REDWideGamutRGB (RWG) is RED Digital Cinema's native color space, introduced with the IPP2 pipeline and paired with the Log3G10 curve.
REDWideGamutRGB (RWG for short) is the camera-native RGB color space from RED Digital Cinema. It was introduced with the second generation of RED's image processing pipeline (IPP2) and is designed to encompass all colors that a RED camera can produce without colors at the gamut edge being clipped. RWG is therefore not lighting or grip equipment, but a color space for encoding camera footage in digital post-production.
RWG is always used in conjunction with the logarithmic curve Log3G10. In IPP2, this combination forms the standardized, scene-referred source material: regardless of camera model, set look, or output format, all downstream color operations start from the same point. This significantly simplifies color management compared to older RED workflows.
RWG uses the D65 white point. The primary chromaticities (chromaticity coordinates in CIE xy) lie so far outside the spectral locus that the color space exceeds common display gamuts – the y-coordinate of the green primary is above 1.0, indicating a very wide, partly non-physical gamut.
| Component | x | y |
|---|---|---|
| Red | 0.780308 | 0.304253 |
| Green | 0.121595 | 1.493994 |
| Blue | 0.095612 | -0.084589 |
| White Point (D65) | 0.3127 | 0.3290 |
The associated curve Log3G10 is named after its functionality: the "3G" stands for the mapping of 18% middle gray to the encoded value 1/3, and the "10" for the fact that the encoded value 1.0 corresponds to a luminance value of ten stops above middle gray.
RWG/Log3G10 is the standard encoding for RED footage and can be selected as an input color space in common editing and grading systems (e.g., DaVinci Resolve). For ACES workflows, RED provides an official Input Device Transform (IDT), allowing RED footage to be consistently integrated into ACES.
Practical advantage of the wide gamut: colors at the edge of the gamut ("edge-of-gamut") become less quickly oversaturated or appear as massive color blocks. Highly saturated subjects such as neon signs, taillights, or chromatic aberrations appear more natural as a result. The desired output color spaces such as Rec.709, DCI-P3, or Rec.2020 are then transformed from the RWG/Log3G10 master.
Ich nutze REDWideGamutRGB hauptsächlich bei HDR-Produktionen, weil ich damit Neonlicht und Feuerwerke ohne Farbclipping aufnehmen kann. Das erweiterte Spektrum gibt mir in der Post mehr Spielraum beim Grading, besonders bei extremen Lichtquellen. Allerdings muss ich beim Set-Monitoring aufpassen, da Standard-Rec.709-Monitore die tatsächlichen Farben nicht korrekt darstellen.
REDWideGamutRGB ermöglicht mir, Farbpaletten zu verwenden, die emotional intensiver wirken – besonders bei Science-Fiction oder Fantasy-Projekten. Die erweiterten Rottöne verstärken dramatische Szenen, während die intensiven Grüntöne natürliche Umgebungen lebendiger erscheinen lassen. Ich plane meine Farbdramaturgie bereits am Set anders, weil ich weiß, dass diese Nuancen später tatsächlich sichtbar sind.
REDWideGamutRGB erhöht meine Post-Production-Kosten um etwa 15%, da wir HDR-kalibrierte Grading-Suiten benötigen und längere Renderzeiten haben. Dafür kann ich das Material sowohl für HDR-Premium-Releases als auch für Standard-SDR verwerten. Die Investition lohnt sich bei internationalen Verkäufen, da immer mehr Streaming-Plattformen HDR-Content bevorzugt einkaufen.
1. Zu welchem Department gehört „REDWideGamutRGB"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
The Lexikon is part of the Filmfarm ecosystem — alongside budgeting (FilmBalance), an industry magazine (FilmCircus) and crew networking (FilmCall, CrewMesh). One shared vocabulary for the whole production.