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APPENDIX E: POST PRODUCTION
RED workflow is quite easy to understand, especially if you have experience with photographic RAW im-
age processing, or shoot 16mm or 35mm film followed by a telecine transfer to a non-linear video editor
and on-line conform.
RAW data has a wide dynamic range and color space, so you can freely change the white balance of the
footage, adjust exposure and alter highlight and shadow tonality in post-production.
The RED ONE camera records RAW sensor data using wavelet based REDCODE RAW compression to a
CF card, RED-DRIVE or RED-RAM digital magazine. The compressed RAW data is then transferred from
the digital media via FireWire or USB-2 to a Macintosh OSX workstation running RED Alert! or REDCINE,
or to a Windows XP workstation running REDCIINE 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.
If you are using CF media, copy the clips onto the workstation’s hard drive. If you are recording to a RED-
DRIVE, it can be directly mounted as an external drive using FireWire if desired which eliminates the me-
dia copy step.
In film processing terms, RED Alert! and REDCINE-X act as an integrated film laboratory, telecine, and one
light color corrector. They convert recorded REDCODE RAW data to RGB video, and provide basic one
light image processing and color correction. Using REDCINE-X footage can also be cropped, resized, or
repositioned. These functions lessen the amount of time required for color correction or re-framing of
shots after the final cut has been completed.
RED Alert! can generate QuickTime reference movies suitable for use in dailies applications, and export a
sequence of 2K or 4K resolution RGB image files as TIFF or DPX files for DI use.
REDCINE-X can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and com-
pressed 4:2:2 video formats. Provided the appropriate QuickTime codec’s are available on the host com-
puter workstation, compressed video choices include ProRes, DNxHD, DV100 and M-JPEG QuickTime
movies at 1080p or 720p resolution. For film out, multi-media or special effects applications, REDCINE-X
may export a sequence of 2K or 4K image files in TIFF, Open EXR, DPX, JPEG, or Photoshop PSD file
formats.
Creating 4:2:2 at 1080p or 720p resolution QuickTime movies provides compatibility with the majority of
non-linear editing systems.
Depending on the QuickTime movie resolution, material may be taken directly to a broadcast delivery vi-
deotape format, or after the editorial decisions have been made, video can be conformed at full image
resolution by replacing the lower resolution edit proxy (e.g. 720p at 8 bit quality) with a high resolution 4K,
2K or 1080p image file.
SOFTWARE TOOLS
RED DIGITAL CINEMA provides a variety of software tools to aid postproduction. For proper color rendi-
tion using a Macintosh OSX computer, 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.
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