Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 ONE Film Out Workflow Diagram with FCP/Color

Conforming the DPX back from the Color, I'm expecting the conforming feature from GlueTools on the next version. Also, I'm going to adopt 3CP for the color/gamma consistency.
 
Luca,

Going back to the gamma shift, I got pretty consistent workflow as of tonight.

DPX out of Color, imported to FCP with Glue Tools import setting at Linear adjustable B & W point, B being 0 and w being around 980, and FCP's user preference and the editing tab, set it to "source" (I'm surprised that this one does seem to affect although I thought it was for importing stills/RGB but DPX stills anyway).

Now if you compare the computer display's view monitor on Color and FCP look different, Color is probably displaying at gamma 1.8 and FCP is at 2.2, but the Blackmagic Multibridge Pro output (RGB selection) from the Color and FCP look pretty much identical. I'm pretty sure you already have been going through this, but I think I can work with this now. I also purchased a 3CP to prepare for the feature film work to even become more precise. Now I'm waiting for Bob to come up with the DPX conforming tool/feature. Until then, I have to do it manually I think.
 
Luca Immesi said:
Thanks Kaku. I start a feature next month, they want to finish in Scratch but this workflow is very interesting. What kind of method do you use for conforming? Also I use the fcp.mga as a render LUT with good results. Thanks Evangelos.
Click to expand...

Hi Luca I have conformed a feature to 2K dpx's with crimson, it was a great success. Rendering from Redcine was not a great fun but it gave me a lot of control and great results.

In the following week I will finally get to see the 35mm copy of the film that was transfered to film at Evangelos facility and printed in Cinelab greece. Every one that have seen it are very satisfied including the producer the director and the DP. first one accomplished more on the way. I will have the trailer printed in a few weeks, I will share with you an HD version.
 
hmmm my color LUTs folder is empty
where I can find fcp.mga??
 
Thanks for the news Kaku and Karilla. I'm looking right now to 3cp, I'm trying the demo and it seems a very good option. Do you think it could be the "cure" to gamma shift issue?
 
Luca Immesi said:
Thanks for the news Kaku and Karilla. I'm looking right now to 3cp, I'm trying the demo and it seems a very good option. Do you think it could be the "cure" to gamma shift issue?
Click to expand...

From what I hear from Tim, it would be the cure I think.

Currently, I tried the gamma checker from here to adjust the gamma at final procedure of the calibration.

I'm guessing that the their special charts come with 3cp is the key. If this works then it will be adjustable to work for DCI 2.6 gamma when we need to, that will be great.

Karilla, thanks for sharing about the Crimson DPX conforming, I will try that, too.
 
This is my favorite workflow right now http://www.reduser.net/forum/uploaded/9083_1234090240.zip
IMHO it gives you the best quality you can get from r3d, then for quick tests I use the Clipfinder and L&T and the EDL workflows. But if you want the best quality with full debayering, Crimson workflow is awesome and the possibility to render only your cut list is really fast, it's like having a mini Scratch system and you can integrate a more sophisticated CC with Color. The only thing I don't know is how it performs in the long distance. The longest project I did it was 25 minutes. But Karilla made a movie with it! Also if you take a look at this thread
http://www.reduser.net/forum/showthr...t=25762&page=2
in the post of Michael Cioni from Plaster City you will notice redcine rendering quality is really close to Scratch and Pablo. With this workflow you don't have the immediacy of Scratch but it costs several thousands dollars less!
 
Luca,

I agree with the output quality on the REDCINE out.

I'm making another workflow diagram with REDCINE workflow now, so after I finish it then I will post it.

REDCINE limitation with number of cuts won't be so much problem for the film out because they have to be within 20 minutes each anyway.
 
Kaku Ito said:
Luca,

I agree with the output quality on the REDCINE out.

I'm making another workflow diagram with REDCINE workflow now, so after I finish it then I will post it.

REDCINE limitation with number of cuts won't be so much problem for the film out because they have to be within 20 minutes each anyway.
Click to expand...
Do you have a limitation for film out of bunches of 20 minutes?
Also apple suggests to use Color with sequence of 20 minutes...
 
I think each roll would be 21 minutes 30 seconds at the max but that would be pushing it.
I'm not the expert but that is what we were told. How much you would push in to each roll is up to you, but you have to find the points in the whole piece that is not obvious nor bothering to the audience that the punch points show up, also the points that don't interfere the audio track.
 
Luca Immesi said:
Do you have a limitation for film out of bunches of 20 minutes?
Also apple suggests to use Color with sequence of 20 minutes...
Click to expand...

31000 frames is the limit. Try to give the lab extra slack for comfortable threading.
 
Artur Orzel said:
hmmm my color LUTs folder is empty
where I can find fcp.mga??
Click to expand...

That's odd, I found it without any problem, but Luca didn't see that neither.
 
Kaku Ito said:
That's odd, I found it without any problem, but Luca didn't see that neither.
Click to expand...
Yes, it's strange. Also in my fcp studio 2 there wasn't. Maybe is it the pal/european version?
Kaku, where did you get the chart from gamma and density? I can't find on the link of you have provided. I'm also using an i1 display 2 for monitor calibration and it's a very good device.
Thanks.
 
Luca Immesi said:
Yes, it's strange. Also in my fcp studio 2 there wasn't. Maybe is it the pal/european version?
Kaku, where did you get the chart from gamma and density? I can't find on the link of you have provided. I'm also using an i1 display 2 for monitor calibration and it's a very good device.
Thanks.
Click to expand...

Luca,

I think the FCS2 package is universal.

For the G&D chart, the chart is included in the package or you can buy them separately, I didn't receive them yet.

I also tried the i1 and it is very good. Spyder 2 wasn't very good (I don't know how Syder 3 is).
 
- The LUTs can be found in the package by right-clicking Color, I don't see any differences in our European version.
- Spyder3 is better than Spyder2, but they still have pretty wide tolerances, I'd always prefer DT94 if you still can find one (try www.quato.com).
 
nomad said:
- The LUTs can be found in the package by right-clicking Color, I don't see any differences in our European version.
- Spyder3 is better than Spyder2, but they still have pretty wide tolerances, I'd always prefer DT94 if you still can find one (try www.quato.com).
Click to expand...
There's no luts in my retail fcp studio 2, that's for sure.
 
You must log in or register to reply here.
Back
Top