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No, it's something else going on here. When I choose RWG/LOG3G10, it creates this problem. If I instead choose RWG/BT1886 or any other except RWG/Linear it fixes the weird color glitch. If I then...

Didn't expect a magic bullet, but that the transform works more in line with how the IPP2s do it, meaning expanding everything and not just a semi-LOG. It's alright though, as long as it's intended...

Tinkering further on my own LUT I encountered this...

https://i.postimg.cc/bryvkqzs/LOG3G10.jpg

When using RWG / LOG3G10, there seem to be some weird behavior of certain highlights. In this...

Those LUTs act a bit weird. Elevated blacks etc. Are these intended as a starting point or as a pure transform?

Gahh... I would just love for them to open up this color science, like paying a license to have it with regular Red's.

That would be great to have. I also have a few shots here and there from other productions that I'm testing out. Still would be nice to hear from Red and Graeme regarding all of this, as he sits on...

As far as I know, the DXL2 camera metadata-unlocks the transforms. As I've not worked with the DXL2, I don't know how it works in post, but maybe someone could chime in on that. From what I remember,...

Seems like shadow areas get improved with this.


https://www.youtube.com/watch?v=uVaG_eSW5eo&ab_channel=ConstantProduction

DNxHR download
https://we.tl/t-lzyP0I08rs

Working on a new transform LUT that gets rid of some of the problems and improves upon some of the color science, at least in my opinion.

First, the shadows go down into black, not elevated to...

Here's two images, one where I split between IPP2 output node and my own conversion from LOG3G10. The other is a reference from my Canon R which handles the saturation curve much better when...

So far it looks like the problems occur on the standard IPP2 workflow. So it's the standard basic conversion process of the IPP2 pipeline, which is why it's visible both in post and in-camera....

But it is a problem since it occurs in-camera as well. And the LUTs convert in the same way as internally doing it, doing a side by side between the two is identical.

But yes, the way to do it is...

I would gladly hear from Graeme on this since I really trust his judgment and knowledge. IPP2 isn't really a problem in itself. I think that if we think about how Komodo has monochromatic handling of...

Not sure what I'm looking at here (Phil's Image)? The image is at an exposure level where there are no shadows really? Or they're not in the lowest range for the rolloff to be noticed. Check this...

Yes, this what I'm referring to. I don't see it on other cameras and it's very noticeable on a good TV, especially in THX light recommendation levels. It's like the shadow areas become grey and it...

But I think you're missing the point I'm making here. You got a R3D trim of the last part of a normal to underexposed clip (check the youtube video, it's longer, starting at T1.8 to T22). The normal...

No, these R3Ds are shot at ISO400 to reduce noise. It's just a trim of the last part when at ISO400 they start to break down in the shadows.

Here's the full video

...

Did this, but it doesn't really reduce the issue. But if you have time, see if you can spot the same thing as I do. I find it very noticeable on the blue sofa cover when increasing the aperture. At a...

Yes, this is why I'm talking about how IPP2 handles the files, especially from Komodo. IPP2 was developed before this sensor so I'm wondering if there are some problems with how IPP2 handles Komodo's...

https://we.tl/t-INtTwurjXS

Just a snapshot doesn't work since it's about a cut off point for colors in shadows. In those shots, notice how the colors "turns off" with lots to go on the luminance....

Yeah, I think that some update to IPP2 might be the way, maybe a IPP3, taking a sneak peak at what Light Iron did or something. At the same time, many studios use ACES for their grading and if this...

Only thing I can see in that thread is that it's about the video feed from the camera, but this is about what you actually get in your R3D files.

If it's something that all cameras have because it's part of Komodo's design, Red tech support can't do much about it. This needs to be addressed by the ones who designed how the saturation curve...

Doesn't matter really, you can see it in-camera. Did some test shots of changing aperture and on the built-in screen, my link cabled iPhone, in Resolve when playing the material and in the export....

Did you notice this in comparison to any DSMC2s? I would wish to hear from Red about this. Is it hardcoded into the hardware or can this be improved with firmware updates? This is by far the worst...