RedColor2/RedGamma2 -to-> Rec709 3D LUT

[Mike Lary]

Maybe I’m not understanding your question properly, but there’s no reference to RedColor or RedGamma in transcoded footage. A color transform is performed during transcoding – from your source color space to that defined by your output (in this case whichever flavor of ProRes was selected). You would only need to identify the RedColor/RedGamma preferences if you’re working with R3Ds natively.

Mike Lary
Digital Factory
Seoul, South Korea

[Oyvind Stiauren]

Hi.

RC2 and RG2 are the recommended settings for converting RED material to Rec. 709.

I am not trying to make your life more difficult here, but I just want to mention that i’ve had issues rendering Quicktimes in HD with Nuke. It’s a bit complicated to explain briefly but In my experience HD Quicktime files made by Nuke have Rec.601 luma coeffecients hard coded in stead of Rec.709 luma coefficients. The file has a flag to indicate this, and some software, like FCP will compensate for this during decoding, but other software might not. I only have the Linux version of Resolve, so I am not sure what Resolve for Mac does. If the files are not decoded correctly colors will be slightly different from what it should be, and it will often give a difficult magenta color in the skin tones. I would recommend just using REDCINE-X for conversion.

—
Oyvind Stiauren
Post production supervisor, Colorist
Terminal

Mexico City

[Sascha Haber]

Agreed

A slice of color…

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[John Pilgrim]

Some of the camera ftg is having compositing done, hence the rendering from Nuke.

If some ftg is coming straight from RCX, and other is getting comped and coming from Nuke, for the best grading workflow, should the Nuke write node render to RedColor or to Rec709?

And if Nuke is rendering to RedColor, do i need a LUT in Resolve?

John

[Sascha Haber]

First rule of thumb, write down what you use, and use it in all apps. Experiment which debayer works best, I tend to use RC3 or RLF
Second thing, try to either use RedLogFilm or bring it into true linear using EXR if heavy compositing and 3D in involved.
If not, see Rule Nr 1 😉

A slice of color…

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[John Pilgrim]

You’re preaching to the choir Sascha.
Sometimes one doesn’t have control over — or even full accurate knowledge of — what a client has done upstream of the conform/grading process.
John

[Chris Martin]

Writing out of Nuke with 709 node is going to limit your grading range in Resolve. We’ve had issues with Nuke and QuickTime as well. DPX or Tifs better options. DPX if you need to preserve timecode.

Chris

[Margus Voll]

I agree with that.

Try to keep all detail as possible in pipeline and in the end just make 709.

There is no point to worry about that in the middle.

You can monitor 709 with proper calibration profile on your monitor.

—

Margus

https://iconstudios.eu

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