Autodesk® Autodesk and the RED ONE™ Camera Workflow Guide
Contents
1. i ad shoulder of the film BOO ee ve eee Peete eee te rere rees Deseret ere rnenens Teese ds Toe AE 3 3 we fi g z z S 3 l pE e K pooo BOO eee durch andl aera WEEER T ae a p A Peer ie ania pure ai iene atna G A y pT a S 5 A CE A E s o E A amp zi AGO wns se sen Deen reeee Pereri re eee Bs eS Oya oa RE Me bari Bee Dae Sane se ee o P S o Oe Pg iam Bay ICR gH pS Plage een an ae PO spre as sa tals naa E E T 200 i A re oO amp gw SOO GOO 0 10 8 4 2 0 2 4 6 8 relative log exposure stops k Recommended log style settings Figure 4 Our recommended 1200 o PDLog985 settings for log style projects as PDLog985 Exp 2 discussed on page 6 PDLog985 Cineon reference and PDLogg85 with an Exposure 1000 i setting of 2 peoo 800 g S g 600 a iat b 400 200 0 8 6 4 2 0 2 4 6 8 relative log exposure stops Video style Gamma settings Figure 5 The video centric Gamma options Rec7o9 and a REDspace We repeat the Cineon reference line to ease comparison between the figures although this is less relevant for the video style curves 10 bit pixel value relative log exposure stops It is interesting to note that the Rec7o9 gamma option preserves as much of the highlight headroom of the camera footage as any of the log style options This is perhaps counter intuitive if you have experience working with RAW2. RED team members are regulars on RedUser and you will often find what you are looking for by browsing the forums Some Important Concepts R3D Files RED ONE uses a proprietary RAW file format R3D that is compressed using the wavelet based REDCODE codec There are two resolution settings in the camera REDCODE 28 and REDCODE 36 These resolution settings represent the average data rate in MB s when recording at 4K using a 16 9 aspect ratio Data is saved in the R3D file format which can then be rendered out to another format using a RED application or a third party tool The digital media can be recorded on a 320GB removable RED DRIVE hard drive or on 8GB and 16GB REDFLASH compact flash cards The RED DRIVE can be mounted on a Mac computer or a PC via FireWire serial bus 400 800 or USB 2 REDFLASH compact flash cards can be mounted on a Mac or PC with a fast CF card reader like Lexan or SanDisk cards usually through FireWire 800 or USB 2 Each clip is saved in a separate folder as an R3D file The camera also generates four Apple QuickTime proxies see sidebar that can be used in QuickTime native applications such as Final Cut Pro FCP The RED ONE camera can record up to four channels of uncompressed 24 bit 48Khz audio They are saved inside the same R3D file containing the corresponding image QUICKTIME PROXIES The RED ONE camera generates QuickTime proxies
3. a project consists of a series of shots and various color 6 correction options applied to these shots e Load one or multiple shots e Modify the project s format settings size aspect ratio and frame rate as well as color space and gamma settings e Add guides borders and timecode or Edge Code burn in It is very important to select the correct output format at this stage If you want to use REDCINE to output 4K or 2K DPX files be sure to select the right format aspect ratio and frame rate Shot In this section you can read metadata info about your clip such as timecode length frame size and rate You have the option of reframing your shot and applying scaling To apply a scaling factor to the loaded shots first click the All button then select a scaling method Color The color section is where you apply a one light color correction to each shot Color balance saturation exposure and ISO settings let you make preliminary color adjustments to clips The optical low pass filter OLPF Compensation tools enable you to add noise reduction sharpening and detail adjustment Note that the RED ONE camera does not apply noise reduction to images it produces Color settings and looks can be copied and pasted from shot to shot as well as saved as presets RCC files To see the shot s original RAW data use the Color button at the top of your screen to turn off any color correction This way you ll know if yo
4. registered trademark or trademark of Autodesk Inc and or its subsidiaries and or affiliates in the USA and or other countries All other brand names product names or trademarks belong to their respective holders Autodesk reserves the right to alter product offerings and specifications at any time without notice and is not responsible for typographical or graphical errors that may appear in this document 2008 Autodesk Inc All rights reserved RED Digital Cinema RED RED ONE REDCODE R3D RED RAW Mysterium Scarlet REDFLASH RED DRIVE REDCINE RED ALERT REDline REDspace and REDrushes are trademarks of RED COM Inc RED Digital Cinema Camera Company Autodesk Appendix A RED Applications The RED applications are an integral part of this workflow as they are necessary for opening R3D files They can be downloaded freely from the RED website Be sure to check www red com to get the latest versions of their applications RED ALERT RED ALERT is an Intel Mac only application that is used to quickly look at footage and apply a color correction or color space change before exporting an R3D file to another format The RED ALERT interface offers you tools to examine your footage in full resolution shot by shot Batch processing of clips is implemented through REDline and REDrushes but you still need to use RED ALERT to create a look based on exposure saturation
