Thread: Resolve 17 new colour management implication for IPP2

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  1. #1 Resolve 17 new colour management implication for IPP2 
    Senior Member Michael Lindsay's Avatar
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    Hi

    I have started to play with resolve 17 and with its new Colour managed workflow it seems to deal with my previous issues when using Red processed via IPP2 in colour manged mode...

    http://www.reduser.net/forum/showthr...-managed-issue

    BUT the downside (if it is actually a downside) is that tonal mapping is no longer controlled with IPP2 controls? or am I wrong? The DaVinci tones mapping is now much better but it is fixed?

    After a little play I was happy this is my new starting place BUT I am too old with too much other stuff to do to be constantly testing and tinkering so I really hope nothing changes now between Red and Davinci...?

    So is it working for others? Or are there issues I am not seeing?

    thank you for any thoughts added...

    Michael (Sometimes seeking Arri file simplicity)
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  2. #2  
    Moderator Phil Holland's Avatar
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    You can still utilize RED's IPP2 Tone-Maps and Highlight Roll-Offs, here's one way to do it:



    Resolve 17 is very powerful, but bare in mind it's still very in beta. I'd strongly recommend backing anything up that you need on 16 before tinkering with 17. Lots of stuff has impacted Powergrades and a lot of other things.
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  3. #3  
    Senior Member rand thompson's Avatar
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    Phil,


    Here are some settings that I have been using. All images at ISO 800 and Kelvin 4200 unless otherwise labeled.

    IPP2 Color Managed-High Con/Very Soft




    Medium /Soft




    Davinci Wide Gamut Preset






    IPP2/Davinci Tone-Mapping-Custom





    Davinci Wide Gamut Preset HDR(ISO 1280)








    ACEScct SDR









    ACEScct HDR(ISO 1000)






    Last edited by rand thompson; 01-24-2021 at 11:05 PM.
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  4. #4  
    Senior Member rand thompson's Avatar
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    Some Resolve 17 Manual info-Still trying to get a better understanding of it.







































    Last edited by rand thompson; 01-23-2021 at 11:14 PM.
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  5. #5  
    Senior Member rand thompson's Avatar
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    IPP2 Color Managed Bypassed for the New "Davinci" Tone-Mapping
















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  6. #6  
    Senior Member rand thompson's Avatar
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    Davinci Wide Gamut Preset Bypassed for IPP2 Output Transform Workflow









    IPP2 Output Transform Lut "Medium/Very Soft"





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  7. #7  
    Senior Member rand thompson's Avatar
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    IPP2 Color Managed Bypassed for IPP2 Output Transform Lut


    One Of the best things about the IPP2 Color Managed Workflow is that you can set the "Output Tone-Mapping" and "Highlight Roll-Off" for every .R3D clip in your project without doing it for each individual .R3D cilp at the end of it's color correction Node tree.

    However, the downside was that you've "locked" in all your .R3d files to the same IPP2 Output Transformation. If you went into the project settings to change the "Output Tone-Mapping" and "Highlight Roll-Off" for a specific clip, you would unknowingly affect any qualifications or contrast corrections due to the clips now having different contrast levels, luminance values and color saturations and hue levels. You would probably not even realized the adverse affect on your entire project until it was much too late.

    Now, with the new "Bypass Color Management" function, you can keep the original "Output Tone-Mapping" and "Highlight Roll-Off" for your entire project and Bypass the Color Management from the IPP2 Color Managed Workflow in favor of an "Output Tone-Mapping" and "Highlight Roll-Off" transform that better favors the individual .R3D files in your project.















    IPP2 Output Transform Lut Hi Con/ Very Soft applied to first R3D file in Project






    Medium/Soft IPP2 Color Managed for the Second R3D file from Project Settings



    Last edited by rand thompson; 01-25-2021 at 12:59 PM.
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  8. #8  
    Senior Member rand thompson's Avatar
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    Something else that concerns Color Management that you need to be aware of.


    From Loren Simons from Red:





    "RED is making changes to the default behavior of R3D’s in all third party applications to unify the results and deliver consistent and predictable behavior no matter what software you are working in.

    All R3D’s will be decoded in software such as Premiere, Resolve, and Final Cut Pro as Log3G10/REDWideGamutRGB by default.

    Most software, such as Resolve and Final Cut Pro, have ways to customize how R3D’s are decoded project or system wide - and so if a workflow that is different from the default is wanted, it can be configured applied to all future R3Ds in all future projects.

    Premiere is the one exception to this - with neither a true color managed workflow capability nor ability to change R3D decode parameters project wide.

    However, there is still a suitable workflow for Premiere which maintains true flexibility in color grading and is simple to implement.

    Our recommendation is to generate the desired IPP2 Output Transform from REDCINE-X, for example a Rec.709 with Medium Contrast and Soft Highlight Roll-off. Once that .cube is created, select that as the Creative LUT for one of your clips in Premiere’s Lumetri Panel. After that, simply save that Lumetri Panel as a Lumetri Preset by right clicking the top of the panel.

    This Lumetri Preset can either be applied to all of your R3D clips in your bin, or, the Preset can be dropped into a top level Adjustment Layer which runs the length of your timeline - automatically applying it to any image beneath it in the timeline.

    Either of these methods will delivery you a proper image, with the added benefit of still maintaining the full flexibility of your logarithmic image behind the resulting image when changing your Lumetri values.

    Previously, with images coming into Premiere directly decoded into say Rec.709 Medium Contrast Soft Highlight Roll-off, any adjustments made in Lumetri would happen on-top of that image, severely restricting your latitude in post."
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  9. #9  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by Phil Holland View Post
    You can still utilize RED's IPP2 Tone-Maps and Highlight Roll-Offs, here's one way to do it:


    Resolve 17 is very powerful, but bare in mind it's still very in beta. I'd strongly recommend backing anything up that you need on 16 before tinkering with 17. Lots of stuff has impacted Powergrades and a lot of other things.
    Thanks Phil

    Sorry I didn't see the custom option... I see Rand (thank you)showing a bypass option per clip so that also handles a previous issue I had with Reds Tonal mapping being applied to every timeline image or even GX..

    It seems I have to dig in once more and establish a simple/robust workflow for me

    Good tip re backups as I have come across a few little issues and may have jumped too soon ;-)


    M
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  10. #10  
    So hauling this thread back.

    I've moved to 17 now and seeing all the new goodness.

    It does beg the question in 2021 now should we be using IPP2 mapping? I like the tone map and i know i can faff resolve to continue to use it but at the same time i want to be able to use the new HDR controls for everything because they look awesome finally.

    I'm going to start experimenting on my footage to get a feel but i am conscious that others would have been doing the same

    Do we have a consensus on whether v17 we should be Davini tone mapping for output or still using IPP2 - have people found any tonal or colour issues now?

    cheers
    Paul
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    insta: @paul.inventome
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