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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 :)

RedWideGamutRGB: discuss!

Thanks all. I'll have a final version soon indeed.
 
Hello all,

First thank you all for the feedback. I really appreciate it.

Here are the log conversion LUTs:

https://lutify.me/free-redwidegamutrgb-log3g10-log-conversion-luts/

If you don't feel like visiting that page for the download, here's a direct download link:

Free REDWideGamutRGB Log3G10 LUTs

In the download you'll find four LUTs:


REDLog3G10 – REDWideGamutRGB – DCI-P3
REDLog3G10 – REDWideGamutRGB – Rec.709 – V.1 (Neutral Rec.709 conversion)
REDLog3G10 – REDWideGamutRGB – Rec.709 – V.2 (Slightly higher contrast Rec.709 conversion with deeper tones and warmer skin tones)
REDLog3G10 – REDWideGamutRGB – Rec.2020

You can see some examples at the above url.

All best,
Goran
 
luigivaltulini said:
Thanks Goran i try thisss tomorrow ;)
Click to expand...

Great! Let me know how it goes. We've also updated our packages (version 2.0.8) to have the latest log conversion LUTs, but in the packages we've only included the neutral Rec.709 conversion. Just though you might wanna know :-)
 
Goran sorry, this lut is 33x33 or 17x17?
so as to know if I can load directly on Red Weapon and RED Scarlet-W
 
luigivaltulini said:
hopefull soon ;)
you can have a 17 version for red scarlet-W ?
Click to expand...

We can do that but without RWG in firmware there's not much use for it and once there's RWG in firmware you'll be able to monitor Rec.709 from firmware. Or am I missing something...?
 
This is the old Red One MX with REDWideGamutRGB/Log3G10 with Goran's LUT. Only processed minimally in Redcine-X, no sharpening. Contax 85mm exposure F2.8. No IR filter
A001_C002_09148E.0000078-X2.jpg


Here is iPhone reference shot.

IMG_9129-L.jpg
 
Steve Sherrick said:
This is the old Red One MX with REDWideGamutRGB/Log3G10 with Goran's LUT. Only processed minimally in Redcine-X, no sharpening. Contax 85mm exposure F2.8. No IR filter
A001_C002_09148E.0000078-X2.jpg
Click to expand...

Such organic color and skin tones.
Which new camera is this!?
I want one! :smile:

Brian Timmons
BRITIM/MEDIA
 
Goran Ljubuncic said:
Hello all,

First thank you all for the feedback. I really appreciate it.

Here are the log conversion LUTs:

https://lutify.me/free-redwidegamutrgb-log3g10-log-conversion-luts/

If you don't feel like visiting that page for the download, here's a direct download link:

Free REDWideGamutRGB Log3G10 LUTs

In the download you'll find four LUTs:


REDLog3G10 – REDWideGamutRGB – DCI-P3
REDLog3G10 – REDWideGamutRGB – Rec.709 – V.1 (Neutral Rec.709 conversion)
REDLog3G10 – REDWideGamutRGB – Rec.709 – V.2 (Slightly higher contrast Rec.709 conversion with deeper tones and warmer skin tones)
REDLog3G10 – REDWideGamutRGB – Rec.2020

You can see some examples at the above url.

All best,
Goran
Click to expand...


You are amazing, the results look fantastic thanks for that! post some later
 
Goran nice job, even under different kelvin color temperature the skin tone I like :) Also in version V2.

as soon as I have time to try some movie under mixed lighting.

Goran Now, you must create a Lut similar to the DXL Panavision ehehe ;)


41_zpsi4fw0v07.jpg
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I'm not a regular poster here, so forgive me for butting in but i have a few observations and i'm sure i will be corrected if these aren't, well, correct.

RWG is simply a gamut that is big enough to contain all of Reds camera RGB with the added benefit that Red will calibrate their conversion to RWG so the end results will be a close as possible, based on the capability of the sensor. This includes a log curve to record the range the camera can see too. This is an awesome move to simplify post. It's not unlike what ACES is doing for cameras at large but this is purely within the Red family.

However sticking a generic LUT on to 709 is sort of pointless, especially when people are pixel peeping and scrutinising the results - it's not fair on RWG.

The issue with other gamuts in the past is that the gamut is smaller than the camera could see and therefore at some point there was remapping of out of range colours into this smaller gamut. That's the issue with most colour science and grading - the decisions on how you massage a colour back into gamut can affect the whole image. IMHO this partly why cameras have a 'look', it's the mapping of what the sensor saw into the manufacturers interpretation of what it was.

The 709/sRGB primaries, whilst being the default target for most of us, are really quite small. There's a thing called pointers gamut that was an attempt to map real world colours into a standardised gamut and if you look that up you can see that some of what we see around us is outside the 709 primaries. Even on a macbeth chart.

Red (the colour) is very difficult because 709 doesn't have much tonality for Red. This is one of the reasons why it's so difficult with dSLRs and other cameras to get decent Reds. So it's a good illustration of what i mean. The whole sRGB thing was, AFAIK, intentionally choose to get nice easily saturated images on the internet. But we can capture so much more these days.

The task of getting a full red into a smaller gamut is down to the application and workflow you are using. You can simply clip the red, you can scale whole sections of colour to maintain distances between other colours but not matter what you're doing you are artificially changing the image the camera saw. If you're scaling colours in then there's no set way of doing that and no matter what you do you *will* affect all the colours to some degree.

In addition to this, each gamut has it's set of primaries - how red is that cameras red and so on.

So to swing this back onto topic.

RWG is awesome but the task of creating an image in a smaller colorspace is fundamentally part of what a colourist is doing. The yellow/green/red skintones can be an artefact how how you go about mapping a huge space into a smaller one. And also ensuring that the application you are using is aware of the primaries of the source material. The number of times i've seen someone try to grade Slog without any colour space conversion is shocking. The Slog primaries are quite different from 709 and *need* a conversion. Hence 'Slog2' skin is yellow.

So IMHO i think we should be looking at workflows and manual grading and, for the time being, not looking for generic LUTS unless you need a quick way to get some results.

So I don't think it is correct to say that RWG produces yellow or green skin tones. It's what you do to that source afterwards (unless of course there is a shift when Red turn camera RGB into RWG)

Does that make sense?

cheers
Paul
 
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