The VMI Guide to RED M-X

RED ONEThe RED ONE is the latest phenomenon to hit the UK film and HD industry.

It promises a tape-less 4K resolution and 35mm depth of field with cinematographic images at a low cost but the practical side to these claims need a little clarification, as is often the case, the devil is in the detail!

The truth is that this is a stunning camera when used in the right hands but things to bear in mind when considering the RED:

The obvious solution is to provide a dual power input with auto-switchover function but the RED batteries are not 'intelligent' batteries, which permit this function without potentially sending damaging power surges to the camera. A solution is offered by Anton Bauer, which provide an intelligent dual battery clip, which allows a hot-swap of batteries to avoid powering the camera down whilst changing batteries. A pair of Anton Bauer Dionic 90 batteries is a convenient complement allowing a battery performance of around 3 hours of a full RED system.

The VMI RED One shooting kit contains:

There are many options to accompany this kit including various matte boxes, HD monitors, wireless lens control system and film lenses made by Carl Zeiss, Cooke and Angenieux.

Native RED Workflow

REDCODE

The RED workflow is very unusual and breaks all traditional moulds.

The RED ONE camera generates QuickTime reference movies that point to 4K (or 2K) full resolution REDCODE™ RAW (.R3D) files. This allows for immediate editing of camera source footage when using the latest version of Final Cut Pro.

Note: Log and Transfer functionality will be supported in the near future. This will allow advanced ingest of RED footage into FCP including transcoding to ProRes.

2K or 4K DI Finish

Export your EDL from Final Cut Pro into Assimilate Scratch, and match the EDL to the original 4K (or 2K) REDCODE™ RAW media. Then render out DPX or TIFF files in Log, Linear or REC709 colour space for final match-back, colour grading and finish. (Choice of colour space is dependent on final deliverables)

Use REDCINE or RED ALERT! (free software downloads available: www.red.com/support ) to export DPX or Tiff files at 2K or 4K, and then match that media to your EDL for grading and finishing in any DI software / hardware package that supports 2K and / or 4K DPX or Tiff files.

Note: XML linking support from Final Cut Pro projects will be supported in the near future. This feature will create "flash to flash" pull lists of each take, which can then be brought into DI finishing systems.

AVID Editorial Workflow

A number of pathways exist for Avid editorial as well.

REDCINE generates DNX HD QuickTime movies that can be imported into Avid systems that support the DNX codec and generate the MXF wrapped media required for Avid editorial.

Using Scratch, equipped with an NVIDIA Graphics card with HD-SDI output, or an Apple computer with FCP 6.0.2, REDCODE™ RAW codec and an AJA Kona 3 card, you can create a real-time high quality proxy layoff to HD videotape at either 1080p or 720p. Then ingest into Avid in a traditional fashion for offline editing. By using an Avid ALE file, you can track and link the tape time code to the camera's original time code of the REDCODE™ RAW files for match back capabilities.

Editors familiar with tape or data-based footage from telecine, and then prepping those files for Avid editorial using linked time code and/or edge code techniques to match to the time code on tape will be comfortable working with RED footage in much the same way.

Barry Bassett,
VMI December 08

Post-production documents taken from the RED website

 

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