autodesk and red one workflow guide (for final cut users)

8/14/2019 Autodesk and Red One Workflow Guide (for Final Cut Users)

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Autodesk®

Autodesk and the RED ONE™ CameraWorkow Guide

Ecient Workow rom Shooting toOnline into Autodesk Visual Eects,Finishing, and Grading Applications.



Using the camera is just the beginning o the

process. Moving the Red digital media through the

post-production process and necessary color space

conversions or nishing purposes is presenting

acilities with new challenges.

Autodesk recognizes the importance o RED digital

media in today’s productions, and has developed

this document to help acilities more easily and

saely navigate around the potential pitalls o

an all-digital worklow and to show you how to

smoothly bring RED ONE™ Camera ootage into

Autodesk® Smoke®, Autodesk® Inerno®, Autodesk®

Flame®, Autodesk® Flint®, and Autodesk® Lustre®

by careully considering editorial and interchangedecisions, project settings, deliverable ormats, color

space conversions, and more.

This document describes an ecient RED-to-Autodesk

nishing products workow, 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 sotware

evolve, new workow options may appear. The

workow presented here has been optimized or

the currently available sotware, and images shot

on a RED ONE™ with rmware Build 16.

In order to keep up to date on the latest news

in the world o RED, you are encouraged to visit

their website regularly (www.red.com).

You should also browse the oicial user orum,

RedUser (www.reduser.net). RED team members

are regulars on RedUser, and you will oten ind

what you are looking or by browsing the orums.

Some Important Concepts

R3D™ Files

RED ONE™ uses a proprietary RAW le ormat (R

that is compressed using the wavelet-based REDCO

codec. There are two resolution settings in the ca

REDCODE™ 28 and REDCODE™ 6. These reso

settings represent the average data rate in M

when recording at 4K using a 16:9 aspect ratio.

is saved in the RD™ ile ormat, which can t

be rendered-out to another ormat using a RE

application or a third-party tool.

The digital media can be recorded on a 20GB

removable RED DRIVE™ hard drive or on 8GB and

REDFLASH™ compact ash cards. The RED DRIVEcan be mounted on a Mac® computer or a PC via

FireWire® serial bus 400, 800, or USB 2. REDFLAS

compact ash cards can be mounted on a Mac or P

with a ast CF card reader (like Lexan® or SanDisk®

cards)—usually through FireWire 800 or USB 2.

Each clip is saved in a separate older as an RD™ l

camera also generates our Apple® QuickTime® pro

(see sidebar) that can be used in QuickTime-nat

applications such as Final Cut Pro® (FCP).

The RED ONE™ camera can record up to our

channels o uncompressed, 24-bit, 48Khz

audio. They are saved inside the same RD™

containing the corresponding image.

The introduction o the RED ONE™ digital camera has takenthe world o cinematography by storm.

ts low cost and ability to output high-quality, high-resolution digitmages have created great demand or RED ONE™ cameras.

The RED ONE™ camera is ahigh-quality, cost-eectivedigital camera rom REDDigital Cinema Corporationthat makes high-resolutiondigital cinematographyaccessible to manyproductions. The camerarecords progressively-scanned ootage in 4K, K,and 2K resolutions, in either16:9 or 2:1 aspect ratios. The RED ONE™ sports asingle 12 megapixel CMOSsensor (the Mysterium® sensor) that has a grosspixel area o 4520 by 2540with an eective pixel

area o 4096 by 204. Thisis comparable to Super-5mm masked to 16:9. REDclaims that the Mysterium® supports a dynamic rangeo over 11 stops. TheMysterium® uses a Bayerpattern to capture imagesin a native 12-bit linear RGBRAW ormat.

Features are added to theRED ONE™ and bugs arexed through rmwareupdates. The currentproduction rmware, Build16, represents a milestonein the camera’s evolution.

1

QUICKTIME PROXIES

The RED ONE™ camera generates QuickTime

proxies that display the RD™ les in one o

our resolutions. These proxies are pointers t

reerence the original RD™ les and do not con

any media. For this reason, the proxies must resi

in the same older as the original RD™ le.

The RED QuickTime plug-in (available only or

Intel® processor-based Macs) enables QuickTi

applications to directly open these proxies

or viewing and editing — no le conversionnecessary.

Proxies use the ollowing nomenclature:

lename_F.mov Full-resolution (ull RD™ rame s

lename_H.mov Hal-resolution (1/2 rame size

lename_M.mov Medium-resolution (1/4 rame s

lename_P.mov Proxy-resolution (1/8 rame siz



RED ONE™ and Timecode

he RED ONE™ camera records each clip with two

mecode tracks: Time o Day (TOD) and Edge Code.

When shooting, choose one o these settings or

he primary timecode because some applications

annot read both timecode tracks. The timecode you

hoose is set in the TimeCode menu o the camera

nd shows up on the camera’s external displays. The

amera’s displayed timecode is also the one used in

he QuickTime proxies that the camera generates.

OD will use the real time o day or can be

am-synced via the camera’s Genlock port. A clip will

ave continuous timecode rom start to nish, but

he next clip will have a non-continuous start time.his is similar to FreeRun mode on broadcast cameras.

dge Code starts at 1:00:00:0 0 and is continuous

or each clip on a given magazine. When a dierent

magazine is loaded into the camera Edge Code

esets to 1:00:00:0 0, so close attention should be

aid to media management, as several clips will

ave the same timecode. This is similar to REC Run

mode on broadcast cameras.

ach digital magazine is given a reel number, rom

01 to 999, which is important to the optimal

workow we will be discussing. The reel number

must, o course, be careully monitored during data

ranser. QuickTime proxies use the RD™ lename

s the reel number in FCP, which helps when

elinking QuickTime les to the right RD™ le.

Format

Autodesk applications will accept 4K, K, and 2K pro

Time code

Select TOD as the primary timecode track. Time

generated by the RED ONE™ camera is non-drop

Reel numbers

Make sure that the Incremental Reel option is

checked and properly congured so that each

has a unique name. Set the reel number to 00

the start o every new project.

Other camera settings

Use the deault exposure and color temperature setThe RED ONE™ converts R AW image data to

various color spaces in order to support previe

on set, however, unmodied RAW data is recor

to storage. Standard settings on the camera are

20 and a 5000K color temperature. These sett

are stored as metadata and serve as a starting

or later color space and ormat conversion u

the RED sotware tools, or or post-production

using Smoke, Flame, or Lustre.

Backup your digital media

Optionally back up your iles to separate phy

media, keeping the same older hierarchy as

magazine. It’s much easier to keep track o y

media by placing each day’s magazines in a sep

older. Consider keeping several copies o your

(preerably in separate physical locations).

A Highly-Ecient Oine-to-Online Workow

Working with very high resolution digital images,

on disparate systems, and transcoding between

dierent codecs can be very p rocessor intensive.

Several worklows exist to get your RED ONE™

originals into your oline and online editing

system, but in order to perorm creative work

interactively, these worklows require that RED

RAW™ RD™ iles be converted into the native

ile ormat o the non-linear editor. In order to

use uncompressed RGB image iles in Autodesk

applications, the RD™ iles need to be converted

to DPX. DPX is a widely accepted ile ormat and

can be used in many types o applications, rom

graphics/design to oline editing (QuickTimeconversion or QuickTime reerence iles) through

to inishing (Autodesk Smoke, Autodesk Flame,

Autodesk Lustre) and inal delivery (print to

ilm or video). Because o the nature o Bayer

encoded iles, the conversion to DPX iles can be

a time-consuming process.

This recommended workow incorporates the RED

QuickTime proxies or ofine editing in Final Cut Pro

(FCP). From FCP, the conversion step involves Crimson

Workow to export a series o DPX sequences, which

you can then import into Smoke, Flame, or Lustre.

Shooting With RED ONE™

Beore shooting with the RED ONE™ camera use

the ollowing settings:

2

System Requirements

RED ootage shot on a RED ONE™ camera using Build 16 or•

later

A ast Mac, such as an 8-core MacPro with 8 GB o RAM and a•

ast storage array

Final Cut Pro 6.0.2 or later•

QuickTime 7.5 or later•

RED QuickTime Codec (see• Appendix A or details)

Crimson•



Working In Final Cut Pro

mport QuickTime proxies into Final Cut Pro

here are several methods o editing your

ontent in FCP. One reliable method is to use the

QuickTime proxies generated by the camera. These

roxies contain the synced audio rom the shoot.

