Share your Red Cinie X color correction settings and aspect ratio you luv to shoot!

[Ruben and Sheri O.]

Would luv to have ppl share their favorite color correction preset you created in Redcine X just like Jim did for us, for ppl to possibly use on there new Scarlet footage to help others do a basic to full color grade, also vote on what is your favorite aspect ratio you luv to use and will use with your new Scarlet X! Hope this is useful and insightful to some and up lifting subject, I know it will be useful info to us, thank guys :cheers2:arty: Sorry forgot to include 1.85:1 in the poll it's late at night and sleepy lol feel free to write that one in :Yawn:

 

[Trevor Meeks]

Scarlet section sure seems to be getting a lot of action lately, but let's not forget there's an actual workflow section of the forum... http://www.reduser.net/forum/forumdisplay.php?56-REDCINE-X

 

[Ruben and Sheri O.]

This is for Scarlet user footage and might be useful to some New Scarlet RED users =)

Scarlet section sure seems to be getting a lot of action lately, but let's not forget there's an actual workflow section of the forum... http://www.reduser.net/forum/forumdisplay.php?56-REDCINE-X

 

[Bart Allen]

Love 1.85:1 as well as 2.35:1

 

[Sheri L.]

I personally really enjoy using 1.85:1

 

[Phil Holland]

These are very interesting subjects and ones that are on my mind at all times.

Looks I favor are often influenced by the genre, mood, and subject. I've found that over the years that one of the things that helps tie things together is a consistent luminance curve within a project or per scene to add some variety. A common S-Curve is a great way to effect your global contrast and help push your shadows down for a nice cinematic feel. However, I really like tinkering around with midtones, lights, and highlights to effect the light roll off on surfaces of objects and people. Bringing up the darks through midtones is also a nice way to reveal detail. Depending on the "feel", I'll focus on muted less contrasty grades, but often I like to have a tonal variety of darks through lights to keep things interesting.

Color schemes based on color theory and old painters palettes are exceptionally fun. Often I explore triadic and complimentary schemes, really simple way of producing a mood. Pushing saturation around is also a great way to change the feel of a scene. You can take a lot of "life" out of a frame for a "deader" feel by removing saturation. However, I love color, so I would say I like push things around rather than remove things on a global basis. Through additive techniques you can desaturate specific colors by introducing their compliments while maintaining your other hues and keeping some subtle color bouncing about. You can do this on set as well with filters and gels.

Occasionally I like to explore almost a split toning technique focused on the contrast of warm highlights and cool shadows or vice versa. It's a common painters technique that adds a really nice simplified color palette and makes the tonal value separation pop off the screen. I don't mean a really heavy handed tint, but more like introducing yellows into the highlights through lights, and bringing some blue into the midtones and darks.

Years ago we shot out color wedges on S35 via laser recorder with RGB variations of a single frame in 1/4 or 1/3 stop increments. Occasionally we'd land on a "happy accident" that influenced the look. But, I am a much bigger fan of the control of a digital color workflow and loathed bath issues at the lab and NG prints. I still like to "go crazy" sometimes digitally to add some variety and chaos into the mix and hopefully land on something fresh.

Good color correction practices really help with keeping your grades within scenes or the whole project consistent. If you can balance out the material you can apply nearly any look you desire as long as the lighting doesn't have any really insane variety. Even still, you can apply some color theory back into an out of whack shot and bring it back to the normality of your target. Digital has made this an insanely easier concept. With film you seemed to be always balancing and matching to a color pick because different factors that led to drift. Lab, scanner calibration, base density between stocks, etc...

I have hundreds of "looks" that I like and when it comes to a final grade I try to make it unique in some way. There's just a lot to think about when grading, but I would say I try to focus on simplification at first and then add a bit more flavor if I feel it's needed.


