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How to Grade Red Camera Footage
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- เผยแพร่เมื่อ 12 ส.ค. 2024
- Is grading Red camera footage the same as grading anything else? Yes... and no: there are some things unique to Red cameras you'll want to watch out for.
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Love the increased clarity in your 4K videos. Much easier to read the small text and node labels. Thanks!
Thank you for the best, no-nonsense, straight forward color advice and teaching on TH-cam 🙏
First of all, thanks for the fantastic quality content. I learn a lot seeing your process.
If I can make a small suggestion, I really appreciate when you switch to full screen to wipe or toggle between before and after. Makes it much easier to see things on TH-cam compression.
Cheers
edit: none of the description links seem to work.
Great stuff. Can't wait for the episode on BlackMagic cameras.
I rarely grade Red footage, but I learned so much from you like the out of gamut issue which pops up from time to time. Look forward to trying your gamut compressor!
I have a really weird problem. Davinci Resolve shows the red (.RDC) folders empty, it doesn't show any of the .R3D files that are on them therefore I can't import my media to edit and color. can you help me?
On one hand I can kind of understand where this kind of question is coming from. People are wondering whether to or not to touch the raw settings.
The only differences between how I treat various cameras are in the highlights for lower end cameras (BlackMagicDesign, Sony, Panasonic) and noise reduction (mostly more on Sony cameras). But regarding the general grading the approach for all cameras is basicaly the same
Thanks for all the useful content you provide. Will you be doing one on how to grade Canon log? I have the C100 Mk 2 and would love some tips thanks
Hey! Love the channel! I’ve been learning a lot from you! Could you explain the IPP2 a little? Should I be skipping doing any changes in Camera Raw in project settings and just be using a Color space transform node structure? (R3d footage) Any help would be greatly appreciated!
Great content! Can you make a video that explain a proper comforming, from proxies on offline edit (offline edit) to raw footage on davinci?
Thanks for the contents.
Would you mind explain a bit about the difference between your custom built gamut compressor and the "saturation compression" option in the Color space transform?
Hey Cullen, great content as always! I think it might help though to specify how you're using the contrast knob in your ratio node. If I remember correctly, you're unticking the "use S-curve for contrast" option in your Resolve settings to get linear contrast, am I right? Contrast behaves quite differently then, depending on the output mapping and any creative looks and curves applied. Might be useful just to mention it in your videos to prevent beginners being confused why they're observing a different "feel" when manipulating contrast.
Excellent
Thank u sir♥
Thanks for showing us your process! Is there a reason why you don't use any of the camera raw features when grading?
Could you go step by step how you prepare you color management specifically for R3D footage? Thanks!
^^following.
Hi Cullen! Cool as usual!
Why I dont see 'Input Color Space' and 'Bypass Color Management' when I click in the thumb clip with the right button on mouse?
The link to the freebees doesnt seem to work
Great video, Cullen.
Can anyone shed some light on using Apple Pro Res in Davinci? I thought Pro Res wasn't able to be processed in Davinci but Cullen has the shot of the car in 422. That opens a lot more options to shoot with.
Why'd you think that?
Getting 404s on all pages from your website!
by any chance Kelly can you share your node template tree please
Thank you for your best advise.
I have a really weird problem. Davinci Resolve shows the red (.RDC) folders empty, it doesn't show any of the .R3D files that are on them therefore I can't import my media to edit and color. could you please help me?
Question. So if I’m using a red epic dragon 6k do you have to use dragon color or can you still use the redwidegamut log3g10? That’s what I’m confused about. I thought you could use the new gamut with older red cameras…
❤️
Are there any benefits to using Red Cine-X before importing into Resolve?
Great question! No there are no benefits for using Red Cine-X before importing into Resolve. Best bet is to bring R3D directly into Resolve
It does get confusing as to which version or LOG to associate with a clip when nobody seems to know the origin. ARRI is a favorite not only for the great color rendition but the simplicity of doing the transform. Red has so man variations that I bet a lot of people just throw in the towel and grade display referred.
On this same topic Blackmagic ( BRAW) is a close second on the too many choices list, and I think may be worse with all the different small visual differences.
Is there meta data somewhere in Resolve that might help a colorist with finding out what Gen and what LOG BRAW has been shot?
You would think that they build the cameras and the software that reading the camera meta would be a no-brainer. Sony has software that can tell you what profile was shot and even which lens was used. ( Catalyst Browse )
Jim - have you ever graded RED footage? Color management and grading R3D couldn't be any simpler or more enjoyable and I've never heard of anyone 'throwing in the towel' because it was too complicated.
@@JonPais of course I have. I was referring to not knowing which LOG and which version the file is. The hard part is going through and trying to determine which LOG and version the footage is when there is no communication from the filmmaker. I meant that it's not recommended but some of us old guys used to do a lot of display referred grading and "throwing in the towel" in context of my statement was referring to stepping through all the choices and trying to investigate to the "correct version and LOG". I happen to know some pretty prominent colorists that if not given the information will just grade it from scratch and move on.
