Specifications

Using the camera is just the beginning of the
process. Moving the Red digital media through the
post-production process and necessary color space
conversions for finishing purposes is presenting
facilities with new challenges.
Autodesk recognizes the importance of RED digital
media in today’s productions, and has developed
this document to help facilities more easily and
safely navigate around the potential pitfalls of
an all-digital workflow and to show you how to
smoothly bring RED ONE™ Camera footage into
Autodesk
®
Smoke
®
, Autodesk
®
Inferno
®
, Autodesk
®
Flame
®
, Autodesk
®
Flint
®
, and Autodesk
®
Lustre
®
by carefully considering editorial and interchange
decisions, project settings, deliverable formats, color
space conversions, and more.
This document describes an ecient RED-to-Autodesk
finishing products workflow, and outlines important RED
concepts. This will help production and post-production
teams using Autodesk products make decisions that
give the best possible results.
Furthermore, this document presents important
observations about the RED camera color processing,
which were noted during testing with the RED ONE™
camera.
As the camera and the accompanying software
evolve, new workflow options may appear. The
workflow presented here has been optimized for
the currently available software, and images shot
on a RED ONE™ with firmware Build 16.
In order to keep up to date on the latest news
in the world of RED, you are encouraged to visit
their website regularly (www.red.com).
You should also browse the official user forum,
RedUser (www.reduser.net). RED team members
are regulars on RedUser, and you will often find
what you are looking for by browsing the forums.
Some Important Concepts
R3D™ Files
RED ONE™ uses a proprietary RAW file format (R3D™)
that is compressed using the wavelet-based REDCODE™
codec. There are two resolution settings in the camera:
REDCODE™ 28 and REDCODE™ 36. These resolution
settings represent the average data rate in MB/s
when recording at 4K using a 16:9 aspect ratio. Data
is saved in the R3D™ file format, which can then
be rendered-out to another format using a RED
®
application or a third-party tool.
The digital media can be recorded on a 320GB
removable RED DRIVE™ hard drive or on 8GB and 16GB
REDFLASH™ compact flash cards. The RED DRIVE™
can be mounted on a Mac
®
computer or a PC via
FireWire
®
serial bus 400, 800, or USB 2. REDFLASH™
compact flash cards can be mounted on a Mac or PC
with a fast CF card reader (like Lexan
®
or SanDisk
®
cards)—usually through FireWire 800 or USB 2.
Each clip is saved in a separate folder as an R3D™ file. The
camera also generates four Apple
®
QuickTime
®
proxies
(see sidebar) that can be used in QuickTime-native
applications such as Final Cut Pro
®
(FCP).
The RED ONE™ camera can record up to four
channels of uncompressed, 24-bit, 48Khz
audio. They are saved inside the same R3D™ file
containing the corresponding image.
The introduction of the RED ONE™ digital camera has taken
the world of cinematography by storm.
Its low cost and ability to output high-quality, high-resolution digital
images have created great demand for RED ONE™ cameras.
The RED ONE™ camera is a
high-quality, cost-eective
digital camera from RED
Digital Cinema Corporation
that makes high-resolution
digital cinematography
accessible to many
productions. The camera
records progressively-
scanned footage in 4K, 3K,
and 2K resolutions, in either
16:9 or 2:1 aspect ratios.
The RED ONE™ sports a
single 12 megapixel CMOS
sensor (the Mysterium
®
sensor) that has a gross
pixel area of 4520 by 2540
with an eective pixel
area of 4096 by 2304. This
is comparable to Super-
35mm masked to 16:9. RED
claims that the Mysterium
®
supports a dynamic range
of over 11 stops. The
Mysterium
®
uses a Bayer
pattern to capture images
in a native 12-bit linear RGB
RAW format.
Features are added to the
RED ONE™ and bugs are
fixed through firmware
updates. The current
production firmware, Build
16, represents a milestone
in the camera’s evolution.
1
QUICKTIME PROXIES
The RED ONE™ camera generates QuickTime
proxies that display the R3D™ files in one of
four resolutions. These proxies are pointers that
reference the original R3D™ files and do not contain
any media. For this reason, the proxies must reside
in the same folder as the original R3D™ file.
The RED QuickTime plug-in (available only for
Intel
®
processor-based Macs) enables QuickTime
applications to directly open these proxies
for viewing and editing — no file conversion
necessary.
Proxies use the following nomenclature:
filename_F.mov Full-resolution (full R3D™ frame size)
filename_H.mov Half-resolution (1/2 frame size)
filename_M.mov Medium-resolution (1/4 frame size)
filename_P.mov Proxy-resolution (1/8 frame size)