Make sure that you do not modiy your proxy

lenames or the RD™ lenames. Instead, use the

arious comment columns to identiy your clips.

mport the proxies directly into FCP, either by

rag-and-dropping them into a bin, or by using the

ILE > IMPORT OPTION.

electing a proxy resolution beore importepends on the speed o your editing system. The

medium-resolution proxies (ending in _M. mov)

work best under most circumstances.

dit

When inserting a proxy clip into a new sequence,

CP will prompt you to change the resolution o

he sequence to match that o the ootage.

lick Yes, then, in the RT menu, select a low quality to

void as much playback stutter as possible.

While real-time debayering is very processor-intensive,

is still a simple way to edit ootage with synchronized

ound rom the original camera recording.

or another editorial approach in Final Cut Pro,

ee Appendix C.

Flame or Smoke workow involves exporting

nly an XML le. For a Lustre workow, you also

eed to export one or more EDLs, so limit your

dit to one video track. I you must edit using

everal tracks, you will have to make as many

uplicates o your sequence as you have video

racks and remove any additional video rom the

uplicates. You will end up with several XML les,

ne per video track.

Export an XML File or Flame, Smoke, or Lustre

Once you are done editing, export an XML o

the nal sequence.

Select the sequence in the browser.

Choose File Export XML…

Select Apple XML Interchange Format, version 2.

Do not select Include Master Clips•

Outside Selection

Check Save project with latest clip•

metadata (recommended)

Make sure that you name your XMLle properly, since you will be applying

modications to it. For example, i editing a

music video called Code Unknown, you could

name your le code_unknown_edit.xml.

This XML le points to the QuickTime proxies

that you used or your ofine editing (in this

case, movies that are not at the ull resolution

the RED camera is capable o delivering).

Export EDL Files or Lustre

Pare down your XML sequence to make it

more EDL-riendly.

Make as many duplicates o it as you have

tracks, and prepare video-only sequences,

careully naming each one.

For each EDL sequence:

Select the sequence to export in the Brows

Choose File Export EDL…

Type in a title or the EDL.

Select CMX 600 as a ormat.

In the Audio Mapping box, set the our aud

tracks to None.

Repeat these steps or each video track’s

corresponding sequence.



xporting DPX Sequences Using Crimson

Workow

Use the Crimson Workow application to convert

D™ media to DPX sequences.

Open the Crimson application. At the top o the interace,

ick Choose to open your XML le. Then, careully ollow

he steps or each o the ollowing sections.

Match section

lick the + button to select the root older where

our RD™ les reside.

lick the Match button to reconnect your original

media to your edits. In the bottom table, make sure

ll o your edits are matched to the proper RD™ le;

hey will be marked with a Found or Multi status.

rame section

elect your output rame size. For video and HD

workows, select the proper standard or high denition

rame size (such as HD1080p). For lm workows,

elect a 2K or 4K output size (such as 2K 2:1 or 4K 2:1).

Make sure that you set the appropriate settings

nder Scaling Operation or your output size.

or Resample, select a resampling lter (such as

Mitchell or Lanczos).

olor section

et all Gamma and Color Space settings. See

etting Color Space below.

REDline™ section

et the Rendering Output Path or your DPX les

making sure that you choose a older on your

torage that is accessible to Smoke, Flame, or Lustre).

required, set the appropriate handles.

et File Specication to: EVENT#Z/F#&.E (this will

ender a DPX sequence, named according to the RD™

le and a rame number, in a separate older per event).

Under Render Settings, or Quality select Full

Debayer and or Output Format select DPX.

Make sure that Use TOD/TC is selected.lick the Render with REDLine button. This will

tart the conversion process.

or more inormation about Crimson, see Appendix B.

or more inormation on REDline™ and other RED

pplications, see Appendix A.

4

Video Deliverable

I your primary deliverable is video, then set Gamma to Rec709 and Color Space to REDspace™.

Setting the Color Space to REDspace™ rather than Rec709 seems counter-intuitive; however in our

tests, setting it to Rec709 gave results that were ar too saturated. I the scenes were lit or ISO 20

you would nd that converted images look dark. This does not necessarily mean that the images wer

underexposed. It does mean that you have to begin your grading session with an overall gamma boo

Use the Brightness parameter to brighten everything during the conversion process. A value o abou

2.5 in Crimson is a good starting point. (The Brightness control in REDCINE™ is 10x more sensitive, s

use a value o about 25.)

