A well informed guess tells me that only 10% of the red-user understand what their camera is doing. With Film and now with RAW, especially Red's Epic camera, crews should understand the concept of RAW recoding. The big plus of the Alexa is the fact that the camera crew needs to know nothing - all is WYSIWYG. Hoping that camera file headers solve all problems is believing into the competence of camera crews. I think there is a lot of misconception around regarding this topic. Log LUTs for Video (linear) to Film (log) are a different business. One can see log as an intelligent way to compress higher bit depth (16 bit Alexa/Epic sensor data RAW) to lower bit depth (10bit DPX or 12bitProResRGB) with minimal loss of information. Hence the log style camera footage is not used anyway and the question log/lin is already answered. Above, Michael points out rightfully that often finishing is done with graded footage. For further post-production you either use it in it's "flat" style or grade it to your needs (Rec709, DCP, Film) before VFX are performed. There is not RedLogFilm - Video LUT available by Red. Red's RedLogFilm is much more meant as an format to picture the sensor's16 Bit of information in a 10bit RGB file and as a flat foundation for further grading. Arri have their own LUTs that transform Arri Log C nicely to video. Neither Arri Alexa's LogC nor Red's RedLogFilm lead to satisfying results when Smoke's log/lin LUT is used. Just a small note to logarithmic encoded camera footage. Hi Grant, as usual I fully concur with all your points. The best way to deal with the formats is to convert them to linear. More digital formats such as RED, ARRI and other cameras can capture in Log space. If you are working with videos sources, most of them are linear. Gives you some idea of what we've all been going through the last couple of years. !msg/AcademyACES/F_GZXXrNOrU/20_AhzPd7GoJ Most of the DI graders I work with complain that the standard Alexa to Rec 709 is better than the ACES transforms and the Red ones are over bright - but this will soon get fixed. (personally Charles Poynton drives me nuts but he's loved by AD and others.)īut before you get all excited its early days in ACES as yet and the first available transforms are far from perfect. Kevin Shaw knows his stuff and its fun to see an old editor like Nigel in on the game Mike as always does a nicely researched summary Until then more people will need to spend more time learning more facts to use it properly.Īnyway heres some info to get you started: I guess more people might start to bypass the grade stage and work with raw camera data if its a front line offline tool though and I am a big fan of where its all heading but it needs to be an automated input process driven by the source file header. Its never made sense to do separate grades for cinema film, cinema DCP, Rec 709 HD video. However in AD boxes its great strength is in output device transforms. Lots of discussions of ADX 10 v ADX 16 and general confusion once more. In reality we've ended up with the usual selection of drop down menus based on camera selection to add yet another point of failure in the image processing chain. ACES refers to the color space used in the system, which is floating point and based on a an unlimited XYZ color space. The dream was an a Image Interchange Framework (IIF) using OpenEXR and ILMs Color Transform Language (CTL), to determine color settings and other transforms. It still needs to become simplified in real world usage in my opinion. As an online guy its not so significant in post as I get fully graded material for online. Sure its nice to have a target transform that gets you in the zone but given that the average Red dop shoots 800 asa and ignores exposure because 'hey I have a zillion stops of range,' you need to grade anyway. As a contributor I've been across ACES for most of its development, but as an end user my basic conclusion is that input device transforms are kind of over rated.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |