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How to Tackle RED Komodo Footage in Post

Congratulations, you did it! You just went and got yourself a fancy new RED Komodo. Now what? Red Digital Cinema prides itself on putting image quality at the forefront of their cameras and since they were the first to bring an all digital workflow to the market way-back-when with the Red One, they created the workflow for how it is done.

For most of us Red has always been just a little out of reach, but with the release of the Komodo, Red cameras are finding their way into the hands of a lot of first-time users.If you’ve never worked with Red footage in post before, it can seem like a pretty daunting task but the results you’ll achieve doing things the right way will be completely worth your effort.

That’s why the good folks at Red Digital Cinema have put together this great tutorial to get you started!

We’ve talked about the RED Komodo a lot, so I won’t bore you with specs and numbers up front. Suffice to say, it’s an interesting little camera – when Sony, Canon, and Blackmagic where cramming in features to drive sales, Red bet big on image quality. You can read our coverage of the Komodo here.

Truthfully, I was never a fan of Red. I liked the images that I saw, but everything seemed like it was such a hassle. Whatever-other-camera I had been using at that point just seemed easier than Red so I never gave them a second thought. But, all of that changed the minute I set my eyes on some raw footage from the Komodo.

I’m not sure exactly what it is I like about Komodo footage, but I just really dig the way it looks. I’ve also had a bit of experience with Red footage so working with it in post is really second nature to me at this point, but for a lot of people that isn’t the case.

With so many new Komodo users, there are a few complaints about file structures, low-light issues, color profiles, and a host of other things so Red did the thing that any good company would do – put together a video to help you get started. For the sake of not being redundant, let’s briefly touch on the workflow here. The aforementioned video is only 11 minutes long, and although it’s a bit techie, it’s loaded with important information.

The recommended software for processing your footage from the Komodo is DaVinci Resolve so let’s see how to set it up to get the best results.

Step One: Enable Graphics Card Acceleration

In Preferences, select Decode Options and choose Decompression and Debayer.

This tells Resolve to use your high-end graphics card to decompress and process your raw Red footage, and depending on what you’ve got inside your system this could speed things up tremendously.

Step Two: System Settings

Click the System Settings gear wheel in the bottom righthand corner.

Enter These Settings:

  • RAW Profile: RED
  • Decode Quality: Full Res. Premium
  • Bit Depth: 16
    • takes full advantage of the raw image files.
  • Decode Using: Project
  • Color Science: IPP2
  • Color Space: RedWideGamutRGB
  • Gamma Curve: Log3G10
  • Uncheck Apply Metadata Curve
  • Check Chroma Noise Reduction
  • Flashing Pixel Adjust: Medium
  • Check ISO, Exposure Adjustment, Color Temp, Tint
    • This will default these parameters to the in-camera settings.
  • Save

You don’t want to have to go back and input these settings every time you start new projects, do you?

Go into Project Settings, select Presets, name and save these settings for your next project.

Step Three: Output Transform

An output transform is essentially a LUT that is used as the final step in your color grade to finalize the look of your footage for whatever final viewing space it is headed toward.Red recommends generating a IPP2 to REC 709 (or Rec2020, if that’s where it’s headed) from Red Cine-X or using DaVinci Resolve’s Color Management Workflow.

Option 1: Red Cine-X Lut

In Red Cine-X, Select File / IPP2 Lut Creator

Output Transform Settings:

  • Color Space: REC 709
  • Gamma Curve: BT1886
  • Output Tone Map: Medium
  • Highlight Roll-Off: Soft

Save the LUT, and back in DaVinci Resolve, load the LUT in the Color Management tab in Project Settings and change the 3D Lookup Table Interpolation to Tetrahedral.

Apply this LUT at the final step of your color grade.

Option 2: Color Management Workflow

In Resolve, under Project Settings / Color Management Select:

  • Color science: Davinci YRGB Color Managed
  • Input Color Space: Bypass
  • Timeline Color Science: REDWideGamutRGB/Log3G10
  • Output Gamma: Rec. 709 Gamma 2.4
  • Timeline to Output Gamma Mapping: RED IPP2 Gamut Mapping
  • Output Tone Mapping: Medium
  • Highlight Roll Off: Soft
  • Save

Step Four: Delivery

Red recommends selecting Force Full Res Debayer on the deliveries page to ensure you’re outputting at the highest possible quality.

That might seem like a lot, but Red gives you the option to adjust everything. They make their cameras with image quality and adjustability at top of mind, where other manufacturers that we’ve grown accustomed to have severely limited our ability to affect how that data we’re collecting is processed.

So if you’re having problems working with the raw footage you’ve been shooting with your brand new Komodo 6K camera, it’s just because Red is one of those camera makers that REALLY makes you read the manual, and there is a whole lot of manual to read. Give these settings a try and see if they help smooth things out for you.

