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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 :)

White Balance

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Bachman

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This subject has probably already been touch on, but I assume the RED has a standard manual white balance control similar to other video cameras, also does the RED have a Auto White Tracing feature?.
 
just put a gray reference board on the first second of the take and fix it in post with more consistency form take to take.
I love raw!
 
What do you do if you're not shooting raw? Or, are you always shooting raw?
 
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Michele Gavazzeni said:
just put a gray reference board on the first second of the take and fix it in post with more consistency form take to take.
I love raw!
Click to expand...

Thats fine when you have the time. But alot of the time we are shooting bandit cam, and sometimes panning shots from indoor to outdoor in an industrial environment. Thats never easy with any camera, but with the Digi's we shoot with we can flick on the AWT in that situation. We can key frame the white balance in post, but it never seems to work very well.
 
axing the white balance is one more step away from pure video and I for one am happy about it. This is digital cinema now, not so much digital video. Joy. :)
 
On the cameras I saw at NAB, there was a color temperature in Kelvin indicated on the data display on the back of the camera and in the menus. It was adjustable with two clicks and a flick of the knob. As far as I know, this was for picking the color temperature of the onboard monitors [and possibly outputs] without applying an external LUT. I believe this data is recorded with the RAW data [much like on an SLR] to give the developer a clue as to what temperature the footage was shot in... but I could be making this up. Obviously if that data is recorded, the color "center" shouldn't be baked in... it's just metadata attached to the RAW data.

This is all as far as I know and may or may not be even close to correct. It may have changed already and it may change in the future... this is just what I remember seeing. Perhaps somebody who spent more time with the menu system of the cameras at NAB can speculate further... it was visible to all.
 
Keith Nealy said:
What do you do if you're not shooting raw? Or, are you always shooting raw?
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Why shoot anything else? :bleh:

Seriously, though, I know there are plenty who will end up not shooting RAW for whatever valid reasons. But the beauty of this camera is RAW. Treat it like a high-end digital SLR camera and you're golden.
 
White Balance.

White Balance.

Yes there is a White Balance control. When you shoot RGB the white balance is usually "baked in" but when you shoot RAW the white balance is just used to create a color neutral feed for the EVF and other monitor outputs. In addition its then recorded as metadata, so you are free to use that value - or anything else you prefer - to corrrect a color cast in the RGB data derived from the RAW data.

The color temperature used to factory adjust the sensor for neutral colors is 5000K, then the White Balance circuit is working out the necessary math to re-establish neutral colors for other color temperatures (or you could use a color filter in the optical path). We have presets at 3200K and 5400K, you can dial in any alternative value you wish, or you can have the camera calculate it for you i.e. Auto White Balance.
 
Bachman said:
wow! not sure what to say about that...more work for us guys in post aye. Mind you most DP's cant get it right half the time anyway
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um..are you joking, this is a little unclear, and I take offense at such a generally negative remark.

I think you may need to work with some different dps.
 
dalemccready said:
um..are you joking, this is a little unclear, and I take offense at such a generally negative remark.

I think you may need to work with some different dps.
Click to expand...

Dale, it was a joke kiwi, dont mean to make it sound offensive. But hey, it does happen. In our case its actually been hard to get good DP's over the last couple of years both here and in Welly. Weve been burnt by some bad ones over east as well and they werent cheap either. Maybe we should give you a bell next time we need a good DP in Auckland. You reel looks hot!

Tony
 
I think this thread highlights the fact that RedOne will not be the same thing to all users. It is capable of digital cinema, but that doesn't mean that everyone has to adopt a cinema style workflow. For some applications it may be more appropriate to shoot RGB. Just like a digital stills camera some shoot RAW some shoot JPEG, it is not about being right or wrong just being appropriate for your particular application.

M
 
Martin said:
I think this thread highlights the fact that RedOne will not be the same thing to all users. It is capable of digital cinema, but that doesn't mean that everyone has to adopt a cinema style workflow. For some applications it may be more appropriate to shoot RGB. Just like a digital stills camera some shoot RAW some shoot JPEG, it is not about being right or wrong just being appropriate for your particular application.

M
Click to expand...

Yeah I dunno. I like the idea of a RAW workflow no matter what the job. If we can do that we will. We shoot everything Digibeta and we used to have to decide between cutting DV or 10bit uncompressed, now I try and do everything in 10bit because its just better not just for the video, but also for graphics and broadcast, and the new Macs can handle it in an acceptable timeframe. The same thing will apply to the RED, so long as we have the resourses, we will do the best quality we can.
 
Bachman said:
Yeah I dunno. I like the idea of a RAW workflow no matter what the job. If we can do that we will. We shoot everything Digibeta and we used to have to decide between cutting DV or 10bit uncompressed, now I try and do everything in 10bit because its just better not just for the video, but also for graphics and broadcast, and the new Macs can handle it in an acceptable timeframe. The same thing will apply to the RED, so long as we have the resourses, we will do the best quality we can.
Click to expand...

I agree. I would be shooting 4K redcode RAW for everything. Mainly because it's so flexable, and you can fit so much footage on a single drive. If 1080p redcode RGB was 2 or 3 times smaller than REDCODE RAW, it might be different, but as it stands, I don't see much reason to use anything else (except high frame rates through the raw port)
 
Thanks for that explanation Stuart...

Looks like there will be good options for white balance: custom, presets, and auto. As metadata with RAW, or baked in with RGB. I really like that we can dial in any alternative value we want, or have the camera calculate it. Many options available...
 
My Canon 5D shoots RAW, but still has WB controls, including custom WB.

If the monitor output of the Red is way off color, the director is not going to be happy. Watching on a monitor that is either very blue or very orange on set will make for some heated conversations.
 
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