@@JimRobinson-colors Just as with Blackmagic's Gen 5 and ARRI's REVEAL color science, with the introduction of IPP2 years ago, RED moved away from their one-off color spaces and gamma such as Dragon Color 2 and Red Gamma 4, with everything being based off of their new standard of RWGRGB/Log3G10. With RWG/3G10, it's no longer necessary to change the gamma or color space for each of the older cameras. As far as ProRes goes, I've got no idea why anyone would be shooting anything other than REDCODE RAW, which is a firmly established industry standard and the most powerful RAW codec available. Concerning the out of gamut colors Cullen showed, I haven't seen anything like that with any current RED cameras - IPP2 took care of that issue long ago. FWIW, Blackmagic Gen 4 color and ARRI cameras also struggled with neon lighting (you can see it in ARRI's own literature, where they compare their previous color science to REVEAL). In fact, a solution to the problems Blackmagic Gen 4 color created was simply to use RED IPP2, until Gen 5 came along.
@@JonPais I get what is given to me. Rare that anyone even asks what I prefer
do we need to convert gamma to " cineon film log " for every Lut ? big Thanks
Every LUT is different! The only time you would need to move into Cineon would be if the LUT was expecting it. For example, the Davinci Film Look LUTs expect Cineon while my 2383 expects Davinci Intermediate. If you're unsure, try opening the LUT your working with in a text editor. You might find the info you need displayed at the top!
hello Cullen please can you activate the subtitles thanks
Well.... Red is underrated because of works flows like the one you show. A lot of the heavy listing should be done in RAW tab before proceeding - that gives much, much better results than doing too much after that.
Meant "heavy lifting" not listing. The dynamic range, for example, is only revealed by moving ISO up and down in RAW. Your tuts are amazing, but I'm always amazed by how poor even the best pros are at getting to most out of Reds. They treat Red RAW clips it like they're ARRI Prores. They absolutely are NOT.
Does the LUT works with brown asians? Or is it only applicable with Caucasian?
Why don’t you use the raw tab to change the exposure?
@@CullenKelly That's interesting. From my experience the exposure and ISO changes you can make in the raw tab with Red footage are an entirely different world. When I use the offset or other tools it never seems to work the same, but maybe I'm not setting the project up the best way?
I appreciate the philosophy shown here but I’m not sure that I agree with the premise of approach. Different cameras certainly do have different looks just as the lens used and or any on camera filters. The colourist may want to normalise the image into the work flow and use the same tools as a professional necessity but that is likely to lose some of the nuance of the camera colour science and look. In the same way that picking up a different guitar inspires us to play differently or using oil or charcoal, the tools we use can help us avoid creating looks that might be just too similar. The basic principles of the arri 35 are philosophically opposed to creating the look in post as a necessity and there is an interesting debate to be had about what we perceive as a santitized image that looks too digital too sharp and too “real” as opposed to an analog film image that allows “mistakes” to persist as they are committed to in camera. There is a cultural shift specifically from social media that affects how we perceive an image. There is a reason why black magic cameras have a look as with canon and Sony and Red are no different. I guess I was hoping to see more analysis of what we do when we give Red footage an arri look. It’s certainly a thing that may have more to do with how operators generally don’t understand shooting with raw and especially r3d files but it may also have a lot to do with Reds attempt to have a look or avoid the baked in look of other cameras and especially those using film. Given the widespread use of film emulation it feels like there is a conversation to be had about what exactly we want our camera sensor to say before we get to the image in post. If we want to create new and interesting films then it makes a lot of sense to change the experience of the film making at source. Rather like choosing a lens. Choosing a camera a LUT and a look should really be done intentionally at the front end creatively and as much in camera so as to inspire the operator. As always a very thoughtful video. Thanks so much.
@@CullenKelly hi thanks for that but when people talk about the colour science or interpretation of that raw data whether it’s zeros and ones or not the real difference is happening in the olpf or ir cut, the dynamic range and where the curve is nominally set by the manufacturer for the camera. That placement alone as with the different preset looks of the arri 35 that are designed to be baked in are all about giving a camera a look just as shooting with a particular film stock has a look. Isn’t that the basis of film emulation ie that we recognise that the emulation processing has an authentic look. Of course it’s a creative choice to dial it up or down from a base that is fundamentally capturing accurately what is in front of the sensor but it’s a given starting place never the less that usually implies a bias. Sure but the fact that every camera can be made to look the same isn’t the same as every camera starts out trying to do that. Just out of the gate somewhere detail and micro contrast is shaped by sensor sizes and camera processing and a whole plethora of design specs. Not all sensors are created equal and having shot on virtually every kind of camera every one of them is recognisable and distinct out of the box. Surely that cannot be in debate. Perhaps I am misunderstanding. Meanwhile thanks for your genuine and valued work.
red footage is very crispy, but my 6gb of video memory cries everytime I grade at full res.
Why didn't you start taking steps from the beginning?