[Toby Tomkins]

I completely agree, but it should be called RedLogCineon, not RedLogFilm, thats the misnomer.

[Toby Tomkins]

Redlogfilm emulates the gamma curve of cineon film scans (although this is a bit of a misnomer as all film stocks have a different curve). If you grade in log you should use a LUT at the end of your grading chain (or display LUT) to perform a log to linear conversion so it can be represented (viewed) in a standard colourspace for a given target so say rec709/P3. .

This lets you have a full range wide gamut log graded master that can have LUT’s applied to create high quality conversions to deliverables in any colourspace (rec709, p3, print etc).

As far as I understand, this workflow has aeasthetic arguments (you might be able to achieve softer shadows and highlights), but a technical standpoint is only NEEDED if your target colourspace (say P3 or film print) has a gamut that extends beyond your viewing colourspace.

I’d love to hear from others on this though! (-:

[Toby Tomkins]

I’m going to have a crack at it today. I’ll use quick 1d ramp patches to see what works before doing a full 3d, when I tried in December I found there was a preferred refresh rate (can’t remember if it was 50/60/24…) that got no errors.

Also, for better low IRE performance I’ve been told that letting the probe/sensor rest in the room in complete darkness (or covered so absolutely no light enters the probe) for a few minutes before calibrating the probe, and also avoiding any light entering before that first black point/patch reading can really help results. It seems to work but I’ve got nothing to compare to.

I’ll keep you posted.

Toby

[Toby Tomkins]

I’m even having problems with cineprofiler/cinespace. HAs anyone had any luck properly profiling the display. Best results were to tell cineprofiler its a CRT. I’m using independent profiling with a i1Pro.

[Toby Tomkins]

yes

[Toby Tomkins]

Check that the durations of the clip and matte are exactly the same.

[Toby Tomkins]

it’ll be from 1080p ProRes422 and a 1080p timeline outputting to ProRes422.

But do you think the rolls attitude/approach is going to be a thing of the past? (i.e. could we expect to see entire feature timelines in Davinci without problems soon? What are the factors here, for example is it RAM allocation etc, does the source ie RED have an influence?)

Thanks,

Toby

[Toby Tomkins]

Hi,

It’s just a simple curve I created in DaVinci, I created the LUT in DaVinci based off this curve. Another way is to go into track mode, add a serial node and do the curve (s curve) in the luminance curve of the custom curves tab. Use stills of it decoded as red gamma and adjust the curve until you get it matching (-;

This is exactly the same as using a display LUT and also gives you more flexibility.

Working in redlogfilm is great. Much more like film!

Good luck,

[Toby Tomkins]

Thanks!!

[Toby Tomkins]

I’m using Redlogfilm in the red settings and a display LUT (cinespace) which is a p3 emulation LUT for my monitor. The LUT is being used in the Color tab for each roll in the ‘track’ section/tab (a serial node with a LUT applied to it), but it could also be selected as a display LUT on the LUT config page.