RED color + RED gamma

[Tudor “ted” jelescu]

REDCine sees what settings you had in the camera, basically what you saw in your monitor at the shoot – however, AE sees the raw data without any interpretation. So, if you want to see the same thing as when you shot the footage, use the M settings- if you want to color grade from scratch, use the footage as it comes in AE. ( of course you have to set AE to interpret the RED color space the right way, but I think you’ve read the info from the RED site)

Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro

[Paolo Martini]

Thanks Tudor.
I have another question.
Besides the fact that from RedCine to AE, same color space and gamma I can see a slightly difference in colors, I need some info in the export linear DPX stuff.

I would really need to know if it’s essential to interpret the footage as gamma linear, and then work in a linear space (so all the other footage).
I am not so experienced in this procedure, but it gave be some very good result when comparing RED Dpx (gamma linear) exported from RedCine to the ones with some small VFX (interpreted also as gamma linear) exported (with gamma 2.2) from AE.

what can you say about that?

thanks.
p.

[Tudor “ted” jelescu]

Work in 32 bit, do not set gamma to linear, make sure your QuickTime is set to display a 2.2 gamma (read below).
“Dynamic Link allows content from one application to be shared with another without exporting intermediate files or even copying projects. Edits and other changes are automatically updated across applications.

You can use a Premiere Pro sequence as footage in After Effects. In After Effects, choose the File > Dynamic Link menu command. In After Effects, you’ll get a single linked clip that represents the duration of your Premiere sequence; you can still go back to Premiere Pro to refine your edit. Changes will be updated in After Effects. Premiere Pro sends a complete frame with all effects, transitions, etc. Nothing is lost.

Another advantage to using a Dynamic Link from Premiere Pro to After Effects is that you can then use After Effects’s render queue to export to a wide variety of image sequences and formats: 4K 2K, extended color range DPX, 16 – bit Tiff, TGA, and so on. Our initial tests have shown this option to be faster and more robust than using Adobe Media Encoder. This workflow is pretty straightforward — complete your edit in Premiere, then as a last step, import the sequence into After Effects, add to render queue, and export.” (from the first link below)

Here’s a few useful links:
https://www.studiodaily.com/studiomonthly/currentissue/10320.html
https://blogs.adobe.com/premiereprotraining/Red_Plugin_Workflow_112608.pdf
https://www.adobe.com/devnet/aftereffects/articles/color_management_workflow.html
https://www.vfxtalk.com/forum/red-one-film-luts-color-space-workflow-t15369.html
https://blogs.adobe.com/toddkopriva/2009/05/after_effects_902_update_red_r.html
https://www.red.com/faq/category/workflow/
https://vimeo.com/3700619

Tudor “Ted” Jelescu
Senior VFX Artist
Bucharest, Romania
http://www.ennstudio.ro

[Todd Kopriva]

As the author of one of those pages that Tudor pointed to, I’ll recommend that you read the “updates for RED (R3D) footage” section of this page. It tells you what you must and mustn’t do to keep your colors straight. (Tudor mentioned some of them.)

I wrote that section together with the relevant engineers from RED and the After Effects team, so I’m certain that it’s good advice.

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Todd Kopriva, Adobe Systems Incorporated
putting the ‘T’ back in ‘RTFM’ : After Effects Help on the Web
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