< Previous | Contents | Next >
— Bit Depth: DaVinci Resolve can decode R3D files with 8-, 10-, or 16-bit image data for processing. Choosing 16-bit for maximum quality may impact playback performance on some hardware.
— Timecode: The timecode recorded for R3D media depends on the camera setting in use when it was shot. There are three choices:
— Camera: This setting automatically selects between Absolute and Edge depending on what was chosen as the default timecode mode on the camera. This setting needs to be selected before you add R3D media to the Media Pool. If you’re browsing R3D media when you change this setting, you should refresh the folder in the Library of the Media Pool before adding media to the Media Pool.
— Absolute: The default. Records “time of day” timecode. If an external timecode source was connected and the camera was put into Jam Sync mode, the external timecode would have been recorded instead.
— Edge: The first recorded clip for each magazine starts at 01:00:00:00, and the timecode of each subsequent clip is recorded sequentially and continuously.
— Decode Using: The option you select determines whether all R3D media throughout the project is decoded using the original Camera Metadata settings (the default selection), using Project settings in which you choose custom settings to be applied to all clips, or using the RED default settings.
Project Settings
These settings control the fundamental methods used to debayer R3D media. The selections you make to these settings determine the basic color and contrast that you’re choosing to extract from the camera raw image data.
— Color Science: The options are Original, which was the color science used by early builds of the REDone camera, Version 2, and IPP2, which is the current version of color science used by the entire RED camera line. Unless you need to match the look of older projects using the older color science, the newest color science is generally preferable.
— Color Space: Because RED cameras record R3D data which uses a raw color space, debayering the native R3D data requires choosing a color space to convert the raw signal into. Bear in mind that the color space you choose is merely a starting point for further correction. There is no requirement that you choose one or the other color space for any given workflow. You should choose the color space that provides the most pleasing starting point for your particular project.
— DragonColor2: A further optimized version of DragonColor that is especially recommended for underwater footage.
— REDcolor4: A further optimized version of REDcolor3 that is especially recommended for underwater footage.
— REDWideGamutRGB: Part of RED’s IPP2 (image processing pipeline 2) initiative; this is a camera color space designed to encompass all colors that can be recorded by RED cameras without clipping, and is meant to provide a single common starting point for all models of RED cameras, for convenient grading to HDR or SDR workflows.
— Rec. 2020: Decodes into the standard color space specified by the Rec. 2020 standard for high definition video, UHD video, and beyond. While you may find this option useful, it is not required for programs being output to video.
— Rec. 709: Decodes into the standard color space specified by the Rec. 709 standard for high definition video. While you may find this option useful, it is not required for programs being output to video.
— sRGB: Decodes into the standard color space defined by the sRGB standard, typically used for computer display.
— Adobe1998: Decodes into Adobe’s unique version of the sRGB standard.
— DCI-P3: Decodes to an RGB-encoded image data with a D61 white point, intended for use when outputting media for DCI mastering.
— DCI-P3 D65: Decodes RGB-encoded image data with a D65 white point, intended for monitoring with a P3-compatible display.
— ProPhoto RGB: A color space developed by Kodak that offers a large gamut intended for photography. An idiosyncrasy of this color space is that the green and blue primary points are outside the boundaries of visible color, meaning this gamut encompasses “imaginary” colors in order to achieve an extremely large gamut.
— CameraRGB: Outputs the original, unmodified sensor data. Not a recommended setting.
— REDspace: Fits the raw R3D image data into a color space thatʼs larger than that of Rec. 709. Appropriate for digital cinema mastering and film output. REDspace was the predecessor to the REDcolor setting.
— REDcolor: A color space thatʼs similar to the Rec. 709 option, but modified to balance accuracy with pleasing color rendition, emphasizing accurate skin tones.
— REDcolor2: Similar, but less saturated than, REDcolor.
— REDcolor3: Similar saturation to REDcolor, but with additional modifications to improve the color rendition of skin tone. Introduced as the optimum color space for Epic cameras, but also appropriate for previous generations of RED cameras.
— DragonColor: A color space optimized for cameras with the RED Dragon sensor, although this color space can be used for previous generations of RED cameras as well.
