Resolve Color Management & RedLogFilm

Hey BMD Team,

How is everyone using Resolve Color Management (RCM) if working with a non-raw source that uses RedLogFilm. For example: ocassionally, I'll have a client shot on a RED Epic\Dragon\etc and due to turnaround, they'll send me a flattened ProRes444 using RedLogFilmwith an EDL instead of conforming with the R3Ds.

It would be great to test out RCM with these jobs, but there is no RedLogFilm option for Input Color Space. I assume this was due to most grading using the R3D and being able to switch between RedGamma and RedLogFilm, but as the new Red records ProRes, this would be nice to have.

Am I missing something or is it actually missing? As a workaround, Ive tried using the cineon input color space option, which should be close (per white papers), but its def not 100% and I'd be much more comfortable knowing everything was being normalized correctly.

Thanks for any suggestions, tips, other workarounds, etc

I just color-correct what's within the RedLogFilm image. You can use curves to bring the image into something that looks reasonable in Rec709 gamma space, and assume that they used the proper RedColor science (including DragonColor) so that the color is correct.

I have yet to try Red Color Management, but may experiment with it in the next few weeks. But for simple Arri LogC or RedLogFilm, it's not rocket science to get very good pictures with it.

I just color-correct what's within the RedLogFilm image. You can use curves to bring the image into something that looks reasonable in Rec709 gamma space, and assume that they used the proper RedColor science (including DragonColor) so that the color is correct.

I have yet to try Red Color Management, but may experiment with it in the next few weeks. But for simple Arri LogC or RedLogFilm, it's not rocket science to get very good pictures with it.

Ya, typical Red color science...nothing special. It was shot RedColor3, but I may use DragonColor as Im liking the more subdued tones. I'm just looking to try something new that COULD saves a few second a shot.

Ya, im working on a film and thats what I usually do, but Im curious to see if it can work on RED. Ive gotten some decent results on some BMCC tests Ive done. Not a gae changer, but saves 1/3 or so on the shot. Adds up eventually, especially on longer projects (as you ofc know )

i had a good look at RCM for a film, some huge advantages for this show as it had Epic, F5, RFL encoded DPX and 7d sources, and deliverables are 709 & DCi... worked well

but the fly in my ointment was the VFX that were sent out in January as RFL/Dragoncolor2, and there is no input transform to match the DPX to the camera orignal accuratly, close but not perfect enough to cut back to a camera orignal in the middle of a shot

Nick Shaw thought he could create a LUT for this, but the producer's balked at additional costs, so that's left in the "shoulda done" pile... in the future exporting EXR linear would be the way to get the VFX to match the R3D's with RCM in the mix.

but if you do not need to use the features of RCM.. and using one camera and targeting one deliverable would not be using it's strenght's... then why bother?