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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 :)

skintone

Bruce Allen said:
Yes, I have used it quite often! For example, on The Avengers I used it so we could get going on shots while waiting for the official show LUT to get sent over.

It is super easy to use and I love how you can just download the LUT you want, in the format of your choice, ready to go into whatever app you want.

It's a complicated process but the interface is well designed to avoid user error.

Sorry, this is a little OT. But I do think that a lot of Alexa's "color advantage" comes down to usability.

For example: RED pushes R3D native work, which is fun when you're getting started. However, a lot of people just work with the R3Ds within a video pipeline... and then they develop straight to a hard 709 video pipeline where highlights are lost easily and you can't recover down the road if, say, you run something as simple as a Warp Stabilizer on the footage. Arri encourages people to work in Log and although this is a pain for them to start, it pushes them more in the direction of working in a format that is not as destructive to latitude.

Bruce Allen
www.boacinema.com
Click to expand...

I agree, LUTs work better if you want to emulate the colors from film stocks, so you have more color range and latitude to work with..
 
Brandon J.F. said:
Somewhat off topic, but how do you handle vfx? Do you grade the r3ds prior to any vfx work? I'm trying to figure out a good workflow.
Click to expand...


Take your R3Ds out as EXRs or load them direct into Nuke (they actually debayer/decompress faster than ZIPS EXRs @ 5k). Then do all of your comping in LINEAR color space. At the end of the comp apply the REDGamma3 LUT if you want it.
 
Gavin Greenwalt said:
Take your R3Ds out as EXRs or load them direct into Nuke (they actually debayer/decompress faster than ZIPS EXRs @ 5k). Then do all of your comping in LINEAR color space. At the end of the comp apply the REDGamma3 LUT if you want it.
Click to expand...

Off skintone question, Gavin are you experiencing any issues at all when dealing wit r3d's in nuke? As clips coming up as black, and memory leaks causing crashes and such?
 
Here we go. Picked a clip from a short I shot last year with some blowing out and a very pretty actresses face. This will show you what the LUT does right out of the box with very minor tweaking (All I really did was mess with my primaries and a few secondaries... nothing major).

REDLOGFILM RAW
cg4_zps9d85ec26.jpg


Fuji SpeedLook LUT
cg3_zpsf46e5133.jpg


Kodak SpeedLook LUT
cg9_zps525a02fa.jpg


These LUT's are pretty much only useful for daylight shots to grade and are pretty much worthless under tungsten. If you can notice, the LUT instantly removes the magenta in the blown out area which is normally done by DRX, so it does have a built in dynamic range extender in it, and it handles it VERY well. Thoroughly impressive.
 
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Hmm... I think Bjorns LUTs act a little more consistently than SpeedGrades generic fuji and Kodak LUTs (based on what I'm seeing in this thread)... In some examples Kodak goes too yellow (not even warm, but sickly yellow) and Fuji goes a little too Cyan/turquoise.
 
measuring the data (or viewing the lut) with your brain reveals exactly what's going on in any image... try painting and see what you see (nothing wrong with digital). i've still got a long way to go and lots to learn along the way, the good thing is i know that.

[i'm saying it again, ignore or pay attention: reveal and obscure (until it's ready to reveal)]

when color grading is to be about 'fixing/problems' and obscuring/artifacting, it's possible we've missed the point... just sayin'



let's be real, the benefit of a 'test' would be:

A. to convince producers/investors/post to embrace an intelligent workflow - so we can get on with it.

B. to educate new artists on the tools of their craft (symbols/language) - so we can get on with it.

C. to bloody well get on with it - so we can shape communities with an aesthetic [sensorial experience] of sight and sound.


i'd like to propose... an experiment. is that something we'd be interested in? we don't want too many chiefs (or chefs, i've heard it both ways), so i move we make nominations be heard and let's see if anybody's crazy enough to pull it off. a wise king (magi) is better than a bad president. if you're working on this project, it's probably because you understand the magic of what you do both far exceeds and ultimately relies on the technology you are using to craft meaningful experiences with.



oh, and bruce - you've nominated yourself... congratulations.

sight (imagination) and sound (art-i-fact): http://www.youtube.com/watch?v=0zb1qsVqjwg
 
Mike P. said:
Hmm... I think Bjorns LUTs act a little more consistently than SpeedGrades generic fuji and Kodak LUTs (based on what I'm seeing in this thread)... In some examples Kodak goes too yellow (not even warm, but sickly yellow) and Fuji goes a little too Cyan/turquoise.
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Shervin said, with very minor tweaking Mike.. You really can make it look fantastic, if you grade properly.. CSI Miami look to me.. (minor tweaking too).

CSI_zpsa24e2873.jpg
 
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Too saturated for my tastes but that definitely has that CSI: Miami warm look to it... very nice Pablo.

Just goes to show that these LUT's are great starting points to go from. Those cyan/turqoise shadows can easily be knocked out with a gamma color shift.
 
Pablo Moreno said:
Shervin said, with very minor tweaking Mike.. You really can make it look fantastic, if you grade properly.. CSI Miami look to me.. (minor tweaking too).


CSI.jpg
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I really like that look! lets see your node tree hahaha
 
Not sure what you guys think of these? Too saturated, not saturated enough? Not neutral enough?

These are graded using my own custom Kodak 2393 LUT.

Basically identical to the standard LUT with regards to what it does with the colours, except with no warm bias in the highs and no green/blue bias in the lows. Same highlight rolloff but a gentler low end with less crushing and mud. This makes the LUT useful in situations where other LUTs might impart too much of a look.

Click for 1080p grabs.



oldman_grade_crop.jpg


 
Juan, did you use some kind of sharpening?, it reminds me The Hobbit 48fps in some scenes. But definitely looks awesome!
 
Juan Melara said:
Not sure what you guys think of these? Too saturated, not saturated enough? Not neutral enough?

These are graded using my own custom Kodak 2393 LUT.

Basically identical to the standard LUT with regards to what it does with the colours, except with no warm bias in the highs and no green/blue bias in the lows. Same highlight rolloff but a gentler low end with less crushing and mud. This makes the LUT useful in situations where other LUTs might impart too much of a look.

Click for 1080p grabs.



oldman_grade_crop.jpg


Click to expand...

Like always, nice work. Love the grades.

Juan uses film grain overlay if I'm not mistaking.
 
I need some of that film grain overlay. Mine is sd so I need to buy some from somewhere that is 2k in size
 
Thanks buddy
 
Cinema 2k and poss 4k if it isnt too expensive. I know cinegrain is the best but i can't justify $3k for it right now.

I would also like 25fps versions for TV stuff as i am in Australia. I can always downsize the 2k stuff
 
Adam Eden said:
Cinema 2k and poss 4k if it isnt too expensive. I know cinegrain is the best but i can't justify $3k for it right now.

I would also like 25fps versions for TV stuff as i am in Australia. I can always downsize the 2k stuff
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I believe Cinegrain and FilmConvert are the only 2 available for 2K+. The rest are 1080p unfortunately.

Cinegrain has the Indie Package in 4K starting at $499, which is still pretty high:
http://cinegrain.com/indie/

Edit: Just found this as well 4K for $199 - http://www.crumplepop.com/grain35-landing-page/
 
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