be as massive as the big R3 release, that was a four year endeavor. But should be a couple dozen useful things or so.

I'm committed to the LUT workflow mainly because it can be used in camera, in monitor, and easily across grading as well as NLEs. Easily transportable as well. That's been sort of the driving force behind me not making a DCTL based solution, though I've considered that.
 
Phil Holland said:
I'm committed to the LUT workflow mainly because it can be used in camera, in monitor, and easily across grading as well as NLEs. Easily transportable as well. That's been sort of the driving force behind me not making a DCTL based solution, though I've considered that.
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It makes things nicely streamlined as well. While the granularity of sliders and plug-in style adjustments would be sweet, at a certain point the fine tuning just gives you paralysis of choice. Feels way quicker, workflow wise, to drop in a LUT and use the output key to adjust to taste. Doesn’t slow down the timeline / playback either.

With R3 containing so many tools, you completely changed how I look at LUTs. It’s like going from Instagram filters to using Adobe Lightroom.
 
Ryan Chernin said:
With R3 containing so many tools, you completely changed how I look at LUTs. It’s like going from Instagram filters to using Adobe Lightroom.
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I appreciate that a great deal. I need to sit down and discuss some color related things about philmColor and perhaps color in general.

One thing I've asked RED to add to IPP2 is the ability to adjust the strength/opacity of a Creative Cube. That works well for people who design them to do that, in which case all of mine. But you can design Creative Cubes that don't work well with that mindset. However in a grading environment it's trivial to do. I do provide a few things at different strengths that have notable merit, like a full stop worth of a an adjustment or 1/3rd stop. Truly trying to bring a bit of the film mindset back into the digital color workflow.

But yeah, with things like my polychromes I know I provided too much. Because probably a limited selection of 6-12 is probably what most would be after. At the same time I know some who use lesser popular ones because they enjoy it. That was sort of the point. Digital provides a near infinite playground, but guiding color to more common film stock or processing method directions is pretty cool IMO. Especially blurring the line between tungsten and daylight interactions with light or the usage of filtration combined with that logic.

The coolest stuff I'm working on I really want to talk about, but it will have to wait. Once it drops people will attempt to recreate it I'm sure. A couple of those things I'm oddly curious how we didn't get here sooner.
 
Phil do you know why Red always trying to put DR towards shadows instead of highlights? Wouldn't it be better to put all those stops towards highlights` and have up to +6-7 stops of highlight recovery option?
 
Kemalettin Sert said:
Phil do you know why Red always trying to put DR towards shadows instead of highlights? Wouldn't it be better to put all those stops towards highlights` and have up to +6-7 stops of highlight recovery option?
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First of all, gotta confess, removing all the latitude from the shadows is a novel idea! You do know that you can redistribute more dynamic range to the highlights simply by increasing the ISO, don’t you? There’s no such beast as +6 stops of highlight recovery. 6 stops of highlight dynamic range means 6 stops before clipping occurs. Because no information is lost, there is nothing to recover. Highlight recovery is reconstructing a clipped channel using information from the other two channels. As far as the allocation of stops is concerned, many filmmakers are more interested in playing in the shadows and as much as 2/3 of the dynamic range of modern displays is in the shadows, so RED’s approach makes sense, both from an aesthetic and technical POV.
 
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