This is my fist TIG post, but Red is becoming something of an issue for alot of on-line projects.
The issue most people face is knowing what metadata to use, and what not to.
I've been working as a freelance Pablo colourist for some time, working afair bit with Steve Shaw of Digital Praxis, and we've found that it is best to treat the Red footage as you would when using camera neg on a telecine. This means turning off most, if not all the metadata you can (some has to be left on, such as having a colour temp setting), to maximise the original image data, just as a film neg provides to a telecine system. You will also have to chose a 'colour space', but we have found the PDLog685 setting Lucas suggest to be one of the more restrictive ones as it seems to physically clip image data below 95 and above 685. The best we have found isRedLog/RedSpace, converting to a 10bit dpx file, which includes all the data the image sensor captured. Timecode has never been an issue, and is imbedded in the dpx frame as per scanning film neg. Not sure what happened there... We then use a Rec709 LUT to grade through, maximising the flexibility of the grading process. The other thing to remember is that full debayering is only used when converting from the full resolution 4K data - to any other resolution. If you work with the lower resolution 'proxy' images, there is no debayering processing - just the extraction of basic pixels. This can seriously affect the final image quality. However, most workflows require the conversion to dpx to be performed in advance, as Micah describes, which is a really slow approach for any project. With the Pablo system I've been using, the workflow reads the Redr3d files directly from the Red storage, converting directly to dpx for the online as the images are ingested into the system, with the ability to set all metadata to your own specifications to maximise image quality.
This really is proving to be a good workflow for us, I hope this info is of some use to the TIG users
Hi Victor, if you can include your contact information in this space that would be great.
--Rob Lingelbach 14:25, 6 February 2009 (UTC)
Telecine equipment upgrade
Hello. I hope I'm posting in the right place. I work for a small film lab in New York and we're looking to upgrade our telecine equipment - which is currently very limited. My boss is looking at two different options.
-Either a used Ursa Diamond Y front with 8:8:8 color corrector with 8, 16 and 35 gates with a Snell upres unit for HD.
-Or a new CTM Debrie Memory HD 8/16 - They are a french company - http://www.ctmdebrie.com/index.php?option=com_content&task=view&id=168&Itemid=123
We are not sure about image quality differences - The Memory HD does HD straight to file and the Ursa would need an upres unit and is an older machine.
There is also some concern about getting the Memory HD serviced and supported when needed.
Any comments or suggestions or advice would be greatly appreciated.
Marc email: firstname.lastname@example.org