Another important point about the Rec709 Gamma setting is that the converted images contain all the

highlight inormation that was captured by the camera. One might assume that using one o the log Gam

settings would export images with more highlight inormation, but this does not seem to be the case.

Film Deliverable

I your primary deliverable is lm, we assume you will be using a print lm simulation 3D-look up

table (LUT) (such as rom Autodesk® Lustre® Color Management) or grading. The goal is to conve

your images into something resembling a Cineon ®-style scan rom color negative lm. Because th

characteristics o the RED ONE™ are so dierent rom lm negative, and b ecause o the limitedcolor processing exibility o Crimson, this is not entirely possible.

To get the tone scale approximately correct, set Gamma to PDLog985 . This results in images

that have the correct contrast but look about two stops over-exposed. Unless a shot is very

underexposed, set the Exposure parameter to -2.0. This puts a normally exposed gray at a 10-bit

value o about 470 (as per convention).

Set the Color Space parameter to either CameraRGB or REDspace™. Colors will seem washed out

compared to lm capture. To correct this, try using the Saturation parameter to boost saturation.

A air amount is needed, but going above 0.2 can start to cause clipping artiacts in saturated

colors. Crimson can display the individual RGB channels. This is a good way o detecting i too

much saturation boost has clamped detail in certain colors. (The Saturation control in REDline™,

REDALERT!, and Crimson is zero-based rather than one-based. For REDCINE™, use 1.2.)

Setting Color Space

Ater you have loaded your clips, Crimson Workow

displays the various color settings that were stored

as metadata in your RD™ les. These will vary

depending on how the camera was congured at the

time o shooting. The settings or each clip will control

the rendering o the les rom camera RAW to some

other color space. For example, i you set Kelvin to

200, Crimson will white balance the images so that

gray objects lit with tungsten light (color temperature

o 200K) will have roughly equal red, green, and blue

pixel values. Likewise, i you set ISO (speed/sensitivity)

higher than 20, Crimson will boost the exposure o

the images (make them lighter).

You can override the color settings or the currently

selected clip. However, or settings like ISO and Kelvin,

i they were correctly congured during the shoot, you

shouldn’t need to override them. Nevertheless, you

may want to override the Gamma and Color Space

settings that will congure what color space you

convert your images to.

The best values to use will depend on a variety

o actors. Here are some pointers to get you

started.

Lighting or Video

I the director o photography lit the scenes

according to a video style o working, then

you should leave Gamma and Color Space as

they are so that converted images resemble

what was seen on the HD monitor on set.

However, be aware that i using REDspace™

gamma, you may have limited exibility in colo

grading because the highlights will be somewha

compressed. For more inormation on RED Colo

Processing, see Appendix D.

Lighting or Film

I the DP lit the scenes according to a lm style

o working (relying on a light meter rather than

a video monitor), then there are several option

depending on whether your primary deliverabl

is lm or video.



inishing with Smoke or Flame

Create a new project

reate a new project with settings that match the

xact rame size o your DPX sequences.

HD projects use the usual HD ormats, but or lm

se these values:

Aspect ratio: 2 or 1.777 78, depending i your•

rame size was 2:1 or 16:9

Bit Depth: 10-bit•

Field order: Progressive•

Graphics Processing: 16 -bit FP Graphics•

Width/Height: rame size o RED ootage (see table)•

mport the DPX sequences

In the Library, create a new reel to import•

your ootage, and select it.

Click Import Image.•

Set the image ormat to DPX.•

Under Clip Media, set your Sot-Import Full•

Res option on or o.Under Clip Metadata, select Tape From File•

Header and File Header Timecode.

Navigate to the root older containing the•

DPX sequence olders.

Turn on the Scan Subdirectories option; you•

should see your DPX sequences in the Files

browser.

Select all o your sequences and click Load.•

Clips are created rom the DPX les in the selected•

reel.

Frame size Width Height Aspect ratio

4K 16:9 4096 204 1.7777 78

4K 2:1 4096 2048 2

K 16:9 072 1728 1.7777 78

K 2:1 072 156 2

2K 16:9 2048 1152 1.7777 78

2K 2:1 2048 1024 2

Import the XML fle

Set the edit list import option to XML.•

Click Import XML.•

Uncheck Link with video les and Link with audio•

les.

