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This was posted online yesterday by RED's Jim Jannard:

"Old school... new color science...
This is very old school. The Milk Girls were shot with Frankie (way before the 1st RED ONE). I dusted off the old file and hit it with new color science just to see what was up.

1st is with the equivalent of REDlogFilm (adapted for Frankie footage) and the 2nd just has a quick curve added. 5 seconds of grading so don't read too much into it.

That was shot in the parking lot of the 1st RED building in Lake Forest.

4 years ago...

:-)"

Site Admin

More from Jim:

"Here are some really great examples of the difference between the old and new gamma options. In order they are:

REDgamma (old)
REDlog (old)
REDgamma2 (new)
REDlogFilm (new)

These are courtesy of Michael and Don Burgess with help from Brook Willard."

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Posted as a responese online by LightIron Digital's Michael Cioni:

"These pictures speak volumes towards the investment that keeps on giving...

For quite a while now there have been a number of people suggesting that the only way to get the most out of their RED One is to work with RED footage exclusively with R3D (RAW) itself. While there are tremendous benefits to working with RAW footage through the finishing process, feature films with a substantial amount of visual effects shots will not be able to easily integrate RGB files from VFX vendors and R3Ds as RAW files. This is especially true with VFX films that include over 1,000 shots (or over 50% of the TRT).

Many people may find it interesting that I don't typically work with R3Ds all that often in the finishing stages of digital intermediate. The simple fact is a lot of our projects have so many VFX shots it isn't feasible. -Yet with the science RED has provided and improved upon over the years, I have never experienced a qualitative compromise. This is why RED's investment into improving the color and gamma spaces for an RGB debayer (DPX or otherwise) is extremely valuable to all RED customers.

What the new REDLogFilm and REDGamma 2 show is that the next generation of RED manipulation can be done on films that may not have a workflow that relies exclusively on R3D manipulation. And these particular advancements show that continuing to work outside of the R3Ds does not pose a penalty. Altogether it validates that many different workflows out there-R3D or RGB-can still get the most out of their footage with a few clicks of a button. Priceless information like this that benefits the whole fleet is why we must always stay tuned and alert."