Monitoring ProRes

[Anthony DeRose]

Hello,

Shooting Prores + R3D (6K HD), Prores 2k 422 in Red Wide Gammut and Log3G10. How can I monitor off the EVF, Red LCD or SDI output in a DC4/RG4 or Rec 709 color space without putting any custom Luts? I basically want to do what I would with a Alexa - set the recording to Log C and the look parementers for monitoring in Rec709.

Thank you.

 

[Anthony DeRose]

To add

With the Standard OLPF on the Weapon is base Iso still 800?
Are there any charts for recording times when recording both R3D + Prores?
Output Color Space, Contrast and Highlight roll off is that recorded or for monitoring purposes?
Manual black balance the way to go when just shooting at a consistent temp. and no drastic exposure changes?

Thank you.

 

[Don Walker]

If you are utilizing the IPP2 color space then 400 is the best place to start with the standard OLPF. I haven't had a chance to use any other OLPFs yet so I'm unable to be of much help there.
There is a great app called RED TOOLS. The app is free it's very useful to determine drive space and recording times and a whole lot of other things that you might have questions on. RED Tools by RED Digital Cinema
https://itunes.apple.com/us/app/red-tools/id894739141?mt=8
Output color space is important for monitoring your image. When recording IPP2 for a standard broadcast or web release then monitoring rec.709/SDR is a good representation of what your image will look like. This selection is made under the Monitoring>Monitors>HD-SDI Display Preset. This will send a corrected signal to monitors. I have found it works well on the LCD/EVF too but that may be a matter of taste or need to view the log for others.
As far as output color this is Meta Data that follows your files when brought into RED CineX or other NLEs. This allows for a starting point for color and exposure for the edit with the ability to add a creative LUT when going through the color correction step.
I've read recommended settings to be OUTPUT COLOR SPACE: Rec.709, OUTPUT TONE MAP: Medium Contrast, Highlight Roll-Off: Medium.
For me I've found that to be a bit heavy handed and contrasty for my taste. I use the 709 but change Output Tone Map to Low Contrast and Highlight Roll-Off to soft. This setting for me is a little nicer when viewed.
Black Balance is important. Just follow REDs recommendations for that. If your're just shooting in relatively normal conditions if you do a BB at the beginning of your project and the camera stays within those parameters you'll be fine.
These are what work for me.

 

[Anthony DeRose]

Thank you. That output (rec 709, con and highlight) is just metadata that can be turned off in the NLE? I’d want to be able to work with a basic log file in the edit and build the color later. I don’t want those output elements burned in.

If I’m shooting prores 422HQ and 6k HD raw am I risking compressig my Raw file with the added prores?

 

[Don Walker]

You have the ability to choose whether to bake in the settings to the PRORES or not in the codec settings. This happens separate of your r3D files. The RAW files will get their own compression settings that you define. Typically for broadcast or theatrical then 5:1 is a good place to start however if it's for web then 8:1 is fine. These compressions are best tested by yourself to determine what fits with your delivery. Spend some time on YouTube and watch the RED TECH videos that they have created. They are very informative.