IPP2, REDWideGamutRGB and Log3G10: the clean mental model
A wide-gamut/log foundation is not a “look.” It is the controlled starting point from which looks and output transforms are built.
What IPP2 is trying to solve
RED’s IPP2 standardises the image pipeline around REDWideGamutRGB and Log3G10. REDWideGamutRGB is designed to encompass the colors recordable by RED cameras, while Log3G10 encodes a wide tonal range in a log curve suitable for modern finishing and HDR-aware workflows.
Working space versus display
REDWideGamutRGB / Log3G10 is best understood as a working representation, not the final image the audience should necessarily see. A monitor, SDR master, HDR master or cinema output needs the appropriate output transform and creative decisions around contrast, saturation and tone.
Common workflow mistakes
- Stacking an output LUT on top of another output transform and accidentally double-transforming the image.
- Judging log footage as though it were intended to look finished.
- Applying a LUT at the wrong stage of the pipeline.
- Changing transforms clip by clip without documenting the project-wide color-management decision.
A reliable conversation
Before post starts, the cinematographer and editor/colourist should be able to answer four questions: What is the camera-original interpretation? What working color space/gamma are we using? Where is the creative look applied? What is the target output space? If those answers are explicit, the pipeline is far less likely to drift.
This Field Lab note is written independently by Actingwood and cross-checked against RED’s published documentation. Camera firmware, supported media and software behaviour can change; verify critical settings against the current RED guide before a production.
RED IPP2 Overview →Actingwood is independent and is not affiliated with or endorsed by RED Digital Cinema. RED, REDCODE, R3D, KOMODO and related marks belong to their respective owners.