Andres Gomez Zamora April 15, 2019 Share April 15, 2019 Hi everyone, I am looking into some workarounds on Red footage. Any chance you could share some thoughts and maybe point me in the right direction to get a document to find different approaches? It would be awesome if you share your experience not only in Davinci Resolve but also in scratch and baselight. Cheers. Link to comment Share on other sites More sharing options...
Bruno Mansi April 16, 2019 Share April 16, 2019 Workarounds implies you have some problem with your current method of working. I suspect you mean workflows. I think it would be useful if you were to be more specific about what sort of software for editing/sound mixing/grading you're most likely to be working with. For example, round-tripping between Avid MC and Baselight will be different than (say) FCP and Resolve. As a starter, you might want to take a look at Kevin McAuliffe's tutorials on 'Conforming in Davinci Resolve' in the Courses section 2 Link to comment Share on other sites More sharing options...
Lowepost April 16, 2019 Share April 16, 2019 Hi Zamora. RED (IPP2) and RAW workflow is covered in our new Color Management Workflow Training that was published today. Link to comment Share on other sites More sharing options...
Mazze April 17, 2019 Share April 17, 2019 Hi Andres, the upcoming SCRATCH 9.1 will ship with quite a big update on its color management, allowing you to work natively in various camera color spaces (such as REDWideGamutRGB and Log3G10). So when loading RED footage into SCRATCH, you'd debayer it to those REDWideGamutRGB and Log3G10 using IPP2 and then work your way off from there. You can do so by either setting the display transform to Rec709 (or anything else) and basically work before the transform to Rec709, or just work on the log image as-is and grade from there. As for roundtripping from other applications: SCRATCH allows you to dynamically set the reel-id of any (or all) shots to different formats: I.e. just "A004", or "A004C012" (to stay within the 8-character limit of EDLs), or even the full clipname: "A004_C012_XDFIGFN". Depending on how the editing app interpreted the reel-id and put it into the XML/AAF/EDL you are conforming in SCRATCH, you are able to accommodate for this. Let me know if you need anything else. Cheers, Mazze 1 Link to comment Share on other sites More sharing options...
Tom Evans April 17, 2019 Share April 17, 2019 I watched the color management course and DaVinci process the RAW files input color space automatically. Does it work that way in Scratch too? Link to comment Share on other sites More sharing options...
Mazze April 17, 2019 Share April 17, 2019 SCRATCH does not require you to select an "input color space" as such - you would be working directly on whatever the RED SDK gives you. If that is Rec709, or REDWideGamutRGB, Rec2020, etc. is totally up to you 🙂 . You can set this per clip, or for the whole timeline, or all clips in your project. So if all clips are set to REDWideGamutRGB, this is what you're then working on (your "input" format if you want). From thereon out, there is an output color space on the main output node, that "unifies" everything - to e.g. Rec709 2.4 gamma. This obviously is applied after any grade - same as for any display transform, which you can set for UI and preview screen separately. Greetz, Mazze Link to comment Share on other sites More sharing options...
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