5. that display the R3D files in one of four resolutions These proxies are pointers that reference the original R3D files and do not contain any media For this reason the proxies must reside in the same folder as the original R3D file The RED QuickTime plug in available only for Intel processor based Macs enables QuickTime applications to directly open these proxies for viewing and editing no file conversion necessary Proxies use the following nomenclature filename_F mov Full resolution full R3D frame size filename_H mov Half resolution 1 2 frame size filename_M mov Medium resolution 1 4 frame size filename_P mov Proxy resolution 1 8 frame size Autodesk RED ONE and Timecode The RED ONE camera records each clip with two timecode tracks Time of Day TOD and Edge Code When shooting choose one of these settings for the primary timecode because some applications cannot read both timecode tracks The timecode you choose is set in the TimeCode menu of the camera and shows up on the camera s external displays The camera s displayed timecode is also the one used in the QuickTime proxies that the camera generates TOD will use the real time of day or can be jam synced via the camera s Genlock port A clip will have continuous timecode from start to finish but the next clip will have a non continuous start time This is similar to FreeRun mode on broadcast cameras Edge Code starts at 1 0
6. you would edit offline 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 Ao11_Coo01_0820SG_001 R3D becomes Ao1_ Coo01_0820SG_001_DVCPROHD mov Appendix D RED Color Processing 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 affect the resulting color conversion from camera RAW values None
7. 0 00 00 and is continuous for each clip on a given magazine When a different magazine is loaded into the camera Edge Code resets to 1 00 00 00 so close attention should be paid to media management as several clips will have the same timecode This is similar to REC Run mode on broadcast cameras Each digital magazine is given a reel number from 001 to 999 which is important to the optimal workflow we will be discussing The reel number must of course be carefully monitored during data transfer QuickTime proxies use the R3D filename as the reel number in FCP which helps when relinking QuickTime files to the right R3D file Shoot with RED ONE R3D Media System Requirements e RED footage shot on a RED ONE camera using Build 16 or later e A fast Mac such as an 8 core MacPro with 8 GB of RAM anda fast storage array e Final Cut Pro 6 0 2 or later e QuickTime 7 5 or later Work in FCP A Highly Efficient Offline to Online Workflow Working with very high resolution digital images on disparate systems and transcoding between different codecs can be very processor intensive Several workflows exist to get your RED ONE originals into your offline and online editing system but in order to perform creative work interactively these workflows require that RED RAW R3D files be converted into the native file format of the non linear editor In order to use uncompressed RGB image files in A
8. Autodesk Autodesk and the RED ONE Camera Workflow Guide Efficient Workflow from Shooting to Online into Autodesk Visual Effects Finishing and Grading Applications Autodesk The introduction of the RED ONE digital camera has taken the world of cinematography by storm Its low cost and ability to output high quality high resolution digital images have created great demand for RED ONE cameras The RED ONE camera is a high quality cost effective digital camera from RED Digital Cinema Corporation that makes high resolution digital cinematography accessible to many productions The camera records progressively scanned footage in 4K 3K and 2K resolutions in either 16 9 or 2 1 aspect ratios The RED ONE sports a single 12 megapixel CMOS sensor the Mysterium sensor that has a gross pixel area of 4520 by 2540 with an effective pixel area of 4096 by 2304 This is comparable to Super 35mm masked to 16 9 RED claims that the Mysterium supports a dynamic range of over 11 stops The Mysterium uses a Bayer pattern to capture images in a native 12 bit linear RGB RAW format Features are added to the RED ONE and bugs are fixed through firmware updates The current production firmware Build 16 represents a milestone in the camera s evolution Using the camera is just the beginning of the process Moving the Red digital media through the post production process and necessary color spac
