The RED One is a 4k digital film camera from RED Digital Cinema. It offers an
unparalleled flexibility to accommodate all types of production styles from cinema to ENG. Utilizing a
proprietary 4k super 35mm size sensor, the RED One is able to deliver 4k images at a variety of frame rates.
The 12bit sensor produces images in their native RAW format giving you impressive range and unmatched
flexibility in post production to manipulate your images.
RED's modular design allows the camera to be configured in a variety of styles. The RED Rails and mounting system allows an almost unlimited amount of accessories to be attached to the camera, or the camera to be attached to a variety of support systems. The RED One Camera offers the use of 35mm sized PL lens, as well as adapters for 2/3 inch video & Nikon still lens. This allows the camera to utilize the vast selection of lens currently made and to allow you to use lens that best suit your production.
RED's Mysterium sensor offers impressive dynamic range and color fidelity to the point that it is equal to, or surpasses traditional 35mm film. Not looking for 4k images... the RED One and REDCINE software support down-sampling to common HD formats such as 1080p and 720p.
RED's workflow starts by shooting footage to either Compact Flash
(CF Cards), the RED Drive (320GB HDD), or other recording solutions. RED generates native raw R3D files and Quicktime
proxy files for editorial. You can then bring these raw R3D or quicktime proxies into your editing program, or use
RED's REDCine-X software (or REDRushes) to convert the footage to any number of video formats.
Final Cut Pro:
Apple's Final Cut Pro 6 and FCP 7 offer the ability to not only read and work with the quicktime proxies that the RED Camera generates, they can also transcode the media to ProRes using Log and Transfer (L&T) or re-wrap the native raw R3D media in a quicktime wrapper. Both options are available in the Log and Transfer tool, and transcode or wrapped option can be changed by accessing the Log and Transfer setting.
- ProRes Transcodes using L&T - Raw files are converted to ProRes for editorial. This offers older systems, and effects heavy timelines the ability to work at native speeds with fully compatible media. Many DI systems can take a ProRes timeline and reconnect back to the original R3D raw files.
- Wrapped Media - Wraps the original R3D raw file in a Quicktime file format at 2K resolution. This allows the file to retain the original meta data and keep it through the post process. This is often the smoothest workflow when transferring long form or cut heavy timelines to Apple Color. Wrapped media duplicates the imported files.
Avid Media Composer:
Avid Media Composer 5 can natively read R3D raw files using Avid's AMA architecture. Files and clips can be imported directly using AMA and all meta and white balance data is transfered throughout the post process and can be adjusted within Media Composer directly. Media Composer 4 and below users must use Avid's Metafuze or REDCine-X or REDRushes to convert the R3D files into a Avid compatible DNxHD file. EDLs can be exported from Avid into most DI systems for final color correction.
Adobe Premiere CS4 & CS5
Adobe Premiere CS4 & CS5 can natively edit RED R3D raw files. You need to install the RED Adobe codec which can be found on RED's website. Premiere allows multiple resolutions and debayering quality settings that allow you to work at the speed your machine can support. Adobe integration with it's suite of products allows for you to transfer a Premiere timeline into After Effects using the raw files for effects and color correction.
Red's application to scale shots, adjust white point, and export to your format of choice. Allows you to adjust meta data and white balance, make first light color corrections, and export footage to a number of supported file formats and codecs. Can be download for free on the RED website.
Color version 1 and 1.5 can read the native RED R3D files. Version 1 allows for 2k output, while version 1.5 allows for a full 4k output at a full debayer. Footage can be imported directly into color, or transfered to Color using the Final Cut Pro "Send To" command. Color can often read a FCP timeline built from proxies, which can be connect back to the original R3D files, or when using cut heavy or long form material the wrapped media option will usually result in a seamless import of the timeline. EDL's from Avid and other editors can be imported into Color as well. Color offers a limited set of meta data and white balance controls that allow you to change the original R3D file metadata for non-destructive color correcting. Color can also read DPX files created by REDCine-X for as another high-quality workflow option.
Scratch | Davinci | Luster | Quantel:
These high end DI systems can read RED raw R3D files directly, as well as import EDLs or XML timeline files from all major non-liner editors. They allow for alteration to the RED metadata and white balance settings and can handle resolutions up to 4k at a full debayer in realtime.
RED offers a simple and all digital post process to help you fully realize your images.