Colour correcting and LUT's???

[Vladimir Eugene]

From all the reading I've picked up, I think this could work, and if not perhaps one or so of you could explain why. I do not come from post- and would like to keep things simple, and most affordable.

As I understand, The colour corrections can be made on set by tweaking the camera. I think I recall some DP's doing this with the Viper. That would theoretically save time and money later on doing CC, but their locked into only one look, or if they change it later stand to loose data or something. Now with the Red, I believe you'll have that same ability- but you wont be able to shoot 4K raw 27.5 MB/s or so- But you can save those same color info you wanted to do as LUT's. If so, couldn't you just run it through redcine after applying the desired LUT and get the same result if you had chosen a perticular look on camera and recorded it RGB. I question this because I recall reading that redcine is a light first cc, but you'll have to go elsewhere for secondary to make picture look great. Is that, if my info is correct what one would do had they decided on RGB-locked look in camera, a secondary cc anyways?

Thanks in advance for any light.

Vladimir

[Jeff Kilgroe]

When you're shooting in RAW modes, I would guess you could do white balance on the camera and maybe have a few other options, but your actual LUTs and corrections would be applied in post when you processed your REDCODE RAW footage.

Although, I'm also assuming that we will be able to load LUTs to the camera. This way we have a desired LUT in place for translation out to the HDMI and SDI monitor outs as well as the LCD and EVF monitor ports. Additionally, having the ability to load a LUT to the camera would be a good application when shooting to the onboard REDCODE RGB modes.

I don't know if we'll be able to use the camera to create adjustments and LUTs. Although, that may be useful too.

Sooo... That's my take on it for now. ...So now we wait for NAB.

[Jeff Brue]

A raw capture is just that a raw capture. No color processing occurs until you hit redcine. Thats the point where you do your white balancing, thats the point where you make all your decisions. No locked in look, no fiddling with color on the camera. Its enough to make me want to hug graeme.

[Vladimir Eugene]

Thanks for you inputs, I guess my real question is, can you avoid cc if you do it on set in camera, and get cc'd looking material?

[Anders Holck]

You should be able to set basic color balance and some image settings, get that written in the quicktime metadata, and then have those basic settings reflected in Redcine (and possibly also quicktime app)

As the camera supports RGB recording as well, it must have at least some image settings besides white balance.

[Robert Berger]

I have been working with the Viper, he has a lut for the monitor out and a preset white balance just for monitoring. Everything stays RAW if you work on 444. Your colour grading is in the post. At every location i shot a gray and colour card from Kodak as a help bij colourgrading.
I acspect the same with the Red camera.

Robert

[Chris Kenny]

Thanks for you inputs, I guess my real question is, can you avoid cc if you do it on set in camera, and get cc'd looking material?

It depends on what you mean by "cc'd looking material", really.

If you mean material that doesn't look like the "default" output of a camera, then sure. You can crush the blacks or give the image a warm look or whatever. (Note that if you're shooting RAW, your on-set color choices are just metadata which REDCINE can use when exporting.)

A full color grade is much more involved than anything you could reasonably accomplish on-set, though. Using LUTs on-set can be a useful thing, to get a general idea of how shots might look after grading, but you're never, with a few pre-built LUTs and some on-set tweaking, going to accomplish the kind of nuance you can during a real grading process.

[Vladimir Eugene]

Thanks Chris, Robert, Anders, and Jeff. I now understand that the colour grading is essential. The temptation of going RGB out of camera gone, and I look forward to shooting 4k raw compressed.