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    Red Color Workflow in Redcine-X & DaVinci Resolve

Red Color Workflow in Redcine-X & DaVinci Resolve

Kevin P. McAuliffe

xap18.119.112.208

 

Learn everything you need to know about multicam editing in DaVinci Resolve with the award-winning editor Kevin P. Mcauliffe.

Learn the post-production workflow necessary to get the most out of your Red camera footage. Take advantage of the incredible dynamic range in the camera and achieve superior image quality only possible with the right post-production process. This training series is designed for beginners and no post-production experience is necessary. It’s perfect for everyone involved in production or post-production including DITs, Cinematographers, Editors and Colorists.

You will also get acess to the Red footage used in this course, so that you can easily follow along.

About the instructor

Kevin P McAuliffe is an award winning editor and visual effects creator with over 20 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures.

Who is this course designed for?

  • Editors
  • Colorists
  • DITs
  • Cinematographers

COURSE OVERVIEW
 

LESSON 01: RED PLAYER AND METADATA

In this first lesson, we'll analyze and read metadata from a Red shot in Red Player.

LESSON 02: COLOR SPACE AND REDCINE-X BASICS

We'll look at metadata in Redcine-X.

LESSON 03: PROJECT CREATION AND DECODE OPTIONS

In this lesson, we'll open a project in DaVinci Resolve and set the decode options.

LESSON 04: IMPORTING, BIN VIEWS AND CLIP METADATA

More metadata in DaVinci Resolve.

LESSON 05: NON-COLOR MANAGED RED WORKFLOW

We'll go though the IPP2 non-color managed workflow in DaVinci Resolve.

LESSON 06: LUT MANAGEMENT

In this lesson we'll create camera LUTs and LUTs for post production with the IPP2 LUT creator in Redcine-X and look at how to optimize it for a post workflow.

LESSON 07: COLOR MANAGED RED WORKFLOW

Now we'll look at a color managed Red workflow in DaVinci Resolve.

LESSON 08: CONVERTING THE COLOR SPACE OF DIFFERENT CAMERAS

In this lesson we'll look at how to match the color space of Alexa and Red footage which is required on projects shot on different cameras.

LESSON 09: BASIC COLOR GRADING

We'll look at basic primary color corrections and secondary corrections such as hue shifts of specific colors, vignetting and other useful techniques.

LESSON 10: WORKING WITH DATA BURN-IN

In this this, we'll add data burn-in and metadata to prepare the footage for exporting.

LESSON 11: EXPORTING STRINGOUT SEQUENCES

Now, we'll look at the best settings for exporting clips and sequences for directors or clients.

LESSON 12: EXPORTING DAILIES

We'll go through a dailies workflow in DaVinci Resolve.

 

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karl ellison

Yes..thanks Lowepost.

I was about to delete the post when i realises that i should have been patient and listened to the module before i commented.  States very clearly that the file is not included.

Sorry!

(Note to self:  be patient before posting)

Thanks

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4 minutes ago, karl ellison said:

Yes..thanks Lowepost.

I was about to delete the post when i realises that i should have been patient and listened to the module before i commented.  States very clearly that the file is not included.

Sorry!

(Note to self:  be patient before posting)

Thanks

No worries :D

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Paul Curtis

The curiosity is whether we should be using an IPP2 workflow with Red footage in 17 or whether we should be using DWG instead. In my initial tests i don't see anything off about DWG. I'd love to hear others opinions.

I'm not sure the IPP2 workflow allows us to really use the HDR grading controls in 17 effectively... 

thanks
Paul

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leaf XIV

Hi, thanks for the content, it's hard to find anything useful about red ipp2 worflow.

You mention in the video that using RCM with IPP2, mostly it is the same as applying a CST as the very last node, but how come when I pull a key in my first node, it comes out very well defined and very clean,  exactly like it has been pulled AFTER a REC 709 transform?

Shouldn't the key be very messy as the first node is still coming from the log footage, therefore not enough contrast and color separation ?

This makes me think RCM is applied at the beginning of the pipeline? Very confused about this.

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4 minutes ago, Luk Monet said:

Can I debayer any R3D file using IPP2? Specially older RED DSMC cameras which doesn’t have RWG and not supporting IPP2?

Yes you can. 

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