9. PX sequences e You will now need to Consolidate and Reformat the clip before you can Relink it to your media e With the clip still selected go to the Tools section e Inthe Consolidate section set Consolidate to All Tracks and adjust the Handles setting according to the handle amount you set in Crimson e Click Consolidate and confirm e Next in the Unlink Relink section select Reformat and carefully chose the settings that match your DPX sequences e Click Reformat and confirm e Then in the Relink section click Relink From Reel e Your DPX sequences are now relinked to the imported FCP XML You can now finish the project About Audio Audio from the RED ONE camera is integrated into the R3D file The QuickTime proxies generated by the camera read the audio from the original file When converting footage with RED tools these applications will also copy the audio to stand alone QuickTime files To import an audio edit from FCP to Smoke Flame or Lustre you must mix down the audio to a 2 track audio file before importing Finishing with Lustre Put your EDLs exported from FCP in your Lustre project s scene folder Import the DPX sequences to the Shot Bin Import the EDLs To select the proper tape name for assembly enable the Use DPX Reel option Under Use options enable TC This allows Lustre to use the timecode in the DPX file header instead of file numbers Assemble the EDL Autodesk is a
10. capture in still photography or Cineon log scans of negative film where RAW and log typically have the ability to recover more highlight information than finished JPEGs or video With the RED footage the Rec7o9 Gamma option will look dark assuming ISO 320 lighting but it does appear to preserve the highlight information recorded by the camera Autodesk is a registered trademark or trademark of Autodesk Inc and or its subsidiaries and or affiliates in the USA and or other countries All other brand names product names or trademarks belong to their respective holders Autodesk reserves the right to alter product offerings and specifications at any time without notice and is not responsible for typographical or graphical errors that may appear in this document 2008 Autodesk Inc All rights reserved RED Digital Cinema RED RED ONE REDCODE R3D RED RAW Mysterium Scarlet REDFLASH RED DRIVE REDCINE RED ALERT REDline REDspace and REDrushes are trademarks of RED COM Inc RED Digital Cinema Camera Company i Autodesk
11. ck the Match button to reconnect your original media to your edits In the bottom table make sure all of your edits are matched to the proper R3D file they will be marked with a Found or Multi status Frame section Select your output frame size For video and HD workflows select the proper standard or high definition frame size such as HD1080p For film workflows select a 2K or 4K output size such as 2K 2 1 or 4K 2 1 Make sure that you set the appropriate settings under Scaling Operation for your output size For Resample select a resampling filter such as Mitchell or Lanczos Color section Set all Gamma and Color Space settings See Setting Color Space below REDline section Set the Rendering Output Path for your DPX files making sure that you choose a folder on your storage that is accessible to Smoke Flame or Lustre If required set the appropriate handles Set File Specification to EVENT Z F amp E this will render a DPX sequence named according to the R3D file and a frame number in a separate folder per event Under Render Settings for Quality select Full Debayer and for Output Format select DPX Make sure that Use TOD TC is selected Click the Render with REDLine button This will start the conversion process For more information about Crimson see Appendix B For more information on REDline and other RED applications see Appendix A Setting Color Space After you have loaded y
12. contrast and brightness for your footage Remember that RED ALERT is not a full blown color timing software its purpose is to do a one light process on your clips before editorial begins RED ALERT lets you e Examine your footage in full resolution with a zebra pattern and a histogram e Choose a color space and an output LUT e Color time footage by enabling you to adjust settings such as ISO exposure and saturation e Define in and out points on a clip before exporting e Export the clip as a 4K or 2K DPX sequence e Export the clip as a QuickTime movie using a variety of codecs and frame sizes for editorial in Final Cut Pro for example When a clip is opened in RED ALERT an RSX file is saved alongside the R3D file using the same filename It contains the additional metadata added to the R3D file in RED ALERT such as a look in and out points ISO settings and Output LUT This RSX file can be used in REDrushes and REDline Looks can be saved as presets to be reused on other shots opened in RED ALERT A saved preset is called an RLX file and saved in User gt Library gt Application Support gt RED Alert gt Presets One very useful feature of RED ALERT is its ability to instantaneously generate new QuickTime proxies from R3D files For example let s say a user wants to edit in Final Cut Pro with the QuickTime proxies but wants to add a look to his footage before he imports it int
