Specifications

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APPENDIX I: POST-PRODUCTION

RED workflow is quite easy to understand, especially if you have experience with photographic RAW

image processing, or shoot 16mm or 35mm film followed by a telecine transfer to video for non-linear

video editing and on-line conform.

The RAW data captured by RED cameras has wide dynamic range and color space, so you can freely

change the white balance, adjust exposure and alter highlight and shadow tonality in post-production.

The RED DSMC camera records RAW sensor data using wavelet based REDCODE RAW compression

to REDMAG 1.8” SSD. The compressed RAW data is then transferred from the digital media to a

Macintosh OSX or Windows XP workstation running REDCINE-X PRO post-production software. These

applications do not directly edit or conform the RAW data themselves, but prepare the RAW data for

editing and conforming by RGB domain post-production software applications.

In film processing terms, REDCINE-X PRO act as an integrated film laboratory, telecine, and one light

color corrector. It converts recorded REDCODE RAW data to RGB video, and provides basic one light

image processing and color correction. Using REDCINE-X PRO, footage can also be cropped, resized,

or repositioned.

REDCINE-X PRO can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and

compressed 4:2:2 video formats. For film out, multi-media or special effects applications, REDCINE-X

PRO may export a sequence of 2K or 4K image files in TIFF, Open EXR, DPX, JPEG, or Photoshop PSD

file formats.

Provided the appropriate QuickTime codecs are available on the host computer workstation,

compressed video choices include ProRes, DNxHD, DV100 and M-JPEG QuickTime movies at 1080p or

720p resolution, providing compatibility with the majority of non-linear editing systems.

Depending on the QuickTime movie resolution, material may be taken directly to a broadcast delivery

videotape format, or after the editorial decisions have been made, video can be conformed at full image

resolution by replacing the lower resolution edit proxy with a high resolution 4K, 2K or 1080p image file.

MONITORING

When using RED Digital Cinema software tools it is recommended your monitor should be set to Adobe

1998, or to SMPTE-C display profile. If you use the HD Cinema display profile, adjust the gamma to 2.2.