Workflow

with 3cP Set+Post v7

Select a camera on the right
to see how 3cP fits into
the image workflow

ARRI
Alexa/Amira

Canon C100/300/500

RED Dragon/Epic/Scarlet

Sony
F5/F55

Canon/Nikon
DSLR

Blackmagic
Cinema Camera

GoPro
Hero

Panasonic
P2 Cameras

External
Recording

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3cP Set + Post:

On-Set with RED Digital Cinema

Data Management: To utliize the built-in data management tools in 3cP, set your 3cP project type to "RED Digital Cinema". When a camera media card (Red Mag) is attached to the computer, within 3cP you can initiate a triplicate simultaneous background offload from the camera media to three seperate destinations (drives). The offload verifies digital footage using a standard MD5 Checksum, with other possible options for more or less data verification.

Technical Profiles (Looks): When shooing RAW, you have many choices about how the image is debayered in post by choosing a color space and gamma curve. With RED RAW, several of the most popular color and gamma settings are designed to get the image "close" to standard 709.

In 3cP we have provided several Technical Profiles to take the image the rest of the way towards 709 when working in RedLogFilm or RedGamma3. This transform is the ____ "step" of the image processing path in 3cP, and all grades done using color wheels, RGB sliders, etc. will be done "under" the transform, allowing for the greatest ammount of color fidelity.

Manage Metadata: In RAW, there are many possible ways to manipulate image metadata, particularly in creating looks. Attributes such as white balance, ISO (gain), highlight and shadow controls, can all be adjusted in 3cP using the RAW controls tab.

Create sync Dailies: Within 3cP, you can transcode 6k RED RAW .R3D camera original files to nearly any possible offline dailies format and resolution, including 4k, 2k or HD, ProRes 422, HQ, LT, Proxy or Avid DNxHD (MXF), with a corresponding ALE file. If sound files have matching timecode, you can automatically sync picture and sound. There is also a utility within 3cP to slip / slide the sound clip if timecode is slightly out of sync. These dailies are now ready for delivery to Editorial!

3D LUT/CDL Creation - Technical & Aesthetic: Create the right LUT / CDL to transform from RedLogFilm or RedGamma3 or 4, to Linear, or combine that with a creative grade supervised on-set by the DP. This look can be "baked" onto the sync Dailies, and passed along to post in a variety of 3D LUT formats. The same LUT can be used for on-set monitoring & live grading when paired with the HDLink Pro (described below).

    Notes about RED RAW workflow:

  • Raw Metadata adjustments can be made in the RAW tab (new to 3cP version 7)
  • Dailies can be created in standard 4k, 2k and HD sizes. Users can also set their own custom resolution with letterboxing to 16x9
  • Tip: When creating LUTs to send to post, include the camera RAW gamma setting in the LUT name, incase the camera metadata has been altered or lost in post-production. LUTs will only work properly when applied under the same gamma viewing conditions used in creating the LUT

Monitoring and Live Grading

3cP Set + Post is one of the few image management programs which can harness the full power of live on-set grading. When paired with the Blackmagic Design HDLink Pro, looks created in real-time in 3cP can be embedded in an HD-SDI stream coming from the camera, going to video village.

Advantages in a RED Digital Cinema Workflow: When shooting RAW, the only way to truly monitor the image being captured is to view the image in "View RAW" mode. The regular image seen in-camera has an artifical gamma curve and color matrix applied (can be changed in-camera).

The RAW metadata "look adjustments" which can be created in the camera menus, allows for a certain ammount of look management to be done in-camera, however this work ties up camera and monitor while the look is being created. Using an external live-grading system does not change any camera settings, and provides the same, if not better, results.

Also, RAW metadata "look adjustments" cannot be exported as a LUT, and only exist in metadata, leaving it vulnerable in the post-production pipeline.

Using 3cP, along with an HDLinkPro, gives you the ability to "finish" the RAW gamma & color interpretation to show an accurate 709 representation by using our built in "Technical Profiles". The same transform used in the monitoring LUT, on top of the camera metadata, can be baked onto the Dailies, leaving no margin of error for look descrepency.

This live-grading workflow gives more power over look management to the DP and DIT, allowing for a greater range of custom looks to be sent to the monitor - eliminating the time spent fussing with in-camera menus to create looks. This workflow allows the DP to view true exposure and dynamic range in "View RAW", while providing the Director, Producer and Clients at video village with an accurate, easy reproducable, rendering of how the final image may look.

Image Management in Post

3cP Set + Post is a "one-stop shop" for all the DIT deliverables required by post-production. These deliverable assets help accelerate the post-production process and help ensure that the highest quailty possible image is being manipulated in the Digital Intermediate.

Eliminate Transcoding Time: Using the color-graded, sync off-line Dailies, editorial is able to immediately begin ingesting and cutting footage, with no down time necessary for transcoding. 3cP is capable of generating dailies in native formats for Avid, Final Cut Pro, Adobe Premiere and more.

Look Management - From Set to Post: By exporting the on-set LUT in 3cP, colorist now have the ability to view the actual look set by the DP on-set - the ulitmate form of a "reference look". The on-set LUT can be integrated into the final color grade as a node / layer, or simply used as a visual reference point.

If on-set LUT has also been "baked" onto the off-line dailies, then the editor, director, producers and everyone involved with the editorial process can fall into "dailies love" with the dailies look - subliminaly putting everyone on the same "visual page" going into the final Digital Intermediate. Using a dailies LUT also helps solve the aesthetic problem of Log footage (low contrast, low saturation), transforming the image to standard color and contrast.

3cP LUT formats support all industry standard color correction programs, including Davinci Resolve, Assimilate Scratch, Autodesk Lustre, Pandora Systems, Apple Color, Adobe Speedgrade and more.

From the final color grade, the image is now finalized and should more closely resemble the true artistic intentions of the DP, because of the improved "look" communication process facilitated by 3cP Set + Post.

 

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