Thread: Pocket 4K red clipping

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  1. #111  
    Senior Member shijan's Avatar
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    Quote Originally Posted by TravisA View Post
    Shijan, I'm going to give that a try. Had a few shoots with party gels being used OR a lot of car tail/headlights, so hoping this can clean it up.

    With this method, do you recommend doing your corrections before or after the CST Rec709 node?
    Sure it is recommended always do corrections before the CST Rec709 node. But it all depends of you. Some color correction tools in LOG timeline work differently so some people don't like do it in this way. You have a lot of freedom when your image in LOG gamma and wide color gamut. Even noise reduction applied in LOG may look different. Some additional correction can be done After CST Rec709 node too. For example you can apply some film emulation LUT, designed to be used in Rec 709 color space and gamma only.
    All my custom made accessories for BMMCC/BMMSC now available here https://lavky.com/radioproektor/
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  2. #112  
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    Quote Originally Posted by shijan View Post
    Another option is to use RED IPP2 color mapping in project settings. It have 3 different knee+contrast options. It produce even smoother compression than original Color Space Transform tool. But it is not available as a Node tool yet. You can apply it only project settings.
    Currently you can use RED IPP2 luts on timeline output. They do the same thing. https://www.red.com/downloads/option...6126&version=4
    Man, your findings are a lifesaver!
    Input: BMD Pocket 4k Film
    Timeline: RedWideGamutRGB/Log3G10
    Output: Rec 709 Gamma 2.4

    Red IPP2 Gamut Mapping
    Output Tone: Map High
    Highlight Rolloff: Very Soft

    And a CST with just saturation mapping and a node pushing magenta a bit towards red.
    Voila: Fantastic image even at night with flashy red lights.
    Works with ProRes, Braw and cDNG footage flawlessly.

    Great find!
    Colors are more beautiful to start with as well and working in Red latest colorspace seems fun, preferring it over ACEScc honestly.
    Not caring about Rec709 based luts anyway.
    My website:
    www.55media.net
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  3. #113  
    Senior Member shijan's Avatar
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    The thing is Log3G10 log curve is based on old RED log curve which is based on Cineon log curve made by Kodak based on real film response curve to work with film scans. Cineon always looks great but appears a little limited for digital world ( see this forum http://www.bmcuser.com/showthread.php?20965 ) So RED create future proof Log3G10. Always love that curve look in terms of contrast response on timeline. Other modern LOG curves usually where designed based on digital sensors response or for digital VFX workflows needs, so they are far away from something reality based.
    Log3G10 works well as universal timeline gamma but note that Red IPP2 Gamut Mapping shifts tonal response to the bright side, so footage looks "brighter" so bright skin tones may look less 3D. Probably something specific to RED sensors response. Usually gamma adjustment helps to fix it. But i done most tests with BMMCC, so for P4K it may look different. Still Prefer custom made LOG to Rec curve generated in LUTCalc app...
    RED Wide Gamut color space itself actually less matters but it is really HUGE, so fits any sensor data. Wish they add RED IPP2 it to CST Node so i can use it for colors compression only.
    By the way RED IPP2 compression in Resolve project settings is math formula based so it works with ANY timeline color space and gamma curve.


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  4. #114  
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    Yh, looks fantastic to my eyes and noticed the strong compression of skin tones already. But as already mentioned, some slight gamma adjustment or curve fixes it.
    I really had no idea how much better RED's colorspace is than BMD's. It's literally night and day. Even my daylight P4K shots don't have anymore harshness in the highlights, footage shows way less noise, even DNG looks clean. Am impressed.
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  5. #115  
    Senior Member shijan's Avatar
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    Hey, i just generated some custom LUTs made from original RED IPP2 ones. They compress only color and don't affect contrast or gamma curve. Archive also includes two custom generated 1D Log to Rec LUTs (RED Log3G10 to Amira 709 and RED Log3G10 to Alexa X2) Those are designed to compress gamma only.
    Here is how it works:
    - Set project setting to YRGB Color managed
    - Set project Timeline to RED Wide Gamut and RED Log3G10
    - Set project Output to Bypass
    - Add CST node to the Timeline and apply Timeline to Rec709 for gamma transform only. Or you can also try provided bonus LOG to Rec LUT at this step.
    - Add another node and apply provided IPP2 [COLOR ONLY] LUT

    Download here: https://www.dropbox.com/s/6w49e6bbc1..._LUTs.zip?dl=0

    P.S. Middle point for RED Log3G10 gamma in Contrast Pivot Settings - 0.38
    Last edited by shijan; 03-20-2019 at 01:47 AM.
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  6. #116  
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    wonderfull for me i like this workflow best color
    Am impressed too
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  7. #117  
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    I know it may be too much asking, but is there any way to put this findings into a single lut that could be used in Premiere?
    Álex Montoya on Vimeo
    https://vimeo.com/alexmontoyamelia
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  8. #118  
    Senior Member shijan's Avatar
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    If you can set timeline color space in Premiere to RED Log/ RED Wide Gamut you can use the same workflow. Separate gamma and gamut luts mare more flexible than single lut.

    Also you can export CST node input transform as a lut. I am not tested it yet but i remember that last versions of Resolve can export CST node transform as a lut
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  9. #119  
    Senior Member shijan's Avatar
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    I export LUT from Resolve for in-camera monitoring. Can someone with Pocket4K camera check if it will work in same "clipless" way as original luts in Resolve?
    https://www.dropbox.com/s/z2tgb2gp9m...soft.cube?dl=0

    I can confirm now that Resolve can export CST node transform as a LUT.
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  10. #120  
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    Suddenly the $1300 price of the BMPCC4K makes sense
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