Can someone inside RED take us through how colour is mapped from the native sensor colourspace, via RedCine, into available video & data formats and out to the display?
I'm interested in both how to maintain a calibrated preview in RedCine, and ideas on how to maintain a calibrated display throughout post (barring an ultra-expensive solution like TrueLight - though beautiful, mucho $$). Any recommendations for ensuring accurate colour rendition all the way through the pipeline? (monitor profiling, calibration LUTs, getting around Quicktime & FCP's limitations, etc.)
Some side notes:
Currently there's some notoriously frustrating bugs in Quicktime that make gamma rendition inconsistent between inside Final Cut, direct output from the timeline, output via Compressor, and taking files inside of other apps such as After Effects. My particular situation is using Final Cut with two attached Cinema Displays. One example: will doing a calibration of the displays (with one of the various available probes) and using 'Digital Cinema Preview' from inside Final Cut give me accurate colour rendition?
In the canvas window, FCP does gamma compensation based on an assumed 1.8 display gamma and 2.2 output gamma... anyone know if is this true when using 'Digital Cinema Preview'? Any methods for getting around this 'feature'? If anyone has more info on how FCP handles colour mapping on attached displays (i.e. not attached to a video output a la AJA) I'd be very interested to know.