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On-set monitoring and filmout LUTs

J.X.V

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Hi! I'm new to the RED world and although I've read a lot about it, I still have doubts about on-set monitoring and LUTs for a filmout. Maybe this is a question for a DIT guy, but anyway, What would I need to monitor the camera on-set with the filmout look?

Thx guys! This is a really cool forum.
 
Hi! I'm new to the RED world and although I've read a lot about it, I still have doubts about on-set monitoring and LUTs for a filmout. Maybe this is a question for a DIT guy, but anyway, What would I need to monitor the camera on-set with the filmout look?

Thx guys! This is a really cool forum.

Do you already have a LUT for filmout? If you do, then you have a number of options, depending on the format of the LUT. There's Davio & LUTHER in-line processors that can feed any monitor, and the Cinetal Cinemage monitor that can load 3d & 1d luts.

cheers,

JT
 
I guess the Cinetal Cinemage monitor is the easiest way to go then. Thx!
 
The difficulty though is profiling the camera for the input transform for your LUT box. Has anybody successfully done this? The ideal would I suppose be if the camera could output the HD-SDI with a REDfilm curve, but currently it cannot.

I have had discussions with FilmLight about the possibility of profiling a RED for use with a Truelight On Set system, but we have not as yet done it.
 
What exactly is your question? Do you want to monitor the RED with a film-out LUT on the set? I don't think there's really a use for that. With a RED you're looking at a RAW image that has a temporarily look applied to it in the camera, the idea is that you wait with grading until after the editing. On the set you want to see the framing, the action and get a sense of exposure and color.

Even if you had a proper monitor set up with film-out LUT, you would have to be in a completely blacked-out tent and you'd get blinded by the lights on the set every time you stepped out.
 
Yep, I see what you mean and I agree. Thanks!
 
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