Posts Tagged ‘graeme nattress


researching OpenEXR pipelines for .R3D post

I want to start with an update and share with you that REDucation is, to say the least, a blast.  Being on the studio lot and learning from the experts is a dream experience.  Their insight into real world best production practices and on set etiquette is exactly what I was looking for when I signed up. My expectations have been surpassed exponentially, kudos to Createasphere to producing on a stellar training hands on opportunity.

The first two days have been focused on field production and camera setups.  We’ve had the opportunity to get hands on with RED One cameras with both the original M sensor and the recently updated MX sensor.  Tomorrow we delve further into post workflows so I’ve been doing a bit of research on the OpenEXR format developed by ILM for VFX artists.

Click the above pic to go to the OpenEXR website.  ssentially, OpenEXR format provides both full float 32bit and half float 16bit formats.  Since .R3D files are 12bit linear they fit nicely in the half-float OpenEXR wrapper.  The OpenEXR website sums this up nicely, stating “For linear images, this format provides 1024 (210) values per color component per f-stop, and 30 f-stops (25 – 2), with an additional 10 f-stops with reduced precision at the low end (denormals).”  Seems like that would nicely accommodate the 18 stops of latitude produced by the upcoming EPIC.  Graeme Nattress has a great explanation for converting .R3D files to OpenEXR using REDCINE-X (click the image for the full thread):

FYI Storm from The Foundry also supports exporting .R3D’s to both OpenEXR formats.  In the meantime, I’ll be combing through all the OpenEXR documentation.  Looks like it would fit into potential pipelines as a RED HDRx container to send to VFX houses which I’d postulate the VFX editor would conform along with the rest of a program for final color grade in a Nucoda Filmmaster or Autodesk Lustre, both of which can work with OpenEXR natively.  Lustre has a pretty sweet collection of getting started tutorials which my hotel connection s too slow for me to watch tonight.  Sigh.

proactively • this one goes to 12bit • peter


apple color – graeme nattress plugins

So you’re moving up in the world and spending more time grading with Apple Color.  And you’ve finally warped you’re brain around nodes and noodles and Shake’s last GUI vestiges present in the current line of pro apps.  Man, wouldn’t it be nice to dial in some soft diffusion inside that user shape vignette!  Well friends and colleagues, look no further than Graeme Nattress Plugins for Color.

A quick survey of Graeme’s awesome website provides not just a listing of the plugin tools you will be purchasing but also a great paint by numbers approach to explaining the color fx node trees and how to make them work just right.

From Graeme’s site:

G Highlight Glow.cfx
G Highlight Glow.cfx shows how you can used the G Blend node. If a multi-input node, like G Blend has one of it’s inputs disconnected, it defaults to pulling in the normal un-affected video. Therefore, the G Blend, is blending between the blurred video and the normal video. In this case, we chose the screen blending mode, but try others for interesting effects. The Scale RGB node is used to increase the contrast of the blurred video.

It looks as if the G Blend node is worth it’s weight in gold by its lonesome.  And of course, it’s easy to place these pre-made node trees into your own personal pre-made color fx presets.  Also check out the awesome corrective power of G Smart Denoise featured as a rollover on the homepage.

For the price of dinner for two and a good bottle of wine you can up the ante in your color grading sessions to really impress the clients.  And yourself.

proactively • peter

September 2019
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