I heard in red rushes there is a "redspace" color option so that the color remains intact.  is this possible with metafuze?  clearly I am no expert when it comes to the red, redrushes, mutafuze world.  I am attaching a screen shot of the color shift, it may just be the rgb vs the 601 color space.  thank you

cls105:

I am attaching a screen shot of the color shift, it may just be the rgb vs the 601 color space. 

Is there any word on Metafuse supporting a Red-Space to Red Space workflow? The conversion to Rec 709 tends to produce a disappointing result. I know you can build an RLX in Red Relay to jazz up the transfer, but it is not easy to get a good result and seems an unnecessary complication, when all we want is good looking 1 light dailies- which we could get by staying in Red Space.

Any ideas or suggestions on getting the best results from Metafuse are very welcome.

Cheers.

Staying in RedSpace would mean breaking all and any calibration in your system, your monitors, your signal outputs, and what not. Avid is 709. Working with media in Avid means working in 709.

I second the desire to be able to add a general one-light-grade in MF, though.

On one of my recent projects, I created a curve in RedAlert, saved the RLX and applied that in MF. Downside is that all metadata from the file itself (like color temperature and saturation) are being ignored, since they will be overruled by the setting in the RLX. Theoretically, one could create an RLX for every shot, but that's no fun.

On my current project I just use a general color correction in order to get a nicer, more meaningful picture. Downside is that applying an S-curved correction on 8-bit DNxHD footage can bring up quite a bit of banding in the shadowtones.

I'm very much in favoour of asking for a simple one-light grading option in MF.

That said, the way things are designed simply implies that the BEST way to do things would be to actually have a colourist do a one-light grading prior to editing in 709. The R3D footage contains much more information than can be represented in 709. Making colouring choices shot-by-shot, like one does with any film transfer, IMO remains the proper workflow. If such a thing is crucial to your workflow, for now, you would have to be prepared to invest in tools like BLT or Scratch.

Metafuse is great and the Avid workflow is still tops as far as I am concerned, but I know that prores lite in Redspace looks better than DNXHD from Metafuse in Rec 709 - and I havent got time to spend hours in Red Alert making Rlx files to compensate.

On set they use Red Space to monitor so everyone gets used to it, and its a good place to start when finishing in Scratch. Evryone is doing Red Space apart from AVid.

I hope they join in soon.

Cheers.

Avid DS works in Redspace. You have a choice when capturing Red footage of what color space to store. Or if you are linking in the files, they remain in Redspace by default.

We are looking to allow the other color spaces to be mapped to REC709. Like having a 0-255 file you lie to when importing as REC709.

Michael