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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 :)

Lin to log?

O

Obin Olson

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So how can we get RedLog back into linear space for compositing? what settings/curve?

working on some effects shot and effects need to be back into Linear...but is it not best to color grade with RedLog as the starting point?

How are the "big boys" doing it for best results?
 
in nuke, use a log to lin node.
it's the standard cineon log curve so will linearize with any system that uses the standard formula.
 
great, thanks! footage looks fantastic from our shoot. will show when we get a good grade on it :)
 
Put cineon as your read node in Nuke and it will put you in linear light space. But for most DI system - log to lin function will give you video gamma space linear, i assume you are talking about the linear light since you mentioned about compositing.

Rivai
 
soRedLog is best starting point correct? then go DPX 10bit to keep it all?
 
If you are intend to keep to DPX workflow, then yes. RLF is the best way to go...
 
Is it the standard Cineon (95, 685) curve? I outputed some DPXes from REDCineX Pro and in RC nothing was clipping but in Nuke with the cineon lookup I was getting 4.0 float values in the highlights.
 
Nuke processing everything in 32bit/channel for all incoming images. If you compare the RAW and DPX RLF...you will find RLF when linearize is spot on "Half Float Linear" from Nuke R3D setting in gamma space which doesnt exist anywhere else i think. To get that gamma space, in RCX you'll need to export out as EXR. It's slightly different from Linear. Nuke documentation doesnt list in details what it actually does, except it's better than linear setting from R3D. It goes beyond typical 1.0 float max value..

So the pixel value setting you get is the result of 32 bit/channel internal processing from nuke. Bare eyes will looks clip on the highlight...but nothing is lost when you bring down the highlight, it still preserves it well just like the original.

Rivai
 
Please note: REDLogFilm is the one to use. As Deanan notes, it reverses out great with the Nuke LogtoLin node, and as RivaiC notes, you can also linearize upon input by setting the interpretation to Cineon. Both work to produce identical results.

Graeme
 
There ya go again Graeme... Now repeat that in english! (kidding)

REDlogFILM is smoking hot!... who ever developed that lut is a genius. !

I stay well clear of DPX anything these days.. 16bit R3D grading for me all the way.. :))).
R3D's directly into Flame or AE.

Once you taste chocolate, its hard to go back to vanilla.
 
To add to the above, if you send EXRs out to Nuke for compositing, you can get the output back to REDLogFilm via the LinToLog node on the output, and have files with the effects in them that will match with the REDLogFilm you sent to grading.

Graeme
 
EXR is the king ! One of the best format to work with...

Mark : new DPX support 16bit, lots of system start to support it already.

Rivai
 
The fundamental differences especially Nuke will linearize every single read node makes it great to get a seamless integration if your incoming compositing elements comes from different source. Film, RED, Alexa, CGI, etc... i find it easier to do compositing Nuke rather than AE. 3D is one the Nuke area very strong at

Tho i agree some things work faster in AE, but i think it depends on what's the nature of the project :)

Rivai
 
I don't think we have EXR in Adobe Premiere for export ?

do we need to make 10bit DPX or 16bit DPX files to keep what R1 offers in the r3d
 
EXR is meant for linear to light compositing and grading especially ACES support. I thought you are working on some compositing, im not sure what you are trying to do. You can obviously use 16bit DPX files if your system support it...if your mastering source from Red One and not EPIC, 10 DPX Log is fine, all 12 bit linear information will be retain in 10bit Log. If your incoming source from EPIC, better stay in 16bit...i prefer EXR for this workflow.
 
Rocco, what do you mean by that? REDLogFilm is perfect to the Cineon spec, hence the way the Cineon interpretation in Nuke produces a correct linear to light image.

Obin, use REDColor2.

Graeme
 
Anyone know if Premiere is "inclusive" or "exclusive" on it's EDL exports?
 
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