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. #Import lut premiere proThis 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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