RED EXPOSURE 3 With the last starting frame, reducing exposure with Lumetri brings the highlight value down and expands the highlight tone values producing visible banding. RED EXPOSURE 1 - This is the basic graded frame, it's an extreme grade and the highlights are lowered anyway The values on the sliders mean nothing either, -1 doesn't mean one stop or anything. It's not possible to match exactly because as i mentioned Lumetri isn't just taking exposure down but doing a bit more. Here's an example of comparing adjusting exposure in Red vs just in Lumetri to see some of the differences. Now i have a whole host of issues with this approach but that's what we've got. So when you move the exposure down, they keep the brights higher because they know that being display referred there isn't a huge range of superbrights. Pretty much all of Adobes products are based around manipulating display referred imagery, i hope one day this changes but right that that's what we're working with.Īn example of this is that the exposure control in Lumetri is not a technically accurate exposure at all - it's neither a gain (for linear data) or addition (for log), it’s an S shape adjustment - most likely this way because Adobe recognise that the vast majority of footage people are working with has a 709 style gamma curve to it. But the Lumetri controls in Premiere don’t really work with native log or flat footage, they are really designed to work with display referred footage - i.e. The IPP2 LUT is designed for adding at the end of the chain and technically you’re right. Red Grade 3 The Lumetri panel on the clip is where the creative grade goesĪh you say but this is wrong. Then on each individual clip there can be an additional Lumetri effect, where creative work can happen on a per clip basis. RED GRADE 2 - With the provided IPP2 LUT which gives the base Rec709 starting point Red Grade 1 - The basic Red RWG/LogG10 lookīeing on the master clip, all the subsequent edits taken from that master will then share these settings and they will all just look right, this is the default mapping. Then still on the master clip i would apply a Lumetri colour effect and the only thing this has is the IPP2 LUT (as an Input LUT) The Red settings in Premiere are always applied to the Master Clip. This pretty much ensures that you have all that the camera saw in a desaturated looking flat image. Then all those files are set to a colourspace of RWG (RedWideGamut) and a gamma of LogG10. Now in Premiere this is how i approach this.įirstly all R3D clips imported via the media browser so that segmented R3D files are joined together behind the scenes. This is the beauty of IPP2 and all of Graeme Nattress's work and research. These are usually out of gamut for the very limited 709 pallette. Often bad mapping results in unbalanced colours, especially saturated ones and also issues with bright highlights and out of focus areas - LED car lights, street lights and so on. It’s not a mathematical mapping but a creative one. But the way you map the various colours makes all the difference. Why is this conversion normally so difficult? Mapping from wide spaces into narrow spaces is just like squeezing a gallon into a pint. When shooting with IPP2 the camera will add a LUT into the folder of the recorded R3D, or this LUT can be downloaded from various other sources. The most common, and basic, target is still Rec709 or BT1886. The end result here is basically a really nice mapping from the wide gamut space that Red can capture into various destination colour gamuts of our various displays. It was designed with the Helium sensor in mind but applies to other cameras too. IPP2 is the new colour pipeline from Red. (i also have tonnes of other blog posts about all sorts of things sort of waiting, just incredibly busy in post - once there’s a breathing space i hope this blog will be a lot more active.) The approach here is one of many and i’m not sure if it’s even the best way to go about this, but right now it works and i’ll try to explain why. This is a very short post to cover a few points about using the new Red Pipeline footage (IPP2) in Premiere Pro CC.
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