Aspect ratios I enjoy using the most in the order that I prefer: 2.40:1, 2:1, 1.85:1, 1:78:1, 1:85:1
I will say I've grown to love 2:1 and I imagine I'll be shooting and exporting that the most once my Scarlet X arrives.
Oddly, while it's mostly a love/hate thing, 1:78:1 (16x9) has been real fun to compose with over the years.

If I was producing work for a screen like IMAX where there is large screen and tiered seating design in the theater I can see 3:2 or close to it being something I'd really like to explore.

I have never really liked 4:3 at all. When it comes to still photography I like 1:1 (square) for certain compositions. More "square" formats never interested me when it comes to motion work though. Just not very submerging during the viewing experience.

 

[Ruben and Sheri O.]

Thanks for sharing very good read

These are very interesting subjects and ones that are on my mind at all times.

Looks I favor are often influenced by the genre, mood, and subject. I've found that over the years that one of the things that helps tie things together is a consistent luminance curve within a project or per scene to add some variety. A common S-Curve is a great way to effect your global contrast and help push your shadows down for a nice cinematic feel. However, I really like tinkering around with midtones, lights, and highlights to effect the light roll off on surfaces of objects and people. Bringing up the darks through midtones is also a nice way to reveal detail. Depending on the "feel", I'll focus on muted less contrasty grades, but often I like to have a tonal variety of darks through lights to keep things interesting.

Color schemes based on color theory and old painters palettes are exceptionally fun. Often I explore triadic and complimentary schemes, really simple way of producing a mood. Pushing saturation around is also a great way to change the feel of a scene. You can take a lot of "life" out of a frame for a "deader" feel by removing saturation. However, I love color, so I would say I like push things around rather than remove things on a global basis. Through additive techniques you can desaturate specific colors by introducing their compliments while maintaining your other hues and keeping some subtle color bouncing about. You can do this on set as well with filters and gels.

Occasionally I like to explore almost a split toning technique focused on the contrast of warm highlights and cool shadows or vice versa. It's a common painters technique that adds a really nice simplified color palette and makes the tonal value separation pop off the screen. I don't mean a really heavy handed tint, but more like introducing yellows into the highlights through lights, and bringing some blue into the midtones and darks.

Years ago we shot out color wedges on S35 via laser recorder with RGB variations of a single frame in 1/4 or 1/3 stop increments. Occasionally we'd land on a "happy accident" that influenced the look. But, I am a much bigger fan of the control of a digital color workflow and loathed bath issues at the lab and NG prints. I still like to "go crazy" sometimes digitally to add some variety and chaos into the mix and hopefully land on something fresh.

Good color correction practices really help with keeping your grades within scenes or the whole project consistent. If you can balance out the material you can apply nearly any look you desire as long as the lighting doesn't have any really insane variety. Even still, you can apply some color theory back into an out of whack shot and bring it back to the normality of your target. Digital has made this an insanely easier concept. With film you seemed to be always balancing and matching to a color pick because different factors that led to drift. Lab, scanner calibration, base density between stocks, etc...

I have hundreds of "looks" that I like and when it comes to a final grade I try to make it unique in some way. There's just a lot to think about when grading, but I would say I try to focus on simplification at first and then add a bit more flavor if I feel it's needed.


Aspect ratios I enjoy using the most in the order that I prefer: 2.40:1, 2:1, 1.85:1, 1:78:1, 1:85:1
I will say I've grown to love 2:1 and I imagine I'll be shooting and exporting that the most once my Scarlet X arrives.
Oddly, while it's mostly a love/hate thing, 1:78:1 (16x9) has been real fun to compose with over the years.

If I was producing work for a screen like IMAX where there is large screen and tiered seating design in the theater I can see 3:2 or close to it being something I'd really like to explore.

I have never really liked 4:3 at all. When it comes to still photography I like 1:1 (square) for certain compositions. More "square" formats never interested me when it comes to motion work though. Just not very submerging during the viewing experience.

 

[Ruben and Sheri O.]

We luv 2.39:1 and 1.85:1