Red Workflow in Redcine-X & DaVinci Resolve

    Red Workflow in Redcine-X & DaVinci Resolve

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Learn everything you need to know about multicam editing in DaVinci Resolve with the award-winning editor Kevin P. Mcauliffe.

Learn the post-production workflow necessary to get the most out of your Red camera footage. Take advantage of the incredible dynamic range in the camera and achieve superior image quality only possible with the right post-production process. This training series is designed for beginners and no post-production experience is necessary. It’s perfect for everyone involved in production or post-production including DITs, Cinematographers, Editors and Colorists.

You will also get acess to the Red footage used in this course, so that you can easily follow along.

About the instructor

Kevin P McAuliffe is an award winning editor and visual effects creator with over 20 years of teaching and training experience. Over the past years Kevin has delivered world-class work for clients such as Warner Bros, Walt Disney Company, 20th Century Fox, Universal and Elevation Pictures.

Who is this course designed for?

  • Editors
  • Colorists
  • DITs
  • Cinematographers

COURSE OVERVIEW
 

LESSON 01: RED PLAYER AND METADATA

In this first lesson, we'll analyze and read metadata from a Red shot in Red Player.

LESSON 02: COLOR SPACE AND REDCINE-X BASICS

We'll look at metadata in Redcine-X.

LESSON 03: PROJECT CREATION AND DECODE OPTIONS

In this lesson, we'll open a project in DaVinci Resolve and set the decode options.

LESSON 04: IMPORTING, BIN VIEWS AND CLIP METADATA

More metadata in DaVinci Resolve.

LESSON 05: NON-COLOR MANAGED RED WORKFLOW

We'll go though the IPP2 non-color managed workflow in DaVinci Resolve.

LESSON 06: LUT MANAGEMENT

In this lesson we'll create camera LUTs and LUTs for post production with the IPP2 LUT creator in Redcine-X and look at how to optimize it for a post workflow.

LESSON 07: COLOR MANAGED RED WORKFLOW

Now we'll look at a color managed Red workflow in DaVinci Resolve.

LESSON 08: CONVERTING THE COLOR SPACE OF DIFFERENT CAMERAS

In this lesson we'll look at how to match the color space of Alexa and Red footage which is required on projects shot on different cameras.

LESSON 09: BASIC COLOR GRADING

We'll look at basic primary color corrections and secondary corrections such as hue shifts of specific colors, vignetting and other useful techniques.

LESSON 10: WORKING WITH DATA BURN-IN

In this this, we'll add data burn-in and metadata to prepare the footage for exporting.

LESSON 11: EXPORTING STRINGOUT SEQUENCES

Now, we'll look at the best settings for exporting clips and sequences for directors or clients.

LESSON 12: EXPORTING DAILIES

We'll go through a dailies workflow in DaVinci Resolve.

 

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H Kevini! Referred to lesson 6 (LUT Management)....As far as I know, before you export the 3D Lut with the look from Resolve to be used within the camera, you need to disable the last node where the IPP2 conversion from RWG/Log3G10 to Rec709/BT.1886 happens, because that conversion is  then done automatically  by the camera when displaying the image on the monitor. And then, if you import that Lut again in Resolve, you need to activate the last node with the conversion again. At least, that's how it think it should be done until now...I'm I wrong? 

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On 5/4/2021 at 9:18 PM, Pablo Apezteguia said:

H Kevini! Referred to lesson 6 (LUT Management)....As far as I know, before you export the 3D Lut with the look from Resolve to be used within the camera, you need to disable the last node where the IPP2 conversion from RWG/Log3G10 to Rec709/BT.1886 happens, because that conversion is  then done automatically  by the camera when displaying the image on the monitor. And then, if you import that Lut again in Resolve, you need to activate the last node with the conversion again. At least, that's how it think it should be done until now...I'm I wrong? 

I'm sorry to say you are wrong. The last node in the chain (the log2rec709 transform) needs to be a part of the LUT generation in DaVinci Resolve and any transform happening inside of your monitor must be disabled.

 

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On 5/4/2021 at 6:39 PM, nicolas horne said:

lesson 11: 6000Kbps is read as kilobytes

It's actually read as 6-8000 kilobits per second which is correct. 

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Hi! Is there a reason to keep apply 3DLUT and apply CDL disabled like you say?I use aces and on a recent project I didn't mess with those options till after delivery and realized I may have been ignoring information. What do you think?

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6 hours ago, Ben Federman said:

Is there a reason to keep apply 3DLUT and apply CDL disabled like you say

Maybe rephrase the questions a bit? Not sure I get what you are asking.

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8 hours ago, Tom Evans said:

Maybe rephrase the questions a bit? Not sure I get what you are asking.

Curious about these options as they are glossed over somewhat in these videos. Thanks!

Screen Shot 2021-05-07 at 2.05.01 PM.png

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1 minute ago, Ben Federman said:

Curious about these options as they are glossed over somewhat in these videos. Thanks!

Screen Shot 2021-05-07 at 2.05.01 PM.png

What lesson?

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