13. e conversions for finishing purposes is presenting facilities with new challenges Autodesk recognizes the importance of RED digital media in today s productions and has developed this document to help facilities more easily and safely navigate around the potential pitfalls of an all digital workflow and to show you how to smoothly bring RED ONE Camera footage into Autodesk Smoke Autodesk Inferno Autodesk Flame Autodesk Flint and Autodesk Lustre by carefully considering editorial and interchange decisions project settings deliverable formats color space conversions and more This document describes an efficient RED to Autodesk finishing products workflow 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 software evolve new workflow options may appear The workflow presented here has been optimized for the currently available software and images shot on a RED ONE with firmware Build 16 In order to keep up to date on the latest news in the world of RED you are encouraged to visit their website regularly www red com You should also browse the official user forum RedUser www reduser net
14. for film use these values e Aspect ratio 2 or 1 77778 depending if your frame size was 2 1 or 16 9 e Bit Depth 10 bit e Field order Progressive e Graphics Processing 16 bit FP Graphics e Width Height frame size of RED footage see table Frame size Width Height Aspectratio 4K16 9 4096 2304 1 777778 AK 2 1 4096 2048 2 3K 16 9 3072 1728 1 777778 3K 21 3072 1536 2 2K 16 9 2048 1152 1 777778 2K 2 2048 1024 2 Import the DPX sequences e Inthe Library create a new reel to import your footage and select it e Click Import Image e Set the image format to DPX e Under Clip Media set your Soft Import Full Res option on or off e Under Clip Metadata select Tape From File Header and File Header Timecode e Navigate to the root folder containing the DPX sequence folders e Turn on the Scan Subdirectories option you should see your DPX sequences in the Files browser e Select all of your sequences and click Load e Clips are created from the DPX files in the selected reel Import the XML file e Set the edit list import option to XML e Click Import XML e Uncheck Link with video files and Link with audio files e Navigate to your FCP XML file select it and click Load e The recapture window will open but you need not change any setting here Just click EXIT Recapture e The XML has now been converted to a clip named like your FCP sequence e Select the clip and drag it to the Reel containing your D
15. hoose the debayer quality lower debayer quality yields a faster render e Adda look to the output footage developed in RED ALERT or in the camera e Make sure the proper timecode track follows the new media Edge Code or External TOD e Crop and scale to fit a certain format or aspect ratio like 1080p HD with or without letterbox e Create subfolders for each clip useful if exporting DPX sequences e Burn in timecode for rushes and dailies REDrushes installs automatically with RED ALERT Before installing a new version of REDrushes make sure you delete the previous version which is installed in the Applications folder There is no separate preference file to delete Also use the Apple Disk Utility to repair your Macintosh HD s permissions REDCINE REDCINE is a digital telecine application available for Intel based Macs and for the Windows operating system Using REDCINE you can import R3D files and apply basic color correction resize and reformat settings to your images Unlike RED ALERT REDCINE lets you import and view multiple shots Before using REDCINE for the first time you can watch the video tutorials offered by RED since a manual is not provided They can be found on the RED website in the support section The application has four main areas which you can access from the button list on the left Project The Project settings let you e Create load and save project
