Settings for the most flexible delivery setup preferences... opinions needed.

[william howell]

Hey Reds,

My coworker finally convinced me to dive into DaVinci Resolve last week... Needless to say... It's absolutely an amazing piece of software.

We'll be officially ditching Final Cut and Adobe Premiere for the majority of our workflow once the official 14 release hits the shelves and our server SQL database is setup.

He's been working with it for a few years now on and off, so we have a pretty good knowledge base to start with... however...

Here's our plight. There are two of us. We don't have a huge workforce to scour through our hours of footage we happen to gather on any given day.

1. We'll do a first pass edit of a project video and quickly choose the "best clips" for internal purposes. We might deliver that edit to youtube to share with the world. A few days/weeks/months later, we'll be contacted by some outside source asking for raw footage of the clips we used. This is where Divinci is so powerful, as we can turn around and export out the clips formatted for the delivery source. Simple.. awesome.


We're assuming that the safest way for us to work (and guarantee the most flexible delivery method with the least amount of compatibility problems) is to adopt a Rec709 project settings policy and do the colorspace transform from RED to Rec709 at the beginning of the project upon import, edit in Rec709 colorspace, then deliver a "color safe" project from that point onwards.

Then when the world switches to wide color gamut, we can revisit our ingesting settings.

Are we thinking of this correctly?


2. I'm not sure how REDCineX fits into all this... I feel like i'm breaking some rules by making the footage look good in RedCineX then importing it into DaVinci working in Rec709.

This morning I've been working with some .r3d files, added some saturation and fixed the white balance in RedCineX... then imported that into DaVinci which is set to work in Rec709 color space, it doesn't seem like I can adjust the redRaw settings.. So the footage looks oversaturated since it's saturated in RedCine and then again in DaVinci once the Lut is applied...

It's no big deal, because I can just go back and revert everything in redcine x... but.. just want to understand the workflow better to optimize our techniques for the fastest and most flexible workflow method possible.

Should we minimize our usage of RedCineX and primarily work with Davinci's coloring interface?

It should be noted, that I actually like RedCineX... I just want to make sure that we retain the highest quality we can from our Red files, and give us the most flexible delivery pipeline in the meantime.

 

[Brice LeCarre]

Williams, you can adjust the raw settings in Da Vinci.
The bottom left side of the color page where you have the color wheels is a tabbed window (like most everything in Da Vinci) look for, in the header of that area, an icon that looks like a camera. It is the leftmost of the 5 icons displayed. This is where your raw settings exist. This is only on a per clip basis.
In the preferences you can select general settings of the project.

 

[rand thompson]

William,

Why not just use both as you require them. I was just using redcineX to convert the .r3d files into the new RedWideGamutRGB/Log3G10 colorspace and using Resolve to do the main grading.

but after getting involved in this thread:

http://www.reduser.net/forum/showth...h-magenta-highlights-amp-no-HDR-or-DRX-option.

I saw the true power of using both RedcineX and Davinci Resolve in unison, it's like how else should you work with Red .r3d files.

There are sometimes when just want to stay in "Raw" As long as you can in RedcineX to fix all of problem that you can in RedcineX. There are sometimes where RedcineX will be almost completely useless, because the problem will require the "secondary" , "power window" power of resolve .

I believe that RedcineX gives the most 'true" colors that the red cinema camera can create. I also believe that RedcineX , due to Graeme's genius with the development of the IPP2 workflow, also gives a beautiful initial "Tone Curve" and further tweaking of the red .r3d files with the added "CDL" controls.



I got the look below with a combination of RedcineX and Davinci Resolve. I don't believe I could have matched those colors and that tone curve in Resolve alone.

This

[/url]kitchen by rand thompson, on Flickr[/IMG]

Into This

[/url]green kitchen best floor 4 by rand thompson, on Flickr[/IMG]

However, in the sample footage from Red.com example below, RedcineX was almost completely useless to me. I could have only done this in "The Resolver'

This

[/url]Screenshot (14) by rand thompson, on Flickr[/IMG]

Into This

[/url]Screenshot (13) by rand thompson, on Flickr[/IMG]

 

[Marc Wielage]

There are sometimes when just want to stay in "Raw" As long as you can in RedcineX to fix all of problem that you can in RedcineX. There are sometimes where RedcineX will be almost completely useless, because the problem will require the "secondary" , "power window" power of resolve. I believe that RedcineX gives the most 'true" colors that the red cinema camera can create. I also believe that RedcineX , due to Graeme's genius with the development of the IPP2 workflow, also gives a beautiful initial "Tone Curve" and further tweaking of the red .r3d files with the added "CDL" controls.

As far as I know, the latest SDK given out to companies like Adobe and Blackmagic gives them access to the same exact R3D decoding tools in their programs as you have now in Redcine-X Pro. There should be no difference, assuming the latest software.

Don't assume that adjusting the Raw controls will always yield the best results. There are specific advantages to controlling video levels with Lift/Gamma/Gain, with Curves, with Log controls, and with Offset/Printer Lights. There is no one best way. In many cases, it boils down to achieving the best results in the least amount of time, because nobody has (say) 1000 hours to color-time a feature film. You're lucky if you have a couple of weeks to do it, and that's just not gonna happen with Redcine-X.

 

[Dumitru Ivanov]

Not bad! It looks a lot better without the sepia filter.
__________________________________________
Dumitru
http://nearshoringpartner.ro/en/

 

[rand thompson]

Dumitru,

Thanks!, I almost completely forgot about this thread and my post.