Red Codec Settings vs. 3 Way Color

[Kurt Harder]

I'm aware this might be a newbie question but have to ask.

Looking at Davinci, is there any notable differences between doing your base settings within the Red Codec Settings tab (Contrast, Saturation etc) verses doing your corrections within Davinci in the 3 Way Color or Primary Corrections?

I've made all my color temperatures and iso's final but now that I'm grading for the first time I'm not sure which I should be tackling first.

Thanks,

Kurt

 

[Gunleik Groven]

Simple answer: Yes

 

[Graeme Nattress]

Always get colour space, gamma space (recommend REDColor2 and REDLogFilm/REDGamma2 depending upon workflow) set right first. Then set colour temperature for the white balance with the RED tools. Check ISO/Exposure/FLUT are correct. Now you're ready to grade with the Resolve toolset, but always get the "basics" right first with the RED tools.

Graeme

 

[Kurt Harder]

Complicated answer?

I'm assuming that the options within Davinci are affecting a caked version of the image? Not really sure how it goes about with the raw .R3ds


EDIT: Thanks Graeme, that clears things up a bit.

After you've figured out all of those details, would it make a huge different changing something like contrast in the Red settings, or would it make a difference doing it within the Resolve toolset?

 

[Gunleik Groven]

If you look here
http://www.reduser.net/forum/showthread.php?66510-So-what-can-you-do-with-a-Scarlet-X...

Most of these grades are done with the RAW/metadatasettings.

As you can see, some get very noisy images out of the metadata
Others get very clean results.

When you enter the grade with a noisy startingpoint, you cannot get rid of that noise
If you enter it as clean as possible, you can get very nice results...

Same goes for the color-rendering, shadow- and highlight detail and all other parameters relevant for a good grade.

Whiteballance, ISO and gamma all affects these parameters...

I shamelessly promote this article...
http://www.gunleik.com/tests/alexmx/RED1_MX_and_Arri_Alexa/ISO_&_Kelvin_-_an_introduction.html


G

 

[Kurt Harder]

Makes sense. Good article. Thanks.

It's my first jump into Red post workflow, so learning lots quickly. Mostly just done HDV and SLR stuff prior. RAW is incredible. I appreciate the info.

 

[J.D. Frey]

Posting red raw is the one factor that makes me love to work with our red one and hate working with other cameras. The workflow takes a little getting used to, and may seem backwards, but if you don't fight it you will love the results.

The big battle between me and the crew is that they don't want to lug around the heavy red one- but the footage is so worth it. When we get our epic it i imagine that the argument will disappear.

 

[Wayne Chiang]

Hi Graeme，

quick question，In REDCINE-X Pro “3 Way Color” do it any different ?

thanks

 

[Graeme Nattress]

3-way colour is a pretty standard implementation. Main advantage is that it fully references back to the RAW data without any clamping operation.

Graeme

 

[Gunleik Groven]

3-way colour is a pretty standard implementation. Main advantage is that it fully references back to the RAW data without any clamping operation.

Graeme

But the 3-way operations happen in RGB, right? Or wrong? Like after the Rocket on Resolve?

 

[Graeme Nattress]

3way operates on RGB data as part of the raw conversion process.

Graeme

 

[Rob Ruffo]

Graeme, I'm not sure what you mean here - does that mean it is the same as what DaVinci does?

 

[Graeme Nattress]

Well, the math is the same, or near enough. What is different is that it's done as part of the raw development process, at high precision, referencing direct back to the raw data. If you do 3way in Resolve, it references back to the decoded raw image. A subtle difference, but it means you can over-expose in the RAW with our tools, and pull it back with the 3way as there is no clamping occuring in the raw development pipe.

Graeme

 

[Rob Ruffo]

Thank you for that Graemme. I get it now.