EPIC-M RED DRAGON x Nuke workflow question

Hello, I’m trying to figure out what workflow should I use to capture footage and import it to nuke in ACES properly.

What Color Space and what gamma curve should I use in camera on-set?
What options should I choose in READ node in Nuke to correctly interpret the footage?

I have some test footage captured in DRAGONcolor2 / REDgamma4, but I had no luck figuring out how to read it correctly.

There are so many options and settings, and honestly I’m totally confused as this is my first experience. I appreciate your help!

Hi,

I must say I am not really a fan of reading in R3D files into Nuke, because of the many combinations possible and therefore the many ways that this can go wrong.

I would rather recommend to convert the R3D footage to ACES 2065-1 EXR files with Resolve or RedCine-X PRO and use these in Nuke.

I loaded the EXRs vom Resolve and RedCine-X PRO into Nuke and then loaded the 3RD into Nuke 12.2v2 as well.
I had to set the read node to the following settings to get a match:
(I also had to click Load Settings from RMD.)

I hope this helps.

Best regards

Daniel

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Wow, Daniel, you are my savior! Thank you, the exr conversion indeed eliminates all the pain and does the trick for me.

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As a side effect when you using RedCine-X Pro, you also can keep all the metadata from the camera throughout the comp until the grading stage or eventually even mastering :nerd_face:

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Maybe your workflow is already to your liking but I’d like to add that the RED workflow with all the “previous” RED colorspaces/gammas are actually considered legacy and a better way would be to utilize it’s fairly new IPP2 workflow as it contains benefits over legacy when utilizing it’s tonemapper over starting in log or other setting.
Here is a brief topic on what it is.
And here you can find the page from RED.

Workflow wise with IPP2 there is always a single RED space and gamma for any RED camera. If your camera is pre IPP2 it’s possible you can’t record with that metadata. A solution would be to output the RedWideGamut/RedLog3G10 and use an IPP2 lut to tonemap it to the desired IPP2 setting.
Those Luts can be downloaded from RED or created with RED Cine-X Pro from the menu.
You could then use that same lut in Nuke to get your “starting point” from the log image.

Sounds a bit convoluted at first but really is a much simpler workflow when you get the hang of it and garuantees the same results in post as on-set.

If you have more questions I’m happy to help :slight_smile: .

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Thanks for the reply Shebbe! I’m not sure that I quite get your point, I mean I don’t fully understand how IPP2 relates to ACES, and my workflow is ACES based as it involves vfx also rendered in ACES to be comped later. As far as I understand the RedCine-X Pro uses the IPP2 workflow internally, so when I export an ACES compliant exrs, I get the same look inside nuke as it is in RedCine with IPP2 output transforms. I definitely lack some in-depth understanding though and may be totally wrong :slight_smile:

Ah, I see. I didn’t know you were utilizing IPP2 already. :slight_smile:
I’m not that familliar with r3d’s and Nuke. But I wonder though if there is a way to skip exporting to exr to make data much more efficient.
As what colorspace and gamma do you export your R3Ds to exr?
I also wonder if there’s loss in data if you’d export in rec709/linear in order to presumably include the IPP2 tonemapping over directly converting the full RedLog3G10/RedWideGamut to ACEScg as working space.

I should do some testing on my own to get a better understanding on that too actually!