Professional Workflow

[Toby Tomkins]

Personally I’d ask for the red files decoded to prores 4444 with camera settings and full res premium debayer BUT in Redlogfilm for gamma, and have any major exposure or colour temperature issues addressed during that stage on a scene-wide basis. The vfx should also be able to be delivered in redlogfilm. Ideally you would use a display LUT (either loaded in the lut page of the config tab or in the track section of the color tab)and grade ‘in’ log. This allows your conversions at the end for deliverables to be very high quality (specifically for print or DCP which have a wider gamut than rec709).

Good luck!

If you have the money get a RedRocket and grade from the R3D’s.

[Robert Ruffo]

Much better to work with the RAW Red files – a lot of info gets thrown out in any decode.

[Toby Tomkins]

little info lost with redlogfilm prores4444 if the debayer settings are good, especially at 2K.

[Chris Pepperman]

Alex, I would love to say you should always color grade from the native file however in the real world you won’t have that option. My week typically consists of grading RED,5D,P-2, Epic,Film and lots of upconverted SD footage. Honestly, you will end up working all over the place.

Chris Pep

[Alex Frankland]

[Toby Tomkins] “The vfx should also be able to be delivered in redlogfilm.”

Would I be better off asking the editor to give me the redlog footage to grade before sending it off to the CGI team? or should I wait for the vfx to be implemented into the footage and grade it as a whole? How should that workflow take place?

Thanks for the reply btw.

[Alex Frankland]

[Chris Pepperman] “you will end up working all over the place”

Yeah, that sounds about right. With the project I’m about to grade, there will be some 5D material along with RED footage for me to grade.

Thanks Chris

[Alex Frankland]

[Robert Ruffo] “Much better to work with the RAW Red files – a lot of info gets thrown out in any decode.”

True, Hopefully they will provide me with Raw files.. If not, hopefully redlogfilm or RC2 ProRes 4444 will be a suitable plan-B.

Thanks Robert

[Chris Pepperman]

I will say that Last week I color corrected a bunch of spots for Sheetz convinience stores. Chase Bowman was the DP and he shot everything with his EPIC in 5k. We transcoded the footage to Pro Res QT- LT. Once the spots were edited we re-linked thru an XML and color corrected from RAW. There is nothing like color correcting in 5k. I work with the Reslove and we were able to color correct and play back in real time at half res. This way the agency could watch the spot at real time. AWESOME STUFF.

Chris Pep

[Alex Frankland]

[Chris Pepperman] ” I work with the Reslove and we were able to color correct and play back in real time at half res. This way the agency could watch the spot at real time. AWESOME STUFF.”

I was experimenting with 4k Red material today and was able to grade in real time. Not in full-res of course, considering my entry-level setup. But it was still pretty damn cool to be able to grade Red Raw files in RT. DaVinci is awesome.. I’ll be working on my first project pretty soon and I’m really excited to be able to show the director grades from Raw files in RT.

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[Rusty Shackleford]

should it remain flat or should a primary cc be applied?
by debater settings, what do you mean?

Brandon Morris
Co-owner/Creative Director
http://www.fugostudios.com

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