— Gamma Curve: There are several options available for choosing a gamma profile to be used when debayering the raw R3D data:
— REDgamma4: The latest iteration of the REDgamma curve, designed to give a good in- camera look without the need for grading, while retaining great dynamic range and highlight handling. REDgamma4 is suitable for all RED cameras.
— REDlog Film: An improved logarithmic gamma setting that’s designed to remap the original 12-bit R3D data to the standard Cineon gamma curve. This setting produces flat-contrast image data that preserves image detail with a wide latitude for adjustment, and is compatible with log workflows, including those intended for film output.
— Linear: No gamma adjustment is made, this is a linear-to-light representation of data from the RED camera’s sensor.
— Rec. 709: A gamma curve typical for Rec. 709 display. Does not provide an abundance of latitude for grading.
— Gamma 2.4: A simple power-function gamma setting commonly used for broadcast.
— Gamma 2.6: A simple power-function gamma setting commonly used for digital cinema projection.
— sRGB: Similar gamma setting to that employed by Rec. 709.
— HDR ST.2084: The standardized gamma curve for high-dynamic-range (HDR) video. Also referred to as the PQ curve.
— Hybrid Log Gamma: The standardized gamma curve for the HLG standard of high-dynamic- range (HDR) video jointly developed by the BBC and NHK.
— BT.1886: The standardized gamma curve for standard-dynamic-range HD and UHD display. Does not provide an abundance of latitude for grading.
— Log3G12: An expanded option for RED’s IPP2 (image processing pipeline 2) initiative, this is a wide dynamic range log space designed to encode camera data from all RED models to a
common starting point in RWG color space for convenient grading to HDR or SDR workflows. Log3G12 provides 12 stops of dynamic range above mid gray, 2 more stops than Log3G10.
However, this is at the expense of a slight loss of precision.
— Log3G10: Part of RED’s IPP2 (image processing pipeline 2) initiative, this is a wide dynamic range log space designed to encode camera data from all RED models to a common starting point in RWG color space for convenient grading to HDR or SDR workflows. 3G represents the mapping of 18% mid gray to 1/3, and 10 represents the 10 stops of dynamic range above mid gray this supports.
— PDlog 685: A logarithmic gamma setting that maps the native 12-bit RED image data into the linear portion of a Cineon or film transfer curve.
— PDlog 985: A logarithmic gamma setting with different mappings.
— Custom PDlog: A logarithmic gamma setting that exposes user adjustable Black Point, White Point, and Gamma PDlog parameters so you can customize your own log gamma curve.
— REDspace: Similar to Rec. 709, but slightly altered to be more appealing, primarily through higher contrast and lighter midtones. The predecessor to the REDgamma curve.
— REDlog: A logarithmic gamma setting that maps the original 12-bit R3D image data to a 10- bit curve. The blacks and midtones occupying the lowest 8 bits of the video signal maintain the same precision as in the original 12-bit data, while the highlights that occupy the highest 4 bits are compressed. While reducing the precision of highlight detail, the tradeoff is that there’s an abundance of precision throughout the rest of the signal. This is a good setting for maintaining maximum latitude.
— REDgamma: An improved gamma curve designed to be perceptually appealing on displays calibrated for Rec. 709, with an improved soft roll-off in the highlights to maintain highlight detail while grading.
— REDgamma2: Similar to REDgamma, with higher contrast.
— REDgamma3: The most recent iteration of the REDgamma curve. Based on a log starting point, but with a pleasing “ready to view” contrast curve applied, designed to be a visually pleasing starting point that maintains excellent dynamic range. REDgamma3 is also designed to work with REDcolor3.
— Blend Type: Works to control how RED HDRX media is used. When using either Simple or Magic Motion to blend HDRX exposures, there’s no need to use the second output in the Node Editor. You can choose from three options:
— None: Only the regular exposure is used.
— Simple: Blends the two HDRX exposures to achieve a pleasing middle ground.
— Magic Motion: Uses a proprietary algorithm to combine the dual exposures to combine overexposed and well-exposed regions of the picture in a more targeted fashion, while blending the sharpness of the regularly exposed source with the motion blur of the underexposed source.