RED IPP2 Color workflows

[Willian_Aleman]

@nick

Although Raw does not have a colour space as such, it still has to be transformed into a given colour space by the use of a matrix during decoding.

In some cases (including R3D) the SDK gives the option of using a matrix which transforms directly to ACES during the decode. In other cases the decode is done to a known colour space, and an IDT is used to go from that to ACES.

When I bring ARRI raw, Panasonic Vericam 35 or RED raw into Resolve under ACES, I still don’t need to set up an IDT, which was confirmed a while ago by your comment in another thread here, where you clarified the exceptions. The same goes when using raw in Scratch.

Nick wrote:
"That is correct. Raw footage can be decoded directly to ACES, without the need for an IDT. In this case, most raw decode parameters are disabled, as they are irrelevant. You can still alter some, such as Kelvin, Tint and ISO.

The exception seems to be Sony Raw, where Resolve does include a Sony Raw IDT. However I have found I get better results (matching other implementations) on F65 Raw media when I use my own DCTL S-Gamut3.Cine
IDT. See my other post on this subject."