RED RAW data

[Gabriele Turchi]

in Resolve V8 the R3D settings will be on the davinci panel (not sure about the wave )

at the moment you have to right clic on the thumbnail of the shot you want to change and select the edit RD3 settings …

not sure why you want to increase saturation through that R3D settings panel…that is mainly used to recover Highlight (changing ISO ) or changing the matrix or gamma curve ….

g

[Peter Berg]

Well for most of the shots we want to use the in clip metadata for the look (with some minor tweaking). But for some other shots, we want more saturation. They set the saturation at .6 in the clip metadata so when I see it in my timeline it is pretty de-saturated. When I boost up the saturation from my panel I really don’t get much color back. I have to go into the separate RED config screen and the I really get more of the color back in the shot. Of course all the controls in the RED config screen don’t seem to work from my color panel.

Is everyone going back into the RED settings page on a shot by shot basis to get access to the RED RAW color information? I just figured that the Resolve could gain access to all the full RAW information in the regular color page.

-Peter

[Gabriele Turchi]

i see ,

basically they tweaked the look in camera decreasing the saturation right ?

In that case you have t restore it back form the R3D setting first , because resolve color engine start right after the red SDK …

you can change the R3D on multiple clip in one time :

select them all , open the R3D settings , change the value , and click apply all ….

g

[Margus Voll]

Seems silly to make “look” in camera.

I had one project like that. Only thing was that the look was made so that only 25% of color information
was stored. All other was crushed black.

Really bad way to do it. If you have information in your file it should be simple to just reset red prefs.

—

Margus

https://iconstudios.eu

[Gabriele Turchi]

I agree …

but should be easy reset everything and start fresh (unless the in camera look compromised badly teh choice of exposure …)

g

[Mikhail Puzyrev]

The one and only thing you need to tweak at red settings per clip is white balance (when there are no DOP errors). It’s better to leave saturation at 1 and lower it at clip or track level using separate node if needed.

[Peter Berg]

While I appreciate the suggestions, no one has really answered my question. It sounds like the color page can not really access the RAW file directly. It has to be “pre-processed” in the RED setting first, or at least it only can access whatever data is output from the RED settings page. Does no one else see that as a flaw or negative?

I guess I just thought Resolve would have that power to directly tap into the RAW data from the color panel.

For this project, we don’t have enough time in the schedule to re-grade each shot from scratch. We are taking the look that the production team started and just tweaking it from there. If I had the time I would go back to the flat default settings and work from there but we just don’t have that kind of time.

They did alot of that pre-color work already but there are just shots where we want more color back in and having to pull up those RED settings when we can’t get as much color back in the color page is really slowing me down. Just frustrating to me…

-Peter

[Peter Chamberlain]

Hello all, the RED SDK offers adjustments to a number of the decoder metadata settings. The r3d’s are played from disk, decoded by the SDK, or Red Rocket, and then presented to the Resolve as RGB values per pixel. I understand that this is the same for all third party vendors. The decoding must be done prior to the main application, its how the SDK works and its why the settings don’t appear in the node graph.

Resolve offers RED default, project, camera or clip based metadata control of these adjustments and you can modify one or many parameters for one or many clips. This is performed in the red decode settings window which is found in the configuration, source screen, the Media Pool, and also the main color screen.

With 8.0, due for June release, these controls are also available on the DaVinci Resolve control surface so while they are adjusting the decode pre the Resolve node graph, they practically are accessible just like all the other grading parameters on the Resolve panels.

Peter