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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

RED - IPP2 Introduction

Phil Holland

Phil Holland

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I've been getting a lot, and boy do I mean a lot, of questions regarding RED's new Image Processing Pipeline 2 (IPP2).

I've decided to make a quick one sheet on it that explains what it's all about, how it effects your images, how to deploy it in camera, and also in post.



Hope that helps.

Link to IPP2 Output Presets:
https://www.red.com/downloads?category=Other&release=beta


And some Feature Spotlights on some of the visual improvements IPP2 brings.

phfx_RED_IPP2_FS_improvedColorAndDimensionality.jpg


phfx_RED_IPP2_FS_newAndImprovedDemosiac.jpg


phfx_RED_IPP2_FS_outOfGamutColorImprovements.jpg


phfx_RED_IPP2_FS_highlightExtensionAlgorithm.jpg


phfx_RED_IPP2_FS_improvedShadowDetail.jpg
 
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Super useful Phil , much thanks. Do you or someone know if it's possible yet to do this IPP2 workflow on fusion 9.0.1? (i'm on a older version of nuke, but I'm thinking of attempting to do a IPP2 workflow test on Fusion). I have tried the workflow on redcinex then prores to compositing, but really would like to get this workflow running on the compositing & grading software directly.


[9.0.1 fusion does allow a r3d file to be read as "red wide gamut rgb" and does support the gamma cure of log3g10 ... so i think the basic pieces of supportin ipp2 are now in fusion?]
 
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Nice. Thanks for all of your diagrams. I have a collection of them in my notes that I refer to all the time.
 
Thank you very much! No one can say they don't understand this "IPP2 thing" anymore.
 
I have a Scarlet W and shoot with legacy colour. But I often use Epic W on shoots and have troubles judging exposure with the histogram as it is all squished only showing log. I do enjoy to have the histogram showing a wider, rec 709 type of histogram to see where everything will fall instead of really squished an only being able to see over or under via goalposts really. Is there a way when using IPP2 to have the histogram show what the transform LUT is seeing? Like with my Scarlet W I have my dragon colour, red gamma and can switch over to my log histogram. Thanks.
 
And what about those clips that need time remapping, vfx edit, stabilize etc etc. ?? How do I approach ipp2 when I’m not using RAW? What codec is best for color grading those specific clips and keep the IPP2 flexibility with the output transform LUT at the end of the chain? Thank you Phil for your patience to teach us ;)
 
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Thanks guys!

Luca Perin said:
And what about those clips that need time remapping, vfx edit, stabilize etc etc. ?? How do I approach ipp2 when I’m not using RAW? What codec is best for color grading those specific clips and keep the IPP2 flexibility with the output transform LUT at the end of the chain? Thank you Phil for your patience to teach us ;)
Click to expand...

Common VFX formats are DPX and EXR mostly these days, though a couple houses I work with still use TIF somehow.

In that situation you can export an image sequence in one of those formats and stay within RWG/Log3G10 without an Output Transform and then apply that after "whatever you do".

Editing-wise, well I'd go to something like ProRes or DNxHR/HD with a similar workflow. My last project I actually edited with REDCODE RAW via Adobe Premiere Pro CC then imported the XML timeline into REDCINE-X PRO and did the entirety of the grade there with IPP2, Creative Cubes (yes philmColor), various Grading Controls, and the Output Transforms. Then exported out the clips and relinked back in Premiere with sound, then export.

This is more of a "just for now thing" as the SDK gets deployed and supported, then you'll actually be able to work with REDCODE RAW and full IPP2 within 3rd Party Software.

At the moment, and yes I know it's frustrating, REDCINE-X PRO is the only thing that fully supports all of IPP2s goodness.

That's going to change pretty soon though.
 
Thanks Phil... really appreciate you helping... the communication challenges of IPP2 can't be overestimated... in my market Red is seen as fiddly and easy to mess up so anything people like you can do is really worth it!

IPP2's results are great and I am already enjoying some of the benefits .. Mr Natress is doing great work!!

PS On a slightly negative note I genuinely believe the fact that Red is selling cameras that (withought using a 3D LUT) work in a NOT wysiwyg way is problematic... (DSMC2 dragon based cameras) ... also that their flagship cameras is not capable of this?
 
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Michael Lindsay said:
Thanks Phil... really appreciate you helping... the communication challenges of IPP2 can't be overestimated... in my market Red is seen as fiddly and easy to mess up so anything people like you can do is really worth it!

IPP2's results are great and I am already enjoying some of the benefits .. Mr Natress is doing great work!!

PS On a slightly negative note I genuinely believe the fact that Red is selling cameras that (withought using a 3D LUT) work in a NOT wysiwyg way is problematic... (DSMC2 dragon based cameras) ... also that their flagship cameras is not capable of this?
Click to expand...

Understood Michael and believe me I've asked RED. The truth of the matter is Weapon 8K S35 and Epic-W (both with Helium sensor tech) have unique hardware in there that make the IPP2 "interface" happen a bit more smoothly.

With anything that's DSMC2 w/ Dragon that supports 3D LUTs you can load the Output Transforms, that's the current solution.

However, I should stress particularly if you are filming REDCODE RAW, this is all RAW data in reality. The available gamma curves and color spaces in there at the moment still play nicely with the exposure logic that IPP2 provides. So even if you are filming in say DRAGONcolor2/REDgamma4 or whatever you won't be shocked if you jump into an IPP2 post workflow.

IPP2 is brand spanking new and only the newest cameras basically have the hardware.

This is all "today's solution". I'm hoping RED can find a way to button it up slightly better on the Dragon side of things. In my Weapon 8K VV Dragon I role with the Medium Contrast and Medium Highlight Roll-Off and haven't touched it much since uploading it there.
 
This is all "today's solution". I'm hoping RED can find a way to button it up slightly better on the Dragon side of things. In my Weapon 8K VV Dragon I role with the Medium Contrast and Medium Highlight Roll-Off and haven't touched it much since uploading it there.
Click to expand...

I think if Red put in a IPP2 preview mode that simulates (for example Medium Highlight Roll-Off ) IPP2 from a tonal mapping pov but with out the specific debayering then at least 2 current red cameras would line up on a shoot with out the need for loading 3d LUTs. Also then when I open my clips in post they look like what I saw on the shoot.. (again without a 3d LUT that I may need its functionality for other purposes)..

thanks again

PS I also know that I could never explain this situation to a DP who wan't invested in Red and also a devoted post geek.. This simple reality is challenging for Red adoption. Doesn't really effect my business but I have tried to explain the implications of IPP2 to my business partner (who is clearly a Reduser in the real sense as seen here https://www.instagram.com/p/BXp41DnguES/ ) BUT he can't really belive it and this worries him for the shows he pushes to Red.

PPS also my comments are not about the underlying technology which is fantastic! ... I really love what GN is achieving for Red material
 
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