Re: Grading using Red Raw settings only.

[JR Monteiro]

Re: Grading using Red Raw settings only.

I am trying to determine what grading software to use for a feature film I am editing and how best to prepare the footage for the final colorist since I will only be roughing out the looks I want in my edit. Since I am editing 4K raw in CS6 I want to preserve the raw content as long as possible until the final output. Normally I use the "Source Settings" to adjust the Red Raw meta data parameter and then jump back to my timeline to instantly see the updated look on my timeline without any need for rendering. Can I do the same thing in Resolve if I only modify the Red Raw parameters on the program? In other words can I use Resolve to modify and save the source settings or (RMD settings) and see those changes on my timeline without rendering out the shot to some other format from Resolve? Will it save the updated RMD file for the clip? If so, the scopes in Resolve should help me make much better decisions on the "Source Setting" adjustments and allow me to hand over the final timeline to a more qualified Resolve colorist to do the final grading and output.

Thanks

 

[Philipe Ratton]

No as long as I know.
You can do this in RCX and then update the RMD in CS6.

 

[Zhang Ming]

Just my opinion, Resolve can do much much more than RMD. If you chose Resolve, save your time working on RMD, just edit and give the raw R3D to Resolve. At least, I feel best using default RAW setting(ISO320...) as the beginning of grade, using REDSPACE with FilmLog, a totally washed look as the beginning can easily get the best result.

 

[Nick Pasquariello]

If you're just roughing out the looks, and then giving it to a colorist, it really doesn't matter HOW you create a look, or WHAT you do to your RMDs.

He's (or she's) a colorist. If he's calling himself a colorist, he should know how to get to 'what you want' from 'what was shot'. Regardless of the tools he's using and regardless of how you set the RAW parameters.

That being said, I find that adjusting large amount of RMDs is easiest in RedCineX Pro by a landslide. So do that in there. And I wouldn't get too preoccupied with any scopes in Resolve or elsewhere. Again: you're handing this off to a colorist. Get an overall image that you like, and then point and say "LIKE THIS but BETTER" and then I'm assuming you'll either be sitting in on part of the grade, or at least seeing clips or stills rendered out during the process. At which point you can provide any notes.

Right now, it sounds like you don't trust your colorist to grade your footage, if you're that concerned with the RMDs and using precise scopes to set a look.

 

[jake blackstone]

If you not a colorist, then STAY AWAY from doing any metadata adjustments, before handing off the conformed timeline to the qualified colorist. Do you know which color space or which viewing LUT the colorist will be using? I can't tell you how, much extra time does it take to undo the useless or damaging metadata adjustments done by someone, who may thinks that he/she is helping. In reality this causes HUGE increase of time necessary to repair the damage done. If you are a colorist, then why are you handing the material over top another more qualified colorist? Just grade it yourself. If you're not, then STAY AWAY!!!
At best, it's just a waste of time, at worst, it increases amount of work required and the cost.

 

[Marc Wielage]

I agree with what Jake says above. And I also would hold off on making any drastic adjustments unless your monitor is calibrated to the exact same parameters as that of your colorist (and/or post house).

I have no problem starting with RedLogFilm or RedColor3 for projects. I think that has more than enough range to get there most of the time, assuming theatrical delivery (for the first) or Rec709 delivery (for the second). When in doubt, do a couple of tests and hand off some trial footage to your colorist and make sure there are no issues.

 

[Luis Otero]

If you will be starting with a RedLog, why the adjustments? My recommendation will be to keep the original setting for reference only, but start the grading as RedLogFilm so the grading will start from a very good place: low saturation, high DR.

 

[Daniel Pitta]

You can do this in RCX and then update the RMD in CS6.