[source: Red Digital Cinema]

B&H Order Link:

RED DIGITAL CINEMA KOMODO 6K Digital Cinema Camera (Canon RF)

Sours: https://www.4kshooters.net/2020/10/27/how-to-tackle-red-komodo-footage-in-post/

NATURAL Rec709 + Creative LUTs - RED IPP2 (DSMC2, Komodo) (22 LUTs)

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This package includes our Natural REC709 LUT (and its 4 variations) and 17 creative LUTs to stylize your RED footage. Our creative LUTs are inspired by some of the top high end commercials and they include 17 different and unique looks (BUTTERY Eterna, B&W, Tobacco filter, Crunchy Gold, Day X Night and many more). The creative LUTs are not recommended for monitoring since they are made to stylize your footage, but we still used our incredibly accurate Natural Rec709 as a starting point, so even if they are a little bit pushy, they still retain a lot of information in the highlights, shadows and skin tones. These LUTs only work with IPP2 Log310 footage and they are compatible with all DSMC2 cameras, as well as the Komodo.

HOW TO USE BUTTERY LUTs:

The workflow is extremely simple: first of all, you need to shoot LOG and LOG only. In your editing or color grading software just apply the LUT to your footage and do the basic adjustments such as exposure, contrast, WB or tint as you like. That simple.

Our LUTs work in every single lighting situation, at any ISO. Yep, just one LUT! Our LUTs are compatible with any software that support .cube files, such as DaVinci Resolve, Premiere Pro and Final Cut X.

Check out this tutorial to see how to use the BUTTERY LUTs!

Sours: https://www.butteryluts.com/buttery-luts/p/red-creative
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Products

WHAT’S INCLUDED

LUT VERSION

Red Komodo to Alexa LogC LUT: Transform Komodo footage to match the Alexa in it’s native LogC format. Requires a Rec709 output conversion such as one of the ARRI LogC2Video LUTs below or any other LUT or Colour Space Transform designed for ARRI LogC footage.

ARRI LogC2Video LUTs: The latest ARRI LogC to Rec709 LUT in three different curves. Standard, Standard V2 and Wide Dynamic Range V2 (WDR V2).

Post-Production Rec709 LUTs: The Komodo to Alexa LogC conversion combined with the Standard V2 and WDR V2 Rec709 output LUTs above. Created at x65 precision for post-production use.

In-Camera/On-Set Rec709 LUTs: Same as above but created at x33 precision for compatibility. Used to preview the transform on the Komodo or external monitors.

No Snake Oil

POWERGRADE VERSION

Komodo2Alexa PowerGrade: Match Komodo footage to the Alexa in it’s native LogC format. Includes Rec709 conversion LUT to complete the transform.

Komodo2Alexa IPP2 PowerGrade: Match Komodo footage to the Alexa using Resolve’s Color Managment / IPP2 workflow.

Komodo2Alexa ACES PowerGrade: The Komodo ACES IDT doesn’t seem to be finalised. I will release an ACES update when Red complete the IDT.

ARRI LogC2Video LUTs: The latest ARRI LogC to Rec709 LUT in three different curves. Standard, Standard V2 and Wide Dynamic Range V2 (WDR V2).

In-Camera/On-Set Rec709 LUTs: Same as above but created at x33 precision for compatibility. Used to preview the transform on the Komodo or external monitors.

No Snake Oil

LUT OR POWERGRADE?

If you grade in Premiere or any other NLE, or you just want to apply LUTs to quickly get footage out, the LUT version is the way to go.

If you mainly grade in Resolve, the PowerGrade is the way to go. The PowerGrade gives you maximum flexibility and quality, while also allowing you to make adjustments to the transform. Since the LUTs can easily be created from the PowerGrade versions I’ve included them as part of the PowerGrade version to save you time.

QUESTIONS, COMMENTS, SUPPORT

For questions, comments or if you need LUT/PowerGrade support contact me at [email protected]

Sours: https://juanmelara.com.au/products/red-komodo-to-alexa-powergrade-and-luts
RED Komodo 6K How To Expose R3D for an IPP2 REDCODE RAW Workflow


What is philmColor?



philmColoris a series of motion picture film inspired Creative 3D LUTs designed and optimized for RED's new Image Processing Pipeline 2 (IPP2). The core concept behind this project is to provide filmmakers with new "digital stocks" to assist in carving out a more unique look to their captured footage. The LUTs are 33×33×33 and can be used in cameras with IPP2 support or on any REDCODE RAW .R3D in post.

In Release 2 you get a total of 178 LUTs with the purchase of philmColor. That's 75 new LUTs added to what Release 1 contained.

- 75 baseStocks
- 30 ghostStocks
- 20 printModels
- 29 toneAdjusts
- 24 achromicStocks
- Free Update to Release 3 as new LUTs are created and added
- PDF Manual with previews of each LUT and some notes regarding them.


