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Re: RAW Source Frames to Stills

Re: RAW Source Frames to Stills


David Fuller
 

Eric,

I just spent some time on the OCIO Web site, and I can say with some assurance that it would be surprising if 5% of graphic designers have the ability—even if they had the inclination—to manage an ACES workflow in Photoshop. First, Photoshop does not understand LUTs, and proper ICC profiles appear require some significant work with the OCIO software to get right. Second, graphic designers have a fundamentally different way of using calibration with monitors than we in the film biz do, and I expect this would add another undesired variable. So I would consider the ACES/EXR option only if the graphic designer in question could assure you that they knew what they were getting into.

So with that background, I’d answer that yes, some of the flexibility of a raw image is lost on export, but that’s not necessarily a bad thing.

If you want to preserve the color and exposure decisions you made, and give the designer something very familiar in their workflow, and allow them significant editing ability, I’d suggest exporting a full-res 16-bit TIFF with either ProPhoto or AdobeRGB ICC profile embedded. The designer is very likely to convert the image to Adobe RGB if it’s going to print, so if you want to maintain control over that process, do it yourself. However, ProPhoto has a wider gamut, so it will offer them more flexibility in color tweaking.

Depending on the source, you might also consider giving them raw frames in their native format: R3D stills are easily exported from Resolve or RedCineX and imported to Photoshop, but they only import as 8-bit images unless you’ve installed the Red Photoshop plugin (Which can be found here: https://www.red.com/downloads?category=Software&release=final) But note that the plugin does not support the latest (IPP2) color science. With that caveat, it works well, gives fun control of the Raw development parameters, and imports into Photoshop as a 16-bit file.
DNG files from BMC cameras import easily through ACR. I’m not sure about other formats, but I expect there are similar tools.

But for my work, and I do this quite frequently for agencies i work for, I’d trust the workflow more if I give them a 16-bit TIFF that I like the color of when I view it in Photoshop using AdobeRGB ICC profile.


David Fuller
Director, Cinematographer, Occasional Designer
Maine, USA

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On Apr 2, 2018, at 11:05 AM, esl34@... wrote:

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