For complete test results you can visit ProVideo Coalition.com (http://provideocoalition.com/index.php/aadams/story/red_build_20_torture_tests/P1/)

The Red camera represents a new approach to motion image capture that relies on post processing, rather than in-camera processing, to deliver images that are appropriate for use in both video and film finishing formats. The files that are written directly by the camera
represent – in compressed form – the actual data captured by the Mysterium sensor, without any manipulation for specific display systems. Because of this, when working with Red images it is necessary to understand some of the basic principles of working with digital images in order to determine the proper path for an intended delivery format.

Without going into unnecessary details, the Mysterium sensor in the Red cameras is a single sensor that captures color images by means of a color filter array that is superimposed on the individual pixel sites on the sensor. The particular pattern that is used is called a Bayer pattern, and consists of alternating rows, each of which has a combination of either red and green pixels (i.e., GRGR etc.), or blue and green pixels (i.e., BGBG etc.). In order to create a “normal” RGB image, a process called a Debayer (also referred to as “demosaic”) is invoked, which uses some rather complex math to predict what each of the individual pixel sites would contain in all three color components by combining the values of the surrounding pixels for each of the colors not directly represented by each individual pixel. A good debayering algorithm can be very accurate, and the algorithm used by Red is very good indeed. Since the red, green, and blue filters used on the sensor are not absolutely “pure,” and the tiny lenses that focus each filter’s light on the image element itself are not perfect, there is a certain amount of “crosstalk” that occurs between the values of each pixel – in other words, the red pixels also contain a certain amount of blue and green, the blue pixels contain a certain amount of red and green, and the green pixels contain a certain amount of red and blue. The debayering algorithm is specifically designed by Red to account for these variations, based on their specific sensor characteristics. The sensor also has a “native” white point, that is, a specific point in the color spectrum that is considered to be white. In order to achieve a more “pure” – and thus accurate to the actual scene – image on a specific type of display, a color matrix is then used that alters each component by adding or subtracting a bit of the other two components, based on the characteristics of the intended display, in particular, the display’s specific white point. In the world of Red, this color matrix is usually identified using the term Color Space.

Will see more about Color Space, Gamma etc in coming posts…

Excerpts from Assimilate White paper by Mike Most (Colorist/Technologist)

Red Pro Prime lens test shoot from offhollywood on Vimeo.

RED ONE digital source needs to be managed near-set and in post-production to integrate into modern file-based workflows. REDCODE Raw source cannot be directly reviewed, needing to be converted and graded for offline dailies, and conformed and reconverted for online editing, grading and finishing.

Baselight Transfer (BLT) is a cost effective, billable digital telecine tool that seamlessly integrates REDCODE Raw source into standard non-linear editing, grading and finishing workflows.

BLT can be used near-set to instantly view REDCODE RAW camera rushes, to confirm ‘shot’ or ‘take’ integrity. It can also be used in a post-production environment to enable rapid conversion of REDCODE RAW content into either graded dailies or a conformed online making it the complete, high performance digital telecine solution for RED-based projects.

*The complete BLT RED toolset will also be available for all Baselight systems*

Some of the key features include:

real-time 2K (‘half-res’) decode and review from CF cards, Firewire drives, or file-system based disk packs
plays R3D natively on the timeline, in real-time, with simultaneous real-time GPU grading
plays 2K DPX in real-time with Truelight profile
ability to edit all RED decode parameters (including reading RSX files) on a per-shot basis, allowing ‘group grading’ of multiple shots simultaneously
creates DNxHD MXF, Quicktime, 1:1 MXF, TIFF etc. content direct from R3D – no intermediate processes required
supports CMX, AAF, and XML using Baselight’s statistical file based conform engine

Data Dailies

LaserPacific supports a variety of workflow options for projects shooting on RED or RAW. Whether you are looking for a tapeless workflow or integrating RED material into other projects, whether cutting on FCP, AVID, or any other offline system we have a path for you. LaserPacific’s dedication to your image and our experience in Television and Feature Films allows us to manage your data file’s color space and texture for your target viewing environment and LaserPacific’s award winning aIM services can be used with for production screenings.

Workflow

LaserPacific understands the importance of dailies. Timely delivery of high quality images is paramount. Color correction, synch of dual system audio, accurate FLX and ALE information, and the ability to create a variety of deliverables are not aspects of post-production that go away when working with data acquisition. LaserPacific Data Dailies performs all these services in a manner consistent with film production workflow that takes these issues off the hands of the production. As our of our clients once told us, “I love you guys at LaserPacific – You stay up late so you we don’t have to.” Editorial materials can be provided for any offline system in any codec required. After dailies are complete we also provide backup to LTO tape and/or storage in our MPAA reviewed secure data facility. For feature films returning for completion of their DI we offer an easy way to use offline EDL’s to trace back to the original R3d’s or RAW’s. LaserPacific Data Dailies provides ease of mind and quality assurance without sacrificing turn around.

Image Management

LaserPacific’s approach to handling data is primarily informed by a respect for your images. Our processes are optimized for the color space you will finish in and can be adjusted as needed for shows that want greater latitude in finishing or want a more polished look in dailies or both! For feature films we utilize aIM to ensure a consistency of image from dailies through to print film and digital cinema without jumping from color space to color space.

We’ll help you See Red
LaserPacific will help you see Red in a whole new light. The Red One camera has certainly gotten the industry’s attention and at the same time, the various options available in post production finishing for Red, can sometimes sound confusing. Want the straight talk on Red? LaserPacific has it. Whether you are doing a feature, television show, music video or commercial, LaserPacific can walk you through a digital post workflow that really flows.

For more information on Digital Camera Workflows, contact:

Rob Smith, VP Emerging Digital Technology and Workflows 323-462-6266 x 2203 rsmith@laserpacific.com

There is plenty of DR in a RED ONE to make great images… many have proven that. But the range is limited enough that you can easily miss the window if you are not careful. Let’s recap a very simplistic starting point for exposure to keep you out of trouble.

Under-exposure leads to noise. