User Manual

Table Of Contents
Timecode: The timecode recorded for R3D media depends on the camera setting in
use when it was shot. There are three choices:
Camera: This setting automatically selects between Absolute and Edge depending
on what was chosen as the default timecode mode on the camera. This setting
needs to be selected before you add R3D media to the Media Pool. If you’re
browsing R3D media when you change this setting, you should refresh the folder in
the Library of the Media Pool before adding media to the Media Pool.
Absolute: The default. Records “time of day” timecode. If an external timecode
source was connected and the camera was put into Jam Sync mode, the external
timecode would have been recorded instead.
Edge: The first recorded clip for each magazine starts at 01:00:00:00, and the
timecode of each subsequent clip is recorded sequentially and continuously.
Decode Using: The option you select determines whether all R3D media throughout
the project is decoded using the original Camera Metadata settings (the default
selection), using Project settings in which you choose custom settings to be applied to
all clips, or using the RED default settings.
Project Settings
These settings control the fundamental methods used to debayer R3D media. The selections
you make to these settings determine the basic color and contrast that you’re choosing to
extract from the camera raw image data.
Color Science: The options are Original, which was the color science used by early
builds of the REDone camera, Version 2, and IPP2, which is the current version of
color science used by the entire RED camera line. Unless you need to match the look
of older projects using the older color science, the newest color science is generally
preferable.
Color Space: Because RED cameras record R3D data which uses a raw color space,
debayering the native R3D data requires choosing a color space to convert the raw
signal into. Bear in mind that the color space you choose is merely a starting point for
further correction. There is no requirement that you choose one or the other color
space for any given workflow. You should choose the color space that provides the
most pleasing starting point for your particular project.
DragonColor2: A further optimized version of DragonColor that is especially
recommended for underwater footage.
REDcolor4: A further optimized version of REDcolor3 that is especially
recommended for underwater footage.
REDWideGamutRGB: Part of RED’s IPP2 (image processing pipeline 2) initiative;
this is a camera color space designed to encompass all colors that can be recorded
by RED cameras without clipping, and is meant to provide a single common
starting point for all models of RED cameras, for convenient grading to HDR or SDR
workflows.
Rec. 2020: Decodes into the standard color space specified by the Rec. 2020
standard for high definition video, UHD video, and beyond. While you may find this
option useful, it is not required for programs being output to video.
Rec. 709: Decodes into the standard color space specified by the Rec. 709 standard
for high definition video. While you may find this option useful, it is not required for
programs being output to video.
Chapter – 5 Camera Raw Settings 190