Navigate to your FCP XML le, select it and click•

Load.

The recapture window will open, but you need not•

change any setting here. Just click EXIT Recapture.

The XML has now been converted to a clip named•

like your FCP sequence.

Select the clip and drag it to the Reel containing•

your DPX sequences.

You will now need to Consolidate and Reormat•

the clip beore you can Relink it to your media.

With the clip still selected, go to the Tools section.•

In the Consolidate section, set Consolidate to All•

Tracks and adjust the Handles setting according to

the handle amount you set in Crimson.

Click Consolidate and conrm.•

Next, in the Unlink/Relink section, select•

Reormat and careully chose the settings that

match your DPX sequences.

Click Reormat and conrm.•

Then, in the Relink section, click Relink From Reel.•

Your DPX sequences are now relinked to the•

imported FCP XML. You can now nish the project.

About Audio

Audio rom the RED ONE™ camera is integrated

into the RD™ le. The QuickTime proxies

generated by the camera read the audio rom

the original le. When converting ootage with

RED tools, these applications will also copy the

audio to stand-alone QuickTime les.

To import an audio edit rom FCP to Smoke,

Flame, or Lustre, you must mix down the

audio to a 2-track audio le beore importing.

ED Digital Cinema, RED, RED ONE™, REDCODE™, R3D™, RED RAW ™, Mysterium® , Scarlet, REDFLASH™, RED DRIVE™, R EDCINE™, RED ALERT!™, REDline™, REDspace™, and REDrushes™ are

ademarks of RED.COM, Inc./RED Digital Cinema Camera Company.

Finishing with Lustre

Put your EDLs (exported rom FCP) in your Lu

project’s scene older.

Import the DPX sequences to the Shot Bin.

Import the EDLs.

To select the proper tape name or assembly,

enable the Use DPX Reel option.

Under Use options, enable “ TC”. This allows L

to use the timecode in the DPX le header ins

o le numbers.

Assemble the EDL.

utodesk is a registered trademark or trademark o Autodesk, Inc., and/or its subsidiaries and/or aliates in the USA and/or other countries. All other brand names, product names, or

ademarks belong to their respective holders. Autodesk reserves the right to alter product oerings and specications at any time without notice, and is not responsible or typographic

raphical errors that may appear in this document. © 2008 Autodesk, Inc. All rights reserved.

5



he RED applications are an integral part o this

workow, as they are necessary or opening RD™

les. They can be downloaded reely rom the RED

website. Be sure to check www.red.com to get the

atest versions o their applications.

RED ALERT!™

ED ALERT!™ is an Intel Mac-only application that

s used to quickly look at ootage and apply a color

orrection or color space change beore exporting

n RD™ le to another ormat.

he RED ALERT!™ interace oers you tools to

xamine your ootage in ull resolution, shot by

hot. Batch processing o clips is implemented

hrough REDline™ and REDrushes™, but you still

eed to use RED ALERT!™ to create a look (based

n exposure, saturation, contrast, and brightness)

or your ootage. Remember that RED ALERT!™ is

ot a ull-blown color timing sotware; its purpose

s to do a one-light process on your clips beore

ditorial begins.

ED ALERT!™ lets you:

Examine your ootage in ull resolution, with a•

zebra pattern and a histogram

Choose a color space and an output LUT•

Color time ootage by enabling you to adjust•

settings such as ISO, exposure, and saturation

Dene in and out points on a clip beore•

exporting

Export the clip as a 4K or 2K DPX sequence•

Export the clip as a QuickTime movie using a•

variety o codecs and rame sizes (or editorial

in Final Cut Pro or example)

When a clip is opened in RED ALERT!™, an RSX le

s saved alongside the RD™ le, using the same

lename. It contains the additional metadata added

o the RD™ le in RED ALERT!™, such as a look, in

nd out points, ISO settings and Output LUT. This

SX le can be used in REDrushes™ and REDline™.

ooks can be saved as presets, to be reused

n other shots opened in RED ALERT!™. A

aved preset is called an RLX le and saved

n UserLibraryApplication SupportRED

lert!Presets.

