Chris Chitaroni
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So I posted about this a few years back when it first started happening - and I can't believe its still a thing.
I've been shooting on RED since I bought my EPIC-X back in like 2013. And many cameras later I'm now shooting on a V-Raptor I love R3D files. They're a dream to edit in Adobe. But then a few years ago when they introduced the new pipeline, all of a sudden instead of coming into adobe looking "as shot" - clips came in looking like a flat colour profile. And of course its only a few clicks to go and take it back to my desired colour space and gamma curve, but it's always a pain in the ass.
I complained about this either on here, or on an Adobe forum and had a few people chirp me telling me that this was a better workflow for colourists. My argument was - most projects don't have the luxury of having a colourist on board. And in fact when I have to hand raw footage over to a client, this becomes a big issue because they bring the footage in to Adobe the first time and I ALWAYS get a call asking why everything looks grey and muddy.
Today for example. Working with a seasoned producer on a corporate gig, she's not someone who shies away from doing her own editing, I assumed she'd know what to do with the footage but she calls me 2 hours after wrap in a panic because she's gotta deliver dailies to the client and she says everything is "In S-Log" (lol)
So I had to open my computer, film a quick little "how to" for her, and sure enough we got it all sorted. But that's a headache, and it definitely left a negative impression on her towards RED.
This is only an Adobe problem. Final cut doesn't do this. Resolve doesn't do this (as far as I know). Why is Adobe doing this? It seems like an ass-backwards approach. It would take a seasoned colourist moments to switch a card full of clips back to a flat profile to grade, but a newbie looks at this footage and its a real time suck to figure out. Just a bad user experience overall.
I've been shooting on RED since I bought my EPIC-X back in like 2013. And many cameras later I'm now shooting on a V-Raptor I love R3D files. They're a dream to edit in Adobe. But then a few years ago when they introduced the new pipeline, all of a sudden instead of coming into adobe looking "as shot" - clips came in looking like a flat colour profile. And of course its only a few clicks to go and take it back to my desired colour space and gamma curve, but it's always a pain in the ass.
I complained about this either on here, or on an Adobe forum and had a few people chirp me telling me that this was a better workflow for colourists. My argument was - most projects don't have the luxury of having a colourist on board. And in fact when I have to hand raw footage over to a client, this becomes a big issue because they bring the footage in to Adobe the first time and I ALWAYS get a call asking why everything looks grey and muddy.
Today for example. Working with a seasoned producer on a corporate gig, she's not someone who shies away from doing her own editing, I assumed she'd know what to do with the footage but she calls me 2 hours after wrap in a panic because she's gotta deliver dailies to the client and she says everything is "In S-Log" (lol)
So I had to open my computer, film a quick little "how to" for her, and sure enough we got it all sorted. But that's a headache, and it definitely left a negative impression on her towards RED.
This is only an Adobe problem. Final cut doesn't do this. Resolve doesn't do this (as far as I know). Why is Adobe doing this? It seems like an ass-backwards approach. It would take a seasoned colourist moments to switch a card full of clips back to a flat profile to grade, but a newbie looks at this footage and its a real time suck to figure out. Just a bad user experience overall.