16. ighlights will be somewhat compressed For more information on RED Color Processing see Appendix D Lighting for Film If the DP lit the scenes according to a film style of working relying on a light meter rather than a video monitor then there are several options depending on whether your primary deliverable is film or video If 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 far too saturated If the scenes were lit for ISO 320 you would find that converted images look dark This does not necessarily mean that the images were underexposed It does mean that you have to begin your grading session with an overall gamma boost Use the Brightness parameter to brighten everything during the conversion process A value of about 2 5 in Crimson is a good starting point The Brightness control in REDCINE is 10x more sensitive so use a value of about 25 Another important point about the Rec7og Gamma setting is that the converted images contain all the highlight information that was captured by the camera One might assume that using one of the log Gamma settings would export images with more highlight information but this does not seem to be the case Film Deliverable If your primary deliverable is film we assume you will be using a print film si
17. ith 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 Appendix C Another FCP Editorial Option 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 offline 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
18. mulation 3D look up table LUT such as from Autodesk Lustre Color Management for grading The goal is to convert your images into something resembling a Cineon style scan from color negative film Because the characteristics of the RED ONE are so different from film negative and because of the limited color processing flexibility of Crimson this is not entirely possible To get the tone scale approximately correct set Gamma to PDLogg85 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 of about 470 as per convention Set the Color Space parameter to either CameraRGB or REDspace Colors will seem washed out compared to film capture To correct this try using the Saturation parameter to boost saturation A fair amount is needed but going above o 2 can start to cause clipping artifacts in saturated colors Crimson can display the individual RGB channels This is a good way of detecting if 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 4 Autodesk Finishing with Smoke or Flame Create a new project Create a new project with settings that match the exact frame size of your DPX sequences HD projects use the usual HD formats but
19. ndeed as we will see next most of the gamma setting options compress this part of the tone scale heavily 16 bit pixel value 5 w 10 10 8 6 4 2 0 2 4 6 relative log exposure stops Note The exposure axis of these figures has a zero label to indicate the luminance of a mid gray object when lit for ISO 320 Speed rating of digital cameras or film for that matter is an area of some debate The normal exposure reference was based on the shape of the REDspace Gamma option i e the camera default setting the 320 ISO exposure recommendation in the camera user manual as well as technical standards in this area When shooting film one essentially picks a sensor depending on the expected lighting situation With the RED one has a sensor with a fixed speed and makes a noise trade off in post production not unlike pushing a film stock This trade off is made via the ISO or Exposure settings It is our understanding that changing the ISO setting on the RED camera does not affect capture only post processing 8 Autodesk Log style Gamma settings Figure 3 The log style options 1200 o0 PDLog985 PDLogg85 PDLog685 and PDLog685 REDlog along with a reference A RedLog 3 s prenikne to illustrate where a film negative a aiii oo oie ponies di de preeu would fall in a typical Cineon z O EA scan ignoring the toe and a H a al
20. o FCP He can open the R3D files in RED ALERT color time each shot and produce new QuickTime wrappers for the media One benefit of this workflow is the ability to import the real time QuickTime proxies in FCP without incurring a lengthy render Before installing a new version of RED ALERT make sure you delete the previous version RED ALERT is installed in the Applications folder There is no separate preference file to delete Also use the Apple Disk Utility to repair your Macintosh computer HD s permissions REDLINE REDline an Intel Mac only application is a command line interface for RED ALERT which supports batch processing of clips and Apple QMaster distributed rendering It runs from the Apple Terminal window Since there is no GUI for this application in Terminal type redline to get a list of available parameters REDline installs automatically with RED ALERT Before installing a new version of REDline make sure you delete the previous version which is installed in usr sbin There is no separate preference file 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 of R3D files and transform them into another format QuickTime DPX sequence or Tiff sequence It enables you to C
