[Cyrus Smith]

Thanks a lot for the reply. I’ll try in the coming days! I agree on the fact that the performance bottleneck won’t be a problem, after all, those project were made pushing to their limits gaming laptops that had 4GB of RAM and 1GB VRAM (CS4 ones) and then 8-16GB RAM and 2GB VRAM (CC2015 ones); have a nice evening!

[Cyrus Smith]

Many thanks for the explanations.

“Your footage interpretation should match the footage.”

Ok, I’ll do further research on the .R3D color space then.

“Why not just do this in REDCINE-X?”

Because I don’t have it working in this machine right now. Plus, I wanted to learn how to manage the entire color grading process in AECS6.

“Have you profiled your monitor?”

My current monitor is set on sRGB color space.

——–
So, thing is basically to properly interpret the .R3D footage, regardless of Project Settings. Am I right?

Thanks,
Matt

[Cyrus Smith]

Thank you very much. It works fine. May I ask, just to know it, what does mean the “value[0]” and “[1]” part?

Matt

[Cyrus Smith]

Already tried but didnt have any luck. Footage always ends up deteriorated. Maybe I found a solution using Adobe ME to convert every shot in a TIFF sequence, then replacing one by one the .MTS clip in the AE project. A little boring and not the fastest method on earth, but the TIFF sequence doesn’t have the frame issue and it is totally lossless.

Thank you for your answer

Matt

[Cyrus Smith]

Well, I duplicated 3 times the footage layer; then, I applied to each layer “Shift Channels” and turned to “full off” Red for layer 1 (let’s call it C layer), Green for layer 2 (let’s call it M layer), Blue for layer 3 (let’s call it Y layer).
Set blending mode to Add of all 3 layers. Added on top an Adjustement Layer, applied “Levels”, set Output White to 0.5.
All of this follows your description, and footage is, as you wrote, perfectely unchanged, but “splitted” for a cool color correction;
So, it’s time to apply “Curves” to each CMY layer:

could you write me some hints, like, i don’t know, “bring up Red mids on the C layer, bring down Blue mids in the same or maybe another layer…draw an ‘S’ on the Green channel of Y layer…” to help me achieve that particular 1970 look?

Thank you very much,
Matt

[Cyrus Smith]

Thank you very much Darby, your method looks a bit difficult, but it could very likely be what I need.

And, yes, I’m working in 32bpc. So, i’ll try to follow your steps, maybe I’ll ask some clarification later, that’s ok?

Again, thank you very much

[Cyrus Smith]

Thank you very much Dave, I’ll check it out.

[Cyrus Smith]

All your help ended up in this:

https://vimeo.com/34469103

Enjoy!
And thank you all very much!

[Cyrus Smith]

[Todd Kopriva] “As usual, Walter is correct on all points.”

Yeah, well i’ll go for 24,000 fps. Thank you both very much for sharing your experience, bye!

[Cyrus Smith]

Thanks. I typed 23,98 along with 23,976 because it is the frame rate that I read in specifications of iTunes HD Trailers.

Well, that said, due to its destination for cinema projecting in DCP, and its mastering in Blu Ray (no one NTSC-based destination), which framerate have I to render the uncompressed .mov? 23,976fps or 24,000fps?