Thread: Red footage and keying

Reply to Thread
Results 1 to 6 of 6
  1. #1 Red footage and keying 
    Senior Member
    Join Date
    Nov 2009
    Location
    Norway
    Posts
    1,074
    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?
    Reply With Quote  
     

  2. #2  
    Senior Member Rakesh Malik's Avatar
    Join Date
    Apr 2013
    Location
    Seattle, WA
    Posts
    923
    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
    http://WinterLight.studio
    http://www.imdb.me/rakeshmalik
    Reply With Quote  
     

  3. #3  
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    7,921
    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 08:59 PM.
    Reply With Quote  
     

  4. #4  
    Senior Member Christoffer Glans's Avatar
    Join Date
    Jun 2007
    Location
    Stockholm, Sweden
    Posts
    4,457
    Correct me if I'm wrong, but I've generally found the qualifiers being bad when not transforming the grade first. Color separation is lower on LOG footage, or at least all adjustments are hard to fine-tune when the color separation is that low. It gets even better if you apply noise reduction on that transform and then qualify.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
    Red Weapon 6K #00600 Red Komodo #002397
    Reply With Quote  
     

  5. #5  
    Senior Member rand thompson's Avatar
    Join Date
    Aug 2011
    Posts
    7,921
    Christoffer,

    You are correct which is why if you use qualification extensively, I try not to use it at all, then the IPP2 Transform Lut route is probably not the best course of action.

    This is why I suggest the Color Managed IPP2 workflow which both allows for Output transform to take place at the end and allows for qualifying the image. Noise reduction would allow for a better qualification. However, if you know for a fact that you will not be delivering your project in anything else than Rec709, then the default Resolve IPP2 workflow might be a better option. But even then you miss out on grading in the RWG/LOG3G10 colorspace and the benefits of Transforming the Rec709 image from that

    The IPP2 workflow doesn't really lend itself all that well to qualification, hence the reason for philmColor luts.
    Last edited by rand thompson; 11-04-2020 at 10:02 AM.
    Reply With Quote  
     

  6. #6  
    Senior Member Rakesh Malik's Avatar
    Join Date
    Apr 2013
    Location
    Seattle, WA
    Posts
    923
    Quote Originally Posted by rand thompson View Post
    The IPP2 workflow doesn't really lend itself all that well to qualification, hence the reason for philmColor luts.
    I haven't used any of Phil's LUTs (no offense to Phil, of course), but I've had no trouble using qualification. You just need to know what you're doing. There are plenty of tricks you can use to pull a nice clean key from log footage, but one of those tricks does involve using color management to your advantage. And another is to cheat and use a secondary layer (i.e. Scratch) or node (i.e. Mistika, Resolve) to build a key on.
    --------------------------------------------------------
    Rakesh Malik
    Director of Photography, Colorist
    http://WinterLight.studio
    http://www.imdb.me/rakeshmalik
    Reply With Quote  
     

Posting Permissions
  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts