REDCINE-X PRO vs Alternatives: Choosing the Right RAW Processor

Advanced LUTs and Deliverables in REDCINE-X PROREDCINE-X PRO is RED’s native application for processing R3D RAW footage. For professional finishing and efficient delivery, mastering Look-Up Tables (LUTs) and configuring deliverables within REDCINE-X PRO is essential. This article covers advanced LUT workflows, best practices for color management, and how to prepare high-quality deliverables for HDR, SDR, broadcast, and web.

Understanding LUTs and Their Role in a RED Workflow

A Look-Up Table (LUT) maps input color values to output color values. In a RED workflow LUTs serve several roles:

• Creative looks — apply filmic color grades or stylized tones quickly.
• Technical transforms — convert between color spaces (e.g., R3D color space to Rec.709, P3, or Rec.2020).
• Monitoring — provide on-set previews to guide exposure and lighting decisions.

LUTs are not replacements for grading; they are tools for consistent transforms and creative starting points. Because R3D files contain a wealth of data, you should apply LUTs thoughtfully to avoid clipping or crushing shadow/highlight detail.

REDCINE-X PRO Color Pipeline Basics

Before diving into LUTs, understand the REDCINE-X PRO color pipeline:

• Input (R3D sensor data) → Debayering → Color Space Transform → Primary/Secondary adjustments → Output transform and LUTs.
• Important settings: Color Science (REDWideGamutRGB/RedSpace variants), Gamma (REDCODE Color vs. Film), and Debayer quality (affects detail and noise).

Set your project’s Color Space and Gamma to match your target workflow. For maximum latitude, work in REDWideGamutRGB or RedColor2 and a log-like gamma, then apply technical transforms/LUTs later for SDR/HDR outputs.

Creating and Using Advanced LUTs

1. LUT Types and Sizes

   • 1D LUTs: alter only tone response (useful for gamma/exposure transforms).
   • 3D LUTs: remap color and tone—required for most creative looks and color-space conversions.
   • Typical sizes: 17³, 33³, 65³. Larger sizes provide finer precision; 33³ or 65³ are preferred for professional grading.

2. Building LUTs

   • Start in a high-fidelity grading environment (DaVinci Resolve, Baselight, or dedicated LUT tools).
   • Work in a linear or wide-gamut space to avoid baked-in artifacts.
   • For technical transforms, generate LUTs by mapping from your chosen working space (e.g., REDWideGamutRGB/Log3G10) to your target (Rec.709, P3-D65, Rec.2020, PQ, HLG).

3. Viewing and Testing

   • Test LUTs on representative footage containing skin tones, saturated colors, and highlights.
   • Verify that the LUT preserves highlight roll-off and shadow separation.
   • Use scopes (waveform, vectorscope, histogram) to ensure legal broadcast ranges and balanced chroma.

4. Applying LUTs in REDCINE-X PRO

   • REDCINE-X PRO allows loading 3D LUTs via the Color tab (Apply LUT or Import LUT options).
   • Apply LUTs as a preview/monitoring tool or bake them into exported files.
   • Use clip-level adjustments (exposure, tint, color balance) before LUT application to avoid unintended clipping.

5. LUT Chains and Layering

   • Use a two-stage approach: technical LUT first (colorspace/gamma), then creative LUT.
   • Keep technical transforms reversible where possible; store creative LUTs separately.
   • When baking LUTs, export versions for specific deliverables (e.g., Rec.709 LUT for SDR, PQ LUT for HDR).

HDR vs SDR: LUT Strategies

• HDR (PQ/HLG) requires preserving extended highlight information; avoid aggressive contrast or saturation before the HDR transform.
• Create separate LUTs for PQ and HLG targets. Map from your working log/gamut to the exact PQ/HLG OOTFs and target white points (often D65).
• For SDR deliveries, implement a transform that gracefully compresses highlights. Consider using a dedicated film-to-Rec.709 LUT that simulates roll-off and toe without clipping.

Practical LUT Tips for Skin Tones and Saturation

• Isolate and evaluate skin tones with the vectorscope; keep skin hues along the skinline.
• Use subtle desaturation or selective HSL tweaks if LUTs push skin magenta/green.
• For mixed-lighting scenes, create LUT variants or use local/secondary corrections before applying a global LUT.

Preparing Deliverables in REDCINE-X PRO

REDCINE-X PRO supports exporting a wide range of deliverables. Use a systematic approach:

1. Source Settings

   • Choose proper debayer settings: higher quality for final output (Best), lower for dailies (Performance).
   • Set timeline frame rate and resizing options to match delivery specs.

2. Export Formats

   • Common final masters: ProRes (4444 XQ/422 HQ), DNxHR (HQX/444), EXR (for VFX/OAR), TIFF/DPX sequences.
   • Web/streaming: H.264/H.265 (use external encoding for better control after exporting a high-quality master).
   • For HDR masters use ProRes or DNxHR in a codec/container that supports HDR metadata (ensure color space tagging).

3. Output Color Space and Metadata

   • Tag outputs correctly: include color primaries, transfer function (PQ/HLG/gamma), and color space.
   • For PQ/HDR10, ensure you include MaxFALL/MaxCLL metadata where your workflow requires it (note: REDCINE-X PRO may require external tools or delivery wrappers to embed full HDR metadata).

4. LUT Baking vs Sidecar LUTs

   • Baking LUT into pixels is final and portable but irreversible.
   • Deliver both a baked master and editable files (or provide the LUTs and color settings) so downstream finishing or localization teams can re-grade.

5. Dailies and Review Copies

   • Create Rec.709 dailies with LUT applied for review using lower-bitrate ProRes or H.264.
   • Watermark or burn-in timecode for review if necessary.

Example Deliverable Workflows

• Feature film final master (HDR & SDR):

  1. Grade in wide gamut/log in a grading app, export graded EXR sequence (OpenEXR, 16-bit half float).
  2. Generate two LUTs from the grade: one for PQ (HDR master) and one for Rec.709 (SDR deliverable).
  3. Export HDR master as ProRes 4444 XQ with PQ tagging; export SDR master as ProRes 422 HQ with Rec.709 tagging.

• Broadcast episode:

  1. Use REDCINE-X PRO to debayer at Best, apply technical LUT to Rec.709.
  2. Do final color timing in a finishing system, conform to broadcast safe ranges.
  3. Deliver DNxHR or XDCAM files per broadcaster spec with closed-caption sidecar if required.

Troubleshooting Common Issues

• Banding after LUT application: use larger LUT sizes (33³/65³), add slight dithering, or work at higher bit-depth (EXR or 16-bit output).
• Clipped highlights or crushed blacks: reduce pre-LUT contrast or use a LUT with gentler toe/shoulder curves.
• Mismatched color between apps: ensure consistent color pipeline settings and check LUT interpolation sizes.

Workflow Checklist (Quick)

• Work in wide gamut/log (REDWideGamutRGB) for grading.
• Use 33³ or 65³ 3D LUTs for final transforms.
• Apply technical LUT first, creative LUT second.
• Test LUTs on varied shots; check scopes.
• Export high-quality masters (ProRes/DNxHR/EXR) and create delivery-specific encodes.
• Provide LUTs and metadata to downstream teams where possible.

Closing Notes

Advanced LUT work in REDCINE-X PRO is about control: separate technical transforms from creative intent, test LUTs thoroughly, and deliver well-tagged masters for each platform. With intentional LUT design and careful export practices you’ll preserve the dynamic range and color fidelity of RED footage while producing consistent, professional deliverables.