[Stig Olsen]

Thanks Dan!

So this is the way you all do this? It takes away a lot of flexibility.

Stig

[Stig Olsen]

As you understand, if I do export the DPX with the raw settings changed to redlogFilm and Redgamma2, it is complicated to paint or do whatever VFX because there will be need for some serious gamma adjustments in the VFX tool.

[Stig Olsen]

Hi Jack,

From your website – “Once the project was conformed I went through and adjusted all my RED RAW settings. I tend to setup RED footage as REDLogFilm and REDGamma2 as I feel it gives me the best starting point available from the footage.”

This is the same settings I work with. Do you adjust the raw settings for THEN to export DPX to the VFX-guys?

I cant find a way to do it the other way around (export first and make changes after the DPX brought back from VFX)
It forces me to decide the Raw settings before grading, because we usually export DPX before grading.

[Stig Olsen]

Thank you.

I think I was a bit unclear… As you can see from my post, my concern is that I have to decide which color space and gamma curve to apply BEFORE exporting the DPX.
Because I need to send the DPX-files to the VFX-guys before I start grading.
Isnt this correct?

For instance if i choose RedLogFilm, export DPX, and having the file back – I cannot change from RedLogFilm to RedGamma if I want to. It means that Im stuck with the choice I made before exporting the DPX to the VFX-guys.

[Stig Olsen]

Hi,

I suggest you go for the BT300 Series (Panasonic).
Hang it on the wall and use it for grading and for viewing the final film with clients.

Color modes: native, BT.709, D-Cine, EBU, SMPTE-C and Custom.

[Stig Olsen]

Thank you guys!

[Stig Olsen]

Thank you John.

I called a technician working for Sorenson Squeeze today, that told me exactly what you just said.

[Stig Olsen]

Gabriele, you reminds me of that little tiny animal that drift into irritation and anger and shakes until it suddenly pops. Cant remember the name.

The question above was not about how to export for web. I was asking for what applications that has the 709-RGB buttons for remapping, as Im only used to smoke and flame for finishing.

For your information, the QT player does not read RGB level as If they are SMTPE. They scale the information to fit.

You can keep going with your 709 delivery, why should I care.

Stig

[Stig Olsen]

I have worked at different high end post production houses and I have never seen any export 709 for web.
You will never experience 709 as pure black on a computer screen. It will look dull and flat. If the YUV SMPTE signal on your computer look like pure black, I think you need some calibrating.

YUV SMPTE / 709 is supposed to look flat / grey in the highlights / not superblack on a computer screen. This signal will look different / more crispy and more like real black on a grade one monitor.

[Stig Olsen]

Hi Gabriele,

For final delivery you want the final film to look “exactly” as it does on your grade one monitor. That is your best referance.

When you look at your 709/ normal range film on a TV/monitor, the “grey/64” is what the eyes reads as pure black.

The simple answer is to simply remap the signal to full RGB when output for web. I just had some problems with my encoding.

From the Avid-forum:

1.)

I export the QT reference out as RGB so it scales at that point, then make all my deliverables from there.

2.)

I deal with this in the export settings.
When exporting H2.64 etc for the web i choose RGB.
I also choose RGB option for QT ref when I “send to” Compressor.

3.) It is a remap; should bump up the contrast, putting your blacks at 0 and whites at 255.

4.)

If you have colorcorrected such that your pictures are 709, the remap will not lose you any details in the blacks or whites.