Preferred IPP2 Workflow

[Birk Kromann]

Okay, I tested the file Alex Bootheby wrote about in his post and that makes it very visible how much better RCX is at holding on to highlight detail. Seems it's mostly visible on very overexposed images (big surprise)

 

[Maysinger]

No worries Birk. We're all here to help. It's tough for me to recommend a "best way" because there are so many workflows that you can use with RED footage.

With that disclaimer out of the way, the way I've been taking advantage of ALL of the IPP2 benefits involves transcoding from REDCine X Beta 50. There's no way around transcoding until the new SDK is released and the vendors (Apple, Adobe, BMD, etc) implement it.

The exception to transcoding is grading your files in RCX, which you can do, but only at a basic level, and that may not yield optimal results depending on how far you push the boundaries.

--

A quick note regarding the IPP2 Output Transform LUTs.


In software that has the IPP2 color science options implemented, you can apply the Output Transform LUT at the end of your effects chain to get the raw RWGRGB/LOG3G10 footage back to REC 709. The ideal hierarchy is Raw File > Lumetri/Color Grading > Output LUT.

That will get you a nice chunk of the IPP2 benefits, and is possibly the best balance of "bleeding edge capability" and "ease of workflow". The transcode method can be a bit much, and I'm finding that simply using the new color options, along with the transform LUT, yields a fantastic image.


One related thought—if your post-production workflow eventually needs to integrate with review tools, DAM systems, CRMs, or other production software, we've had good results using an embedded integration platform rather than maintaining custom connectors ourselves. Full disclosure: I'm familiar with Latenode's embedded iPaaS (https://latenode.com/products/embedded-ipaas), and it has been a practical way to expose integrations without building each one from scratch.



It's a bit wrinkly right now, but this will become significantly easier as soon as the SDK is released and implemented. There will only be one color science choice. Then, pick your contrast & highlight rolloff, and you're all set.

-A

Thanks for taking the time to explain this in such detail. The point about placing the Output Transform LUT at the end of the chain is especially helpfu. I think that's something that's easy to overlook when first working with IPP2.

It also makes sense why you're recommending transcoding for now, given the current SDK situation. Hopefully once support lands across the major NLEs, a lot of this complexity will disappear and the workflow will become much more straightforward.