Examples of philmColor.



There are currently 5 categories of LUTs with the release of philmColorR2. baseStocks, ghostStocks, printModels, and toneAdjusts. Here are a few examples of each:

baseStocks- There are 75 of these unique looks. Some are based on film stocks, some are based on modern film grading trends, some are helpers for specific situations, others are unique in their own ways. New for Release 2 are some bolder stylized looks (as requested) and some newer baseStocks influenced by films released this year. These meter accurately to 18% Gray in camera unless otherwise stated in the manual.


ghostStocks- There are 30 ghostStocks. Their purpose is to serve more like color science and are designed to slightly tune chroma and luma responses. These are far more subtle than most of the baseStocks. Overall my goal with these are to provide different approaches to skin tones and more subtle hues found in situations such as dusk. Many of these are reverse engineered from motion picture and still film to provide a similar color response to your RED footage. These all meter accurately to 18% Gray in camera.


printModels- There are 4 main printModels with this release and their variations which adds up to 20 total cubes. Each loosely based on a film-like print response. They come in a variety of strengths. Pure, Flat, Flatter, Punchy, and Thin.


toneAdjusts- There are 29 of these and mostly these are intended as tonal helpers, though you may find a couple of them pleasing in camera (like the cineTone variants). Some are purely utilities. For instance, if you desire to pull down your highlights only, there's a LUT for that. Additionally these come in different strengths. Full, Half, and Quarter. New for Release 2 are some additional "metal" stocks in this category that feature carefully crafted tone maps.


achromicStocks- New for Release 2 are the 24 achromicStocks. Achromic means "colorless" and that's exactly what these do, remove color. The focus here is create black and white cinematography created from your in color RED footage. These tap into color channel information as well as luminance tone adjustments to create unique flavors of black and white.


How do I use philmColor LUTs?



philmColorcan be used in camera and in post. In camera, your camera must support IPP2 internally. At the moment, RED Helium camera bodies for instance. In post, philmColorcan be used on any R3D from any RED Digital Cinema Camera.

Post Workflow

Within REDCINE-X Pro and supported 3rd party software you place your selected philmColorLUT in the "Creative 3D LUT" menu.




In Camera Workflow

On your REDMAG media create a folder called "luts" and copy over the philmColorLUTs you'd like to use in camera. Do note, you must have a camera that is "IPP2" capable to utilize these LUTs properly in camera. Go to Menu>Image>3D LUT to select and manage your LUTs.





Quick Tips



All of philmColorLUTs are designed to work when applied to any shot, but you may want to tweak your look a bit. When applying your philmColorLUT you may want to fine tune your White Balance, ISO/Exposure Adjust, Curves, and Contrast. Saturation and other adjustments can be further manipulated within the CDL controls. Additionally, you can of course select different Output Transforms like your Output Tone Map and Highlight Roll-Off depending on if you after a smoother or punchier look. There are a huge variety of looks you can explore.


Can I redistribute and/or Resale philmColor?



No, you cannot freely redistribute or resale philmColorLUTs without written consent of Phil Holland. However, I am a realist and you can certainly forward these along to your post house or post person if need be. Basically, use them to get your work done, but don't steal them if you can avoid it.


Special Thanks!



philmColorrepresents a whole lot of time, effort, tests, and R&D. Much of which transpired during 10 months of IPP2 testing and some of the base info came from many years before. During the bulk of the QC a test bed of nearly 3600 R3Ds was created from shooters all over the globe as well as from RED themselves. So in short I'd like to thank everybody who helped along the way with providing that footage. Thanks goes out to DSC Labs as well as X-rite for making good things. I'd also like to thank Graeme Nattress for his brilliant work on IPP2 and willingness to test my efforts over the last few months. A big thank you goes to Jarred Land of RED Digital Cinema for continued motivation over these last few years. And lastly, Will McCown and Megan Edwards who allowed me to focus on the "important work" back when film was the primary medium in my life.


About Phil Holland



After a bit of gripping and gaffing for petty cash, Phil Holland began his career in the motion picture industry on the VFX side of things in 1999 working in the Scanning and Recording Department at Rhythm and Hues Studios. As a Digital Imaging Specialist he had the privelage to explore film rather deeply through cinematography, high resolution scanning, high resolution laser recording, and his efforts as a Digital Colorist on feature films. From 2011 on Phil has moved on to pursue his Directing and Cinematography career with a keen interest in bleeding edge digital cinema technology. As of late he's been spending a great deal of time up in the air filming aerials in 8K all over the globe as well as executing some smaller scale narrative and commercial pieces. You can learn more about about Phil and his work at www.phfx.com

philmColor is copyright Phil Holland © 2016-2017.


Sours: http://phfx.com/tools/philmColor/

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