21. of these controls have any effect 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 id 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 Rec7o9 and that the effect is different 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 PROS of this option e Faster Mac response during editorial e Smaller file sizes e QuickTime files can be imported in Smoke with sound as a reference CONS e Long render times when converting R3D files e Requirements FCP 6 0 2 or later RED QuickTime codec 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 follo
22. or the R3D filenames Instead use the various comment columns to identify your clips Import the proxies directly into FCP either by drag and dropping them into a bin or by using the FILE gt IMPORT OPTION Selecting a proxy resolution before import depends on the speed of your editing system The medium resolution proxies ending in _M mov work best under most circumstances Edit When inserting a proxy clip into a new sequence FCP will prompt you to change the resolution of the sequence to match that of the footage Click Yes then in the RT menu select a low quality to avoid as much playback stutter as possible While real time debayering is very processor intensive it is still a simple way to edit footage with synchronized sound from the original camera recording For another editorial approach in Final Cut Pro see Appendix C A Flame or Smoke workflow involves exporting only an XML file For a Lustre workflow you also need to export one or more EDLs so limit your edit to one video track If you must edit using several tracks you will have to make as many duplicates of your sequence as you have video tracks and remove any additional video from the duplicates You will end up with several XML files one per video track Export an XML File for Flame Smoke or Lustre Once you are done editing export an XML of the final sequence Select the sequence in the browser Choose File gt Export gt XML Selec
23. our clips Crimson Workflow displays the various color settings that were stored as metadata in your R3D files These will vary depending on how the camera was configured at the time of shooting The settings for each clip will control the rendering of the files from camera RAW to some other color space For example if you set Kelvin to 3200 Crimson will white balance the images so that gray objects lit with tungsten light color temperature of 3200K will have roughly equal red green and blue pixel values Likewise if you set ISO speed sensitivity higher than 320 Crimson will boost the exposure of the images make them lighter You can override the color settings for the currently selected clip However for settings like ISO and Kelvin if they were correctly configured during the shoot you shouldn t need to override them Nevertheless you may want to override the Gamma and Color Space settings that will configure what color space you convert your images to Video Deliverable The best values to use will depend on a variety of factors Here are some pointers to get you started Lighting for Video If the director of photography lit the scenes according to a video style of 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 if using REDspace gamma you may have limited flexibility in color grading because the h
24. t Apple XML Interchange Format version 2 e Do not select Include Master Clips Outside Selection e Check Save project with latest clip metadata recommended Make sure that you name your XML file properly since you will be applying modifications to it For example if editing a music video called Code Unknown you could name your file code_unknown_edit xml This XML file points to the QuickTime proxies that you used for your offline editing in this case movies that are not at the full resolution the RED camera is capable of delivering Export EDL Files for Lustre Pare down your XML sequence to make it more EDL friendly Make as many duplicates of it as you have tracks and prepare video only sequences carefully naming each one For each EDL sequence Select the sequence to export in the Browser Choose File gt Export gt EDL Type ina title for the EDL Select CMX 3600 as a format In the Audio Mapping box set the four audio tracks to None Repeat these steps for each video track s corresponding sequence Autodesk Exporting DPX Sequences Using Crimson Workflow Use the Crimson Workflow application to convert R3D media to DPX sequences Open the Crimson application At the top of the interface click Choose to open your XML file Then carefully follow the steps for each of the following sections Match section Click the button to select the root folder where your R3D files reside Cli
