Thread: Red footage and keying

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  1. #1 Red footage and keying 
    Senior Member
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    Nov 2009
    There are a lot of options both regarding IPP2 settings (output transformations) and gamma-settings. What is the ideal pipeline for keying on Red footage today?
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  2. #2  
    Senior Member Rakesh Malik's Avatar
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    Apr 2013
    Seattle, WA
    I've had good success using IPP2, and set the tone mapping to medium/very soft.

    If you need more contrast in order to pull a clean key, you can just create an additional input node and ramp up the contrast on that one, pull the key, and export that alpha map into the composite node. That's pretty easy to do in Fusion, Nuke, Mistika, and once you learn the fairly straightforward but surprisingly well hidden trick, it's also very easy to do in Scratch.
    Rakesh Malik
    Director of Photography, Colorist
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  3. #3  
    Senior Member rand thompson's Avatar
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    Aug 2011
    If you will be using an IPP2 workflow instead of a "Legacy" Red workflow or ACES workflow, I would use a "Color Managed" IPP2 workflow instead of an IPP2 workflow that used "Output Transform Luts. you will have to use a "3D" Qualifier for both but the "Color Managed" workflow will give you the results you are used to in "convientional" keying and qualifying.

    3D Qualifier Tool

    IPP2 Output Transform

    IPP2 Color Managed

    Last edited by rand thompson; 10-29-2020 at 07:59 PM.
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