philmColor July 2022 Update - ARRI AWG4/LogC4 Support and 3 New Output Transforms

[Phil Holland]

Hello all,

Just updated philmColor with a few new goodies. Mainly adding support for ARRI's new color science of AWG4/LogC4 found in the Alexa 35. Also, I've created 3 new philmColor IPP2 Output Transforms.

philmColor.com

New Output Transforms
The new Output Transforms are ALP, ASP, and BYS. Each of these come in three strengths. LOW, MED, and STR. However, these don't apply the standard boost or reduction in saturation as constrast is adjusted. They are built around a constant saturation logic, which is a bit more interesting to explore. I'll dive deeper into these shortly, but ALP is named after the mountain range. ASP is named after the snake with a bit more bit, and BYS is abbreviated from abyss as it has a slightly deeper toe into the blacks.

Color Gamma Transforms for ARRI AWG4/LogC4
I've added a number of ARRI related Color Gamma Transforms for their new and old color science. These allow you to take Reveal AWG4/LogC4 into RED's IPP2 RWG/LogC310 Workflow for full compatibility with all of my philmColor LUTs. Additionally I've included CGTs for RED to ARRI as well in case you want to tap into their color science and LUTs if that's your thing or if you're working with multiple systems on a production for any reason. For the RED to ARRI transforms and vice versa, I've included 18% Gray compensation or native versions depending on what you're into. Also, to make life easier for the ARRI folks who no doubt will have older Alexas on projects as new cameras ship, I've created transforms from their old color science to their new cool.

While I'm here, I made some graphics hopefully making some of this easier to visualize.

RED IPP2 Color Workflow Primer

New Output Tranform Info

Transforming ARRI AWG4/LogC4 to RED RWG/logC10

Transforming RED RWG/Log3G10 to ARRI AWG4/LogC4

Cross Grading philmColor Creative Cubes into ARRI's AWG4/LogC4 based Output Transforms.

Hope that's all clear.

This is a free update to existing philmColor customers. All you need to do is re-download via your purchase link email.

 

[rand thompson]

These are going to be valuable to anyone with both RWG/LOG3G10 and AWG4/ALC4 footage on the same timeline whom didn't want to use ACES.

 

[Phil Holland]

These are going to be valuable to anyone with both RWG/LOG3G10 and AWG4/ALC4 footage on the same timeline whom didn't want to use ACES.

I'm not anti-ACES for the entire workflow, but I strongly recommend using other Output Transforms, particularly related to gamma curves. There are issues there that have yet to be rectified. I hear they are being worked on however and the most recent Gamut Compression is a move in the right direction.

I might whip up some ACES stuff, but since it's a moving target, a very moving target, it's a tough one.

 

[rand thompson]

I'm not anti-ACES for the entire workflow, but I strongly recommend using other Output Transforms, particularly related to gamma curves. There are issues there that have yet to be rectified. I hear they are being worked on however and the most recent Gamut Compression is a move in the right direction.

I might whip up some ACES stuff, but since it's a moving target, a very moving target, it's a tough one.

Phil,

Yeah, I'm kinda all in on ACES these days and if you decide to do anything with ACES, my credit card is already ready.

:angel: :emote_happyhappy::thumbsup:



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[Marc Wielage]

I'm not anti-ACES for the entire workflow, but I strongly recommend using other Output Transforms, particularly related to gamma curves. There are issues there that have yet to be rectified. I hear they are being worked on however and the most recent Gamut Compression is a move in the right direction. I might whip up some ACES stuff, but since it's a moving target, a very moving target, it's a tough one.

ACES is a real annoyance for us -- I'm not a fan of how the controls in Resolve respond, even in ACEScct. I don't have a problem with RCM, though there are some "gotchas" to watch out for. They did update their Color Space Transforms with 18b6, so at least any potential issue with Alexa S35 is solved. We'll see what Red does if they go for a response.

 

[rand thompson]

With the " USE COLOR SPACE AWARE GRADING TOOLS" enabled in the ACES Project settings, Its suppose to allow Legacy controls like Lift, Gamma and Gain to work and feel the same as in non Aces workflows. It also brings out the added functionality of the Color Space Aware grading tools like the HDR palette and the Color Warper tool.

 

[Phil Holland]

ACES is a real annoyance for us -- I'm not a fan of how the controls in Resolve respond, even in ACEScct. I don't have a problem with RCM, though there are some "gotchas" to watch out for. They did update their Color Space Transforms with 18b6, so at least any potential issue with Alexa S35 is solved. We'll see what Red does if they go for a response.

I'm fine with the concept behind ACES, but it's produced some interesting hiccups on productions particularly when relying on their tone maps. Their new gamut compression stuff is good for their workflow. I have been hired to do last minute full re-grades due to some of those issues, which has been wild. There's a lot of work going on though for the next implementation of ACES. And I have to credit all involved for their efforts.

Resolve's implementation in the beta is nice. I'm getting slightly different results than the pure mathematic transform, but that's par for the course with CST and usually within a reasonable tolerance.

Unsure if RED needs to make a response in this case as this new ARRI workflow seems to be rather IPP2 inspired and both are massive log gammas now. Color Space and Gamma Curve is different, but mindset is the same. Beyond what the camera is doing, ARRI's color science is in the color space and output transforms. Deconstructing all of that has been interesting this time around. More so than previously.

The real one colorists will have to look at is using ARRIRAW's RAW controls to influence highlights or not as both their SDR and HDR transforms peg beyond the ceiling if you're not concocting your own look. RED's IPP2 logic, at lease with Medium/Soft is a contained workflow. But you can roll transforms that literally do things the other way. Helps with perception in sky saturation and such even.

However you roll it, having beyond 11-15 stops is very nice when it comes to modern grading. Think we've all known that for a while. All the cameras out there are different, but I personally recommend stuff that can handle 13-15 stops or beyond for modern SDR and HDR workflow.

One other note, mainly for DPs, is be a bit more generous if you're exposing under key and using their transforms. It's more about the saturation modelling in the shadows.

 

[Marc Wielage]

I'm fine with the concept behind ACES, but it's produced some interesting hiccups on productions particularly when relying on their tone maps. Their new gamut compression stuff is good for their workflow. I have been hired to do last minute full re-grades due to some of those issues, which has been wild. There's a lot of work going on though for the next implementation of ACES.

That's the beauty of ACES: there's so many versions to choose from!