is REDLOGFLM a look or Camera RAW?

[Martin Stevens]

Log provides for an even distribution of code values per stop of dynamic range. By putting in a black offset the math works to stop high gain near zero which can lead to excessive image noise, and gives the grade "room to move" and is necessary for the log to meet the cineon spec so that it works as grading apps expect.

The reason log encodes have more range their even distribution of code values ensures each stop has enough precision. Keeping linear light is great for colour and VFX math, but it's ever-so-wasteful on code values as each brighter stop has double the code values yet it needs no more code values than the previous darker stop. A log encode allows you to fit more stops into the available code values because it doesn't waste excessive amounts of code values on the brightest stops.

Graeme

And this is why RedLogFilm is so useful.

Thanks Graeme.

I like to think of RedLogFilm (and RAW) as a Digital Negative.

 

[PatrickFaith]

...
The reason log encodes have more range their even distribution of code values ensures each stop has enough precision. Keeping linear light is great for colour and VFX math, but it's ever-so-wasteful on code values as each brighter stop has double the code values yet it needs no more code values than the previous darker stop.
Graeme

------ [Edited] -----
Re-asking my question with an exact case of a vfx workflow with redlogfilm and linear

in ae project settings menu set:
32 bits per channel (float)
working space to sRGB IE61966-2.1
Select Linearize Working Space
select compensate for scene-referred profiles
in ae on r3d file ... on interpret footage main:
on color management tab:
select working space sRGB IE61966-2.1 (linear)
select interpret as linear light On for 32 bpc
click more options to go to r3d source settings
select redcolor3 and linear
(when rendering to vfx ... click on color management tab ... make sure they are set the same as above).
------
do vfx with "natural lighting" create openexr output (do i need 32 bit float here or will half float work?)
load openexr, perform my composite with same settings ( raw in r3d linear) until scene composite is done, then output composite to dpx log. Then with the dpx log i can mix that with r3d redlogfilm in following editing if needed.

Final step is output to dpx log for color correction(making sure to go dpx log, not dpx linear, or i will clip too much "important" data for the color grading).

right?

 

[Graeme Nattress]

I've never used AE for linear light compositing so I'm probably not the best guy to verify your settings. When I was setting things up I was using Shake and Nuke as I new how to use them properly in linear light.

Graeme

 

[PatrickFaith]

I've never used AE for linear light compositing so I'm probably not the best guy to verify your settings. When I was setting things up I was using Shake and Nuke as I new how to use them properly in linear light.

Graeme

Thanks Graeme, this btw is working amazingly well for me so far, since I had all ready decided to move to 32 bit float for compositing and DI(i was more or less accidentally trying to go linear mixed with log, because i couldn't get to seamless vfx effects otherwise - but I didn't "get" color science so was flopping around a bit) . BTW this really shows a HUGE advantage for RED RAW and VFX workflows ... in that I just get to go directly to Linear with a few simple clicks(i.e. with non-raw workflows the mapping to linear is problematic and introduces tons of error).

 

[Will Keir]

Yup, that's it. Now I have 8 Color Science options, 11 gamma spaces.

Thanks Rivai

In your redcine x preferences. It should be on general section if i remember it correctly

Rivai