[Toby Tomkins]

Basically I am working in LOG but monitoring in Linear, via a display LUT, as you would in film. It’s nice with RED (MX) and redlogfilm, its a much smoother falloff in the highlights and blacks and a nicer starting point. The only problem is that the HSL key is being pulled from the log image and such there is little separation between colours.

Apart from liking it, by staying in log space for grading, any conversions at the end (say to rec709 or to P3 via LUTs) will have full range data to work from. Doing a rec709 to log converion or rec709 to P3 conversion isn’t ideal.

See this great post by Evangelos on RedUser;

https://www.reduser.net/forum/showthread.php?62733-Comparison-of-CC-workflow%E2%80%99s-Film-Log-vs.-Linear-REC709

Does anyone have any advice for this workflow and working in Resolve?

[Toby Tomkins]

Is the i1 Pro still for sale/available?

[Toby Tomkins]

Sort I don’t understand, do you mean I should use an input LUT node (add another source), pull the key and then feed the alpha to another node for grading and then pipe that back with the log image? That sounds pretty complex just to get a good key. Please can you elaborate?

[Toby Tomkins]

Anyone?

[Toby Tomkins]

Hi Peter,

I’m just about to start a feature, mostly RED MX. I’ll be using a MacPro and Cubix 4 (Rocket, Decklink, 2x GTX 480s). I won’t need Avid codec support but in your opinion is it worth upgrading from 8.1 to 8.1.1 for the ‘performance and stability improvements’?

I’m on Lion 10.7.2 with the latest CUDA/Decklink/RedRocket drivers.

Great job by the way, thank you very much!

Also as a side note, with all these updates do you still suggest splitting a feature into 15 min reels?

thanks again!

[Toby Tomkins]

Great. Cheers!

p.s. PTZR FCP XML support with 8.1 is a dream come true!

[Toby Tomkins]

Oh and does the same apply for Stabilization zoom?

[Toby Tomkins]

Hi Eric,

From what I’ve tested/seen, DaVinci applies it’s PTZR on top of the FCP scale (so 2.0x zoom in PTZR on a clip with 120% in FCP becomes the equivalent of a 240% zoom in FCP). I hope that makes sense.

[Toby Tomkins]

That is one way to do it, and it let’s the fx be separate from the master (which would remain as RED/r3d, below the vfx with the matte). You will need to have 3 files for each vfx shot;

1. The master (Red/R3D)
2. The VFX shot
3. A matte/alpha to cut out the VFX

Ideally you want to have the master on v1, the vfx shot on v2 and then import the matte like so (Thank you Peter Chamberlain!);

‘Within the media pool, select the clip that the matte needs to be associated with, now in the clip details window, select the matte, right click and select, …. Matte…
You will see in the media pool the image clip now has an indicator showing an associated file.
Now in node graph, right click to add matte, link as needed.’

Note, the matte needs to be the exact same duration as the SOURCE clip

This also let’s you grade the vfx separately if need be.

Another alternative would have been to render out to RedLogFilm (Gamma) DPX sequences for the VFX, and then use a display LUT on the vfx clips while grading to monitor in (The LUT doing a RedLogFilm to RedGamma (or whatever gamma space) conversion), this let’s it feel/look like a normal R3D and gives you the full colour latitude of the RAW file. Of course the VFX are ‘baked in’ but if the VFX has been done right and no more colour matching is required this should be fine.

Let us know how you get on!

Best wishes,

Toby

[Toby Tomkins]

I can’t find details about OS in the configuration guide, where is it Joseph?