Create a LUT with REDCINE?

Benjamin Rowland

Benjamin Rowland

Member
Will it be possible to create a LUT with REDCINE that could be used in a monitor like the Cine-tal or applied to the monitor output from the camera for client review?

-Benjamin Rowland
Red #471
 
Benjamin Rowland said:
Will it be possible to create a LUT with REDCINE that could be used in a monitor like the Cine-tal or applied to the monitor output from the camera for client review?

-Benjamin Rowland
Red #471
Click to expand...
Yes, answered in this thread:

http://www.dvxuser.com/V6/showthread.php?p=720024#post720024

Stuart English said:
You might wish for the option to switch VF and monitoring outputs between two different color correction settings - say basic REC 709 and your colorized FX version - but you wouldn't want to show the RAW footage to your client....
Trust me you really wouldn't.

Good news is RED ONE lets you follow the first path, so this isn't an issue.
Click to expand...
 
Luts

Luts

Its a great idea that REDCINE could generate LUTS for use by the RED camera or an external LUT-capable monitor such as a Cine-Tal. But what I intended to say was just that you can create a LUT or LUTS at the camera, so that its EVF and LCD outputs can can have a color balanced video output even when the camera is recording RAW.

One of the primary roles of REDCINE then, is to take the RAW footage, and convert it to RGB. During this process you can use the LUT you created for the camera as the first approximation for the color processing in REDCINE.
 
If I can run dual HD-SDI outputs from the camera to an HDLink converter and then to a 23" Cinema Display showing 1080p 444 while the camera is recording 4K RAW to REDCINE, that would be an amazing on-set workflow.
 
Yes I was thinking to that as well...

And someone wrote that they might think to put some HDMI video output directily on the cam...
 
If the camera has internal LUT support, then if it had a DVI port you could skip the HDLink, save some money, and maybe do better than 1080p.
 
Yes that's the point to have DVI and/or HDMI onboard.
Personally I think that DVI would be the perfect choise, as it is clearly easier to find and cheaper to buy a LCD monitor with DVI connection than an HDTV with HDMI...
 
But how long can DVI cables run? Wouldn't it be easier and cheaper to run BNC cables over longer distances? And some of the newer LCD monitors have HD-SDI inputs too.
 
Standard LUTS for camera monitoring

Standard LUTS for camera monitoring

Stuart,

Will we get some default LUTs like rec709 and the DCI spec?

Also wondering if the Waveforms will give readings according to the display LUTs like on the Cinetal. I think you see value ranged like 0-100 in the rec709 mode and 0-123 in the DCI Lut.
 
On most of my shoots I've only needed a 30' and a 50' BNC cable. So I don't see ever needing more than that.

So DVI's an option. Cool.
 
I'm relatively certain that DVI and HDMI use the exact same protocol... which means: all you need is a different plug for $20 to use a DVI monitor on an HDMI output. (Think pair of RCA plugs vs Mini Stereo plug, only digital so no quality loss)

So it doesn't really matter which they put on as long as they one or the other. I would lean towards DVI since we don't need the audio channels on the HDMI.
 
Luts

Luts

We'll certainly have some default LUTS - such as REC709 for example - and then memory for you to store some of your own favorites, whether that be to color balance a particular display you have connected to a camera output, or for visual effects.

As always, we'd be interested in gathering the wish list from the community so we can compare it to our own internal requirements document.
 
Dear Stuart,

About the camera internal LUT, I think it is very good idea to have that, and of course the possibility "to switch VF and monitoring outputs between two different color correction settings - say basic REC 709 and your colorized FX version" as you wrote on a other tread, is to my eyes the perfect option.

But as I haven't yet work with raw image (except with still camera) or cineon files, may be others users will have more idea, for exemple on the different defaults LUTs.

About the HDMI/DVI output on the camera, I think that have 2 outputs (allowing to output video up to 2560x1600 pixel at 48 bit at 60 frames per second) HDMI or DVI would be a good option for image output.

Thanks for taking time for wish list.

May the force be with you,
antoine.
 
top on my wish list would be to download a beta version of your software, play with it and be able to give opinions on features

it doesn't have to be with images from an uncorrected sensor if you need to lay low on that, as long as you can use any old raw image, tweak output and test
 
xLUT editor

xLUT editor

Hello,

Coincidentally Reel-Stream is soon releasing a stand-alone LUT editing program called 'xLUT', you can view a screenshot of the current Mac OS X version here:
http://www.reel-stream.com/Paninaro/xLUT_Screenshot2.jpg

A brief list of features:
- Real-time image preview update while editing curves, even when working at large frame sizes such as 4k
- User-defined input/output bitdepths and color channels. Create record LUTs, render LUTs, monitor LUTs, etc.
- Free-draw curves using bezier paths, or parametrically generate curves from formulas.
- Exports in most popular LUT formats, or create your own. Supports user-formattable custom text output.
- Generate multiple LUTs at once using presets. For example, create a sensor/record LUT, and automatically generate inverse render LUTs and gamma-corrected monitor LUTs.
- Import capabilities for lossless parametric LUT formats such as Combustion log-lin/lin-log .lut files.
- Lossless workspace saving capability. Save your curves and change them later without limiting resolution.
- Built-in LUT format converter.
- Fully resizeable GUI geometry. Runs on tiny or huge screens alike.
- and more...

Cheers,
Juan@reel-stream.com
 
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