One very useul eature o RED ALERT!™ is its

bility to instantaneously generate new QuickTime

roxies rom RD™ les. For example, let ’s sayuser wants to edit in Final Cut Pro with the

QuickTime proxies, but wants to add a look to

is ootage beore he imports it into FCP. He can

pen the RD™ les in RED ALERT!™, color time

ach shot, and produce new QuickTime wrappers

or the media. One benet o this workow is the

bility to import the real time QuickTime proxies

n FCP, without incurring a lengthy render.

eore installing a new version o RED ALERT!™,

make sure you delete the previous version. RED

LERT!™ is installed in the Applications older.

here is no separate preerence le to delete.

lso, use the Apple Disk Utility to repair your

Macintosh® computer HD’s permissions.

REDLINE™

REDline™, an Intel Mac-only application, is a

command-line interace or RED ALERT!™, which

supports batch-processing o clips, and Apple

QMaster distributed rendering. It runs rom the

Apple Terminal window.

Since there is no GUI or this application, in Terminal,

type redline to get a list o available parameters.

REDline™ installs automatically with RED ALERT!™.

Beore installing a new version o REDline™,

make sure you delete the previous version, which

is installed in /usr/sbin. There is no separate

preerence le to delete. Also, use the Apple Disk

Utility to repair your Macintosh HD’s permissions.

REDRUSHES™

REDrushes™, an Intel Mac-only application, is a

batch export utility based on the RED ALERT!™

engine. It enables a user to load a list o RD™

les and transorm them into another ormat

(QuickTime, DPX sequence or Ti sequence). Itenables you to:

Choose the debayer quality (lower debayer•

quality yields a aster render)

Add a look to the output ootage (developed•

in RED ALERT!™ or in the camera)

Make sure the proper timecode track ollows•

the new media (Edge Code or External/TOD)

Crop and scale to t a certain ormat or aspect•

ratio (like 1080p HD with or without letterbox)

Create subolders or each clip (useul i •

exporting DPX sequences)

Burn in timecode or rushes and dailies•

REDrushes™ installs automatically with RED

ALERT!™. Beore installing a new version o

REDrushes™, make sure you delete the previous

version, which is installed in the Applications

older. There is no separate preerence le to

delete. Also, use the Apple Disk Utility to repair

your Macintosh HD’s permissions.

REDCINE™

REDCINE™ is a digital telecine application,

available or Intel-based Macs and or the

Windows® operating system. Using REDCINE™,

you can import RD™ les and apply basic color

correction, resize and reormat settings to your

images. Unlike RED ALERT!™, REDCINE™ lets youimport and view multiple shots.

Beore using REDCINE™ or the rst time, you can

watch the video tutorials oered by RED, since a

manual is not provided. They can be ound on the

RED website, in the support section.

The application has our main areas, which you can

access rom the button list on the let.

Project

The Project settings let you:

Create, load and save project (a project•

consists o a series o shots and various color

correction options applied to these shots

Load one or multiple shots•

Modiy the project’s ormat settings (siz•

aspect ratio and rame rate) as well as co

space and gamma settings

Add guides, borders and timecode or Ed•

Code burn-in.

It is very important to select the correct outp

ormat at this stage. I you want to use REDCI

to output 4K or 2K DPX les, be sure to select

right ormat, aspect ratio and rame rate.

Shot

In this section, you can read metadata ino ab

your clip, such as timecode, length, rame size

rate. You have the option o reraming your sh

and applying scaling. To apply a scaling actor

the loaded shots, rst click the All button, the

select a scaling method.

Color

The color section is where you apply a one-ligcolor correction to each shot. Color balance,

saturation, exposure and ISO settings let you

preliminary color adjustments to clips. The op

low-pass lter (OLPF Compensation) tools ena

you to add noise reduction, sharpening and de

adjustment. Note that the RED ONE™ camera

not apply noise reduction to images it produc

Color settings and looks can be copied and pasted

shot to shot, as well as saved as presets (.RCC

To see the shot’s original RAW data, use the C

button at the top o your screen to turn o any c

correction. This way you’ll know i you’re clipping

Output

This is where you select the output ormat and

location. Shots can be rendered out o REDCI

as image sequences (DPX, Cineon, Ti, JPEG,

OpenEXR or Targa® le ormat) or as QuickTim

les (with several codecs oered).

