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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 :)

Leo and REDlogFilm...

Jannard

Jannard

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This is another take from the same shoot. I opened in REDCINE-X and selected REDcolor2 and REDlogFilm. I pulled down the bottom end of the Curve tool and nothing else. No other adjustment.

Jim

http://red.cachefly.net/Leo3x.mov

1291563946.jpg
 
Still a pretty incredible shot. REDlogFilm sure makes it shine even more!
 
I'm in the bar with iPhone but will reply when get home on desktop computer what is a difference between Leo shot on Red-mx and 65 mm film camera as everyone can see on "Shutter Island" DVD...
 
Great skin tone.. even lit by a match in a dark room. Amazing.
 
I love the DR and low-light performance but it just felt kind of muddy to me. A little grading below... Slight curve adj and 1 point off the black in levels... minus the shadow noise of the jpeg of course ;) I still can't believe we get this much information to play with at 24fps (and beyond)!
Leo_Redux.jpg
 
NIce....
 
Jiri Bakala said:
Except now you lost all the detail in shadows. Maybe that's just the jpeg and monitor but I liked the original better.
Click to expand...


Hmm, shadow details stll there on my laptop.

Crap. Now you're gonna make me go upstairs and look at it on the Eizo... LoL
 
Jiri Bakala said:
Except now you lost all the detail in shadows. Maybe that's just the jpeg and monitor but I liked the original better.
Click to expand...

Easy... don't tug the blacks down so far. The point isn't about my grading skill, it is how much easier it is to get what you want with the new color science. Good news is you get to grade your stuff the way you want. :-)

1291572527.jpg


Jim
 
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Muddy

Muddy

Jiri Bakala said:
Except now you lost all the detail in shadows. Maybe that's just the jpeg and monitor but I liked the original better.
Click to expand...


I agree. The "muddy" quality he's referring to is IMO so much more filmic. I love the "muddy."
 
Are you guys just looking at the jpeg or the ProRes clip too?
 
Nothing short of amazing when you fully comprehend the actual light sources in that shot... Love the light coming down from the stairs. :-)

God I can't wait until I finally get my paws on a RED camera.
 
Ok, maybe you guys can enlighten me a bit. I've been making photographs the last 20 years so my heads in a different game. When I open the original in P'shop there are no pure blacks or whites. Is that where you want your grade to be to allow for a loss of infomation in eventual transcoding?

I promise to sign up for the first Reducation of 2011 and stop being such a nuisance...

It also just occurred to me that when a film is projected on the screen there are never any true blacks... hence the "filmic" look?
 
Also look how close that flame from the match is to Leo's fingers before he blows it out... Don't tell me he wasn't feeling the flame. Method.
 
Honestly, this is incredible to look at, Jim. It's the most filmic RED footage I've ever seen.
 
Jannard said:
Easy... don't tug the blacks down so far.
Click to expand...

There are many situations where you'd want to bring the blacks down even further. Storytelling is the art of fitting the images to the narrative, not the other way around. There are many cameramen who don't care for flat images and who appreciate and/or desire more contrasty visuals. Taste is personal, mood is subjective, and there are no technical absolutes when it comes to visual presentation. Not to mention that Cineon log images - which is what RedlogFilm is based on - are not meant to be used directly as source for video style grading, they are meant to be viewed through a correction LUT to give you a proper image and properly constrained color gamut for whatever display medium you're targeting. That's how digital intermediates from film - the primary source of Cineon log images until now - have always been done. I'm not saying you can't do what you did, you certainly can. But the greyscale is not likely to be correct throughout the visual range if you do.

You know your camera a lot better than I do, so I respect whatever you say about its use. But I'm a colorist, so I get to say such things :wink5:
 
Christopher Barrett said:
Ok, maybe you guys can enlighten me a bit. I've been making photographs the last 20 years so my heads in a different game. When I open the original in P'shop there are no pure blacks or whites. Is that where you want your grade to be to allow for a loss of infomation in eventual transcoding?

I promise to sign up for the first Reducation of 2011 and stop being such a nuisance...

It also just occurred to me that when a film is projected on the screen there are never any true blacks... hence the "filmic" look?
Click to expand...

Christopher... there is no "right", although some looks will get more votes than others. Rarely do we see real blacks in the real world so no real black is at least one of the options. Some like a ton of black. Everyone has an opinion. You get to decide what you like best and grade to that look. The point of this thread is that now it is very easy to get what you want with much less effort given the new color science. If this is a grading contest, I won't win much.

Jim
 
I think Christopher's question is more "When it comes to a gamma curve, is the goal to start with the most flat image possible, with no pure blacks, in order to have the most info for grading?"

Am I right Chris?
 
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