25. t each reel has a unique name Set the reel number to 001 at the start of every new project Other camera settings Use the default exposure and color temperature settings The RED ONE converts RAW image data to various color spaces in order to support previewing on set however unmodified RAW data is recorded to storage Standard settings on the camera are ISO 320 and a5000K color temperature These settings are stored as metadata and serve as a starting point for later color space and format conversion using the RED software tools or for post production work using Smoke Flame or Lustre Backup your digital media Optionally back up your files to separate physical media keeping the same folder hierarchy as the magazine It s much easier to keep track of your media by placing each day s magazines in a separate folder Consider keeping several copies of your data preferably in separate physical locations Finish in Flame or Smoke Create a project Import XML Import DPX files Assemble Finish in Lustre Create a project Import EDLs Import DPX files Assemble Autodesk Working In Final Cut Pro Import QuickTime proxies into Final Cut Pro There are several methods of editing your content in FCP One reliable method is to use the QuickTime proxies generated by the camera These proxies contain the synced audio from the shoot Make sure that you do not modify your proxy filenames
26. u re clipping data Output This is where you select the output format and location Shots can be rendered out of REDCINE as image sequences DPX Cineon Tiff JPEG OpenEXR or Targa file format or as QuickTime files with several codecs offered You can specify the output path and debayering quality You may also opt to add burned in timecode and other information NOTE when using REDCINE to convert R3D files to another format the audio doesn t follow Library REDCINE has a library that lets you organize your clips in different series and sequences You can also create multiple copies of a shot to visualize different looks It is customary to trash your settings and project presets any time you update the application On Mac OS X operating system these settings can be found here MACINTOSH HD gt LIBRARY gt REDCINE Ona PC the settings can be found at C DOCUMENTS AND SETTINGS ALL USERS APPLICATION DATA REDCINE Autodesk Appendix B Crimson Crimson is a third party Mac only application that contributes to an efficient 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 Crimson also allows you to use REDline to output your files w
27. utodesk applications the R3D files need to be converted to DPX DPX is a widely accepted file format and can be used in many types of applications from graphics design to offline editing QuickTime conversion or QuickTime reference files through to finishing Autodesk Smoke Autodesk Flame Autodesk Lustre and final delivery print to film or video Because of the nature of Bayer encoded files the conversion to DPX files can be a time consuming process This recommended workflow incorporates the RED QuickTime proxies for offline editing in Final Cut Pro FCP From FCP the conversion step involves Crimson Workflow to export a series of DPX sequences which you can then import into Smoke Flame or Lustre Shooting With RED ONE Before shooting with the RED ONE camera use the following settings Set format Import QuickTime proxies Set timecode Edit Set Reel numbers Export XML XML referencing Copy and backup media For Lustre Export EDLs QuickTime proxies Load XML Load R3D media Export DPX sequences DPX Sequences e RED QuickTime Codec see Appendix A for details e Crimson Change to DPX Using Crimson Format Autodesk applications will accept 4K 3K and 2K projects Time code Select TOD as the primary timecode track Timecode generated by the RED ONE camera is non drop frame Reel numbers Make sure that the Incremental Reel option is checked and properly configured so tha
28. wing 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 Autodesk Figure 1 The result of setting 10 gamma to Linear This graph shows some residual dark current since the minimum pixel value is about 800 out of 65535 The behavior near black 10 F is dependent upon the black r shading operation which is done as part of the camera calibration We ran the black shading several hours before this part of our testing was done and the camera dark current may have risen during that time 16 bit pixel value 3 10 mises 10 HAD lt 6 6 4 2 0 2 4 6 relative log exposure stops Linear Gamma setting with extra black subtraction Figure 2 By manually subtracting the pixel value from a shot with the lens cap on we got Figure 2 This shows a response that is indeed nearly linear with respect to scene luminances The camera specifications claim a 12 bit A D converter and indeed we see almost 12 stops of dynamic range between black and the clipping point It is worth noting that although this response can be measured in a laboratory setting with appropriate pixel averaging the bottom three to four stops of dynamic range are quite noisy and may be of limited use for real world image capture I
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