You can speciy the output path and debayeri

quality. You may also opt to add burned-in

timecode and other inormation.

NOTE : when using REDCINE™ to convert R D

les to another ormat, the audio doesn’t ollo

LibraryREDCINE™ has a library that lets you organize

clips in dierent series and sequences. You ca

also create multiple copies o a shot to visualiz

dierent looks.

It is customary to trash your settings and proj

presets any time you update the application.

On Mac OS® X operating system, these settin

can be ound here:

MACINTOSH HD > LIBRARY > REDCINE

On a PC, the settings can be ound at

C:\DOCUMENTS AND SETTINGS\ALL USERS

APPLICATION DATA\REDCINE

6

Appendix A: RED Applications



rimson is a third-party Mac-only application

hat contributes to an ecient RED workow by

roviding a method to turn your Final Cut Pro XML

ata into a virtual telecine pull list, with handles.

his new telecine XML le can then be used in

EDCINE™ to perorm a best-light color correction

n edited selects and batch export the ootage in

whatever ormat is required or nishing.

7

Appendix B: Crimson

Appendix C: Another FCP Editorial Option

Appendix D: RED Color Processing

Crimson also allows you to use REDline™ to output your

les, with the added benet o a distributed rendering

option that uses the Apple QMaster technology.

Crimson can be downloaded rom

www.crimsonworkow.com. A ree demonstration

version allows you to process the rst ve clips in

your XML.

You will nd a very inormative video on how

to use Crimson on the company’s website. It is

recommended that you watch the tutorial and

careully read the detailed instructions on how

use the application beore doing anything.

Be aware that Crimson can be nicky with com

sequences, so make sure your edit does not co

anything complex such as speed changes.

or very long projects, or when editing RED

ootage on a slower machine such as a MacBook®

ro computer with FireWire hard drives, some

ditors will chose to convert their entire ootage to

less CPU-taxing QuickTime ormat.

Using one o the RED applications, you can convert

he RD™ les into another QuickTime ormat,

uch as DVCPRO HD, Applr Uncompressed les, or

pple ProRes 4:2:2. With the appropriate hardware

ideo cards, you may also use the uncompressed

odecs rom AJA or BlackMagic Design.

utodesk applications do not natively support

roRes. Use a DVCPRO HD ormat or your ofine,

r a 10 -bit QuickTime ormat (Apple, AJA or BMD)

ecause you can import those QuickTime les to

Autodesk applications and keep your entire edit,

audio included, as a reerence.

In this workow, you would edit ofine using

standalone QuickTime les, then use Crimson

to convert your XML and output DPX sequences

beore importing them into the Autodesk

application o your choice.

The key to the success o this workow is to keep the

original RD™ lename in your QuickTime lename,

since Crimson searches or the RD™ lename.

For example:

A011_C001_0820SG_001.RD™ becomes A011_

C001_0820SG_001_DVCPROHD.mov

PROS (o this option)

Faster Mac response during editorial•

Smaller le sizes•

QuickTime les can be imported in Smok•

with sound, as a reerence

CONS

Long render times when converting RD™•

Requirements : FCP 6.0. 2 or later, RED•

QuickTime codec

he color processing in the RED camera and its

ssociated sotware is not extensively documented.

his section details some observations we made

uring tests.

s stated previously, the RED camera records RAW

mages and the settings o the camera are saved

s metadata that is used to convert the images

ither on set or monitoring, or later in one o the

ED sotware applications or post-production. A

st o these settings can be seen in the Color tab o

rimson, the RED ALERT!™ and REDCINE™ interace,

r the help text or REDline™.

hese metadata settings can be categorized as

ontrolling camera conguration (e.g. ISO, Kelvin,

int, Gain), color space conversion (Gamma, Color

pace), and “look” or creative control (e.g. exposure,

aturation, contrast, brightness, and the black, toe,

mid, knee, and white XY curve points). However, in

ractice, the categories are blurred since all o these

controls aect the resulting color conversion rom

camera RAW values. None o these controls have

any eect on what is actually recorded; they only

serve as a starting point or how the RAW values get

converted.

The two controls that ostensibly dene the color

space to which the RAW values are converted are

the gamma and color space settings. It appears

that the Gamma setting selects among several

1d-LUTs that control the tone scale o the resulting

images and that the Color Space setting selects

among several x matrix options that control the

placement o the red, green, and blue primaries.

Note that both gamma and color space have options

labeled REDspace™ and Rec709 and that the

eect is dierent depending on whether you have

selected it as a gamma value or a color space value.

Furthermore, it is not necessary to keep these

choices in synchronization, and indeed, we ound

we got better results when we did not. (see page 6 )

One o the most important aspects o the RED

system to understand is the relationship betw

luminance values in the scene and the resultin

pixel values in the images produced by the RE

applications. This tonal relationship is control

by the gamma setting and is illustrated in the

next several gures. The ollowing results wer

obtained with color space set to CamRGB. In

general, the results or the red, green, and blu

channel will vary depending on the chromatic

o the gray scale one shoots and the value o t

Kelvin settings; so to keep things simple, we s

only the red channel.



ote: The exposure axis o these gures has a zero label to indicate the luminance o a mid-gray

bject when lit or ISO 20. Speed rating o digital cameras (or lm or that matter) is an area

some debate. The “normal” exposure reerence was based on the shape o the REDspace™

amma option (i.e. the camera deault setting), the 20 ISO exposure recommendation in the

amera user manual, as well as technical standards in this area. When shooting lm, one essentially

icks a “sensor” depending on the expected lighting situation. With the RED, one has a sensor with a

xed speed and makes a noise trade-o in post-production, not unlike pushing a lm stock. This

rade-o is made via the ISO or Exposure settings. (It is our understanding that changing the

SO setting on the RED camera does not aect capture, only post-processing.)

Figure 2. By manually subtracting the pixvalue rom a shot with the lens cap on, wegot Figure 2. This shows a response that iindeed nearly linear with respect to sceneluminances. The camera specicationsclaim a 12-bit A/D converter, and indeed,we see almost 12 stops o dynamic rangebetween black and the clipping point. It isworth noting that, although this responsecan be measured in a laboratory setting,with appropriate pixel averaging, thebottom three to our stops o dynamicrange are quite noisy and may be o limiteuse or real-world image capture. Indeed,as we will see next, most o the gammasetting options compress this part o thetone scale heavily.

Figure 1. The result o settinggamma to Linear. This graphshows some residual darkcurrent, since the minimumpixel value is about 800 (out o 6555). The behavior near blackis dependent upon the blackshading operation, which is doneas part o the camera calibration.

We ran the black shading severalhours beore this part o ourtesting was done, and the cameradark current may have risen duringthat time.



9

Figure 3. The log-style optionsPDLog985, PDLog685, andREDlog™ along with a reerenceto illustrate where a lm negatiwould all in a typical Cineonscan (ignoring the toe andshoulder o the lm).

Figure 4. Our recommendedsettings or log-style projects (asdiscussed on page 6), PDLog985and PDLog985 with an Exposuresetting o -2.



It is interesting to note that the Rec709 gamma option preserves as much o the highlight headroom

o the camera ootage as any o the log-style options. This is perhaps counter-intuitive i you have

experience working with RAW capture in still photography, or Cineon log scans o negative lm whe

RAW and log typically have the ability to recover more highlight inormation than nished JPEGs or v

With the RED ootage, the Rec709 Gamma option will look dark (assuming ISO 20 lighting), but it d

appear to preserve the highlight inormation recorded by the camera.

Figure 5. The video-centricGamma options Rec709 andREDspace™. (We repeat theCineon reerence line to easecomparison between the gures,although this is less relevant orthe video-style curves.)

ED Digital Cinema, RED, RED ONE™, REDCODE™, R3D™, RED RAW™ , Mysterium® , Scarlet, REDFLASH™, RED DRIVE™, REDCINE™ , RED ALERT!™, REDline™, REDspace™, and REDrushes™ are

rademarks of RED.COM, Inc./RED Digital Cinema Camera Company.

utodesk is a registered trademark or trademark o Autodesk, Inc., and/or its subsidiaries and/or aliates in the USA and/or other countries. All other brand names, product names, or

rademarks belong to their respective holders. Autodesk reserves the right to alter product oerings and specications at any time without notice, and is not responsible or typographic

raphical errors that may appear in this document. © 2008 Autodesk, Inc. All rights reserved.

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