Red.com RED ONE Specifications download pdf (Page 8)

Crimson is a third-party Mac-only application

that contributes to an ecient RED workﬂow by

providing a method to turn your Final Cut Pro XML

data into a virtual telecine pull list, with handles.

This new telecine XML ﬁle can then be used in

REDCINE™ to perform a best-light color correction

on edited selects and batch export the footage in

whatever format is required for ﬁnishing.

Appendix B: Crimson

Appendix C: Another FCP Editorial Option

Appendix D: RED Color Processing

Crimson also allows you to use REDline™ to output your

ﬁles, with the added beneﬁt of a distributed rendering

option that uses the Apple QMaster technology.

Crimson can be downloaded from

www.crimsonworkﬂow.com. A free demonstration

version allows you to process the ﬁrst ﬁve clips in

your XML.

You will ﬁnd a very informative video on how

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

recommended that you watch the tutorial and

carefully read the detailed instructions on how to

use the application before doing anything.

Be aware that Crimson can be ﬁnicky with complex

sequences, so make sure your edit does not contain

anything complex such as speed changes.

For very long projects, or when editing RED

footage on a slower machine such as a MacBook

Pro computer with FireWire hard drives, some

editors will chose to convert their entire footage to

a less CPU-taxing QuickTime format.

Using one of the RED applications, you can convert

the R3D™ ﬁles into another QuickTime format,

such as DVCPRO HD, Applr Uncompressed ﬁles, or

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

video cards, you may also use the uncompressed

codecs from AJA or BlackMagic Design.

Autodesk applications do not natively support

ProRes. Use a DVCPRO HD format for your oine,

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

because you can import those QuickTime ﬁles to

Autodesk applications and keep your entire edit,

audio included, as a reference.

In this workﬂow, you would edit oine using

standalone QuickTime ﬁles, then use Crimson

to convert your XML and output DPX sequences

before importing them into the Autodesk

application of your choice.

The key to the success of this workﬂow is to keep the

original R3D™ ﬁlename in your QuickTime ﬁlename,

since Crimson searches for the R3D™ ﬁlename.

For example:

A011_C001_0820SG_001.R3D™ becomes A011_

C001_0820SG_001_DVCPROHD.mov

PROS (of this option)

Faster Mac response during editorial•

Smaller ﬁle sizes•

QuickTime ﬁles can be imported in Smoke, •

with sound, as a reference

CONS

Long render times when converting R3D™ ﬁles•

Requirements : FCP 6.0.2 or later, RED •

QuickTime codec

The color processing in the RED camera and its

associated software is not extensively documented.

This section details some observations we made

during tests.

As stated previously, the RED camera records RAW

images and the settings of the camera are saved

as metadata that is used to convert the images

either on set for monitoring, or later in one of the

RED software applications for post-production. A

list of these settings can be seen in the Color tab of

Crimson, the RED ALERT!™ and REDCINE™ interface,

or the help text for REDline™.

These metadata settings can be categorized as

controlling camera conﬁguration (e.g. ISO, Kelvin,

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

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

saturation, contrast, brightness, and the black, toe,

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

practice, the categories are blurred since all of these

controls aect the resulting color conversion from

camera RAW values. None of these controls have

any eect on what is actually recorded; they only

serve as a starting point for how the RAW values get

converted.

The two controls that ostensibly deﬁne 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 of the resulting

images and that the Color Space setting selects

among several 3x3 matrix options that control the

placement of the red, green, and blue primaries.

Note that both gamma and color space have options

labeled REDspace™ and Rec709 and that the

eect is dierent 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 found

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

One of the most important aspects of the RED

system to understand is the relationship between

luminance values in the scene and the resulting

pixel values in the images produced by the RED

applications. This tonal relationship is controlled

by the gamma setting and is illustrated in the

next several ﬁgures. The following results were

obtained with color space set to CamRGB. In

general, the results for the red, green, and blue

channel will vary depending on the chromaticity

of the gray scale one shoots and the value of the

Kelvin settings; so to keep things simple, we show

only the red channel.

1 2 3 4 5 6 7 8 9 10 11

Comments to this Manuals

No comments

Red.com RED ONE Specifications Page 8

Comments to this Manuals

Related products and manuals for Bridge cameras Red.com RED ONE