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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 :)

"Tattoo" project notes...

M Most said:
Yes.
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However, I would qualify that as it is dependent on the bit depth of the
container used and also the transforms being done besides saturation/desaturation.
16bit has lots of room to go both ways while 10bit is more sensitive.
By starting with a more saturated image, you're reducing the color space
before putting it into the 10bit container. The end effect is saturating
can put more stress on the image but the trade off is desturating
doesn't necessarily bring back what you've taken out.

REDcolor puts the starting point closer to where most people prefer although we've
found some colorists prefer to start with the wider gamut images from REDcolor2.
And some like Mike prefer to start with REDgamma2.

The same is somewhat true for REDlogFilm vs REDgamma2.
 
Saturation, if too low, is reducing precision in the data set. Saturation if too high, will clip your colour space. With RC2 there is enough precision in typical 10bit or 16bit exports so that precision is not an issue. Beyond that, it's really just personal choice For RC v RC2. Some colorists also find that using the R3D toolset for setting over-all saturation is better looking than doing it in the grading tool.

Graeme
 
Very usefull :)

I love to be able to play with different gammas and colors in RCX.

BTW, is Apple ProRes 444 a 10 bit or 12 bit container ?


Antoine
 
I know the majority of discussion here is based around log this and log that but I had a question about this line:

The files were played as uncompressed 4K files out of a Clipster and handed over to RED for RED RAY encoding at 15mbs.
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Am I correctly understanding that the final projected image at NAB was from the uncompressed 4K files? If so, what's the significance of the Red Ray encode?
 
We used the Clipster and REDray at NAB.

Jim
 
Graeme Nattress said:
... Some colorists also find that using the R3D toolset for setting over-all saturation is better looking than doing it in the grading tool.

Graeme
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I cannot agree more with this statement/fact. That is one of many reasons why I have been a pest asking BMD to have a quick page for Resolve to open the Red parameters, as opposed to do it on a one by one basis, so saturation and other Red-Page parameters which I find more precise there, can be easily accessed.
 
Luis Otero said:
I cannot agree more with this statement/fact. That is one of many reasons why I have been a pest asking BMD to have a quick page to open the Red parameters, as opposed to do it on a one by one basis, so saturation and other Red-Page parameters which I find more precise there, can be easily accessed.
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As far as I can see, that's how the new Resolve demoed at NAB worked - they could access the development parameters on the fly, and adjusting them through the surface was very cool indeed.

Graeme
 
Thanks for letting me know...! This has made my day, along other requests I pointed out that they already announced will be part of Resolve V8.
 
Graeme Nattress said:
As far as I can see, that's how the new Resolve demoed at NAB worked - they could access the development parameters on the fly, and adjusting them through the surface was very cool indeed.

Graeme
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And something i've had available in Baselight for almost a year. On a per shot basis.

Just saying....
 
Stacey Spears said:
Ethan, I think they started with the uncompressed and switched over to the compressed once the REDRAY encoding was done. At least that is my impression. Had I known this, I would have gone back for another viewing.
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I saw it the first afternoon and then again Wednesday around noon with a buddy. When was the switch over from uncompressed to RedRay done? I can say that on the second viewing we sat right in front & nothing jumped out to me as feeling different than the first viewing. If that second viewing was in fact from the RedRay then that's flipping amazing.
 
Graeme Nattress said:
As far as I can see, that's how the new Resolve demoed at NAB worked - they could access the development parameters on the fly, and adjusting them through the surface was very cool indeed.

Graeme
Click to expand...
I don't think that has changed much. You could always access the metadata settings of the clip by right clicking on the clip in the timeline, selecting Red metadata and using panel controls to adjust it. I think Luis is asking for an ability to do an adjustment to a group or all files in the timeline. Unless I missed this upgrade at NAB.
 
Jake,

That is what exactly what I am referring to. Going via mouse right-click is a deep pain. It will be so easy to just have a button that will make all Red parameters available for a given clip... I hope this will come in v8 :-(
 
Stephen Strangways said:
Hey Jake, what do you think is a better approach in Resolve, between starting with REDlogFilm and doing some serious L/G/G to increase contrast from there manually or with an auto balance to start, versus starting with REDcolor2?
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There are no rules, when it comes to creative choices. Therefore, I can only speak for myself.
In case of everything being equal, I would pick the FilmLog over RedColor2 every time, as I get more range and more familiar film type grading. Just look at the FilmMaster demo at NAB 2009, that I'd posted earlier. Other then that, everything else is subjective and should be selected, based on subject matter. It's like there is a choice of film stock, that is more appropriate, then other. You want more saturated, vibrant image, choose Fuji, more subdued, it'll be Agfa and so forth. As an example, I just finished a project, that I'd used Rec-709, because the film called for dark, desaturated, moody, harsh, gainy look, that, obviously RedColor2 wouldn't deliver, without a lot of work.
And that applies to any grading solution...
 
Luis Otero said:
Jake,

That is what exactly what I am referring to. Going via mouse right-click is a deep pain. It will be so easy to just have a button that will make all Red parameters available for a given clip... I hope this will come in v8 :-(
Click to expand...

I understand, but I don't think that has changed, unless I missed it. I hope Peter or Rohit could clarify...
But there is more to it. As Mike correctly pointed out, only Baselight does it on per shot bases and does it correctly. In other words, even, if you get to the metadata settings on Resolve and change them, if there is a second instance in the timeline from the same file, it will change metadata settings as well. If you want to avoid that, you need to make a copy of the file and use it as a second instance in the timeline, so the first one doesn't affect the second. But what if there are more then two instances of the file in the timeline?:-)
 
That was a great read! I look forward to seeing the short. Any chance of Red making a RedRay version available for when those players ship?
 
M Most said:
In most cases, when working with a LUT on log encoded material, the LUT is added at the end of the processing chain, so you're actually grading prior to the LUT. This gives you all of the information in the original image to play with and requires less extreme settings in the color corrector, which in turn leads to fewer color issues (in particular, things like low light magenta contamination and/or greenish yellows in highlights) because you're not pushing the colors around so hard. To achieve proper contrast using the grading system directly on log material often requires crushing blacks, clipping whites, or both, as well as either curve manipulation or gamma crushing. All of these techniques can and do lead to things like noise and other unwanted artifacts. That's one very good reason to grade through a LUT for log based material. Of course, as Michael mentions, that should in the case of Red material be a 1D Cineon to Video Gamma LUT, not a 3D film targeted one.
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Funny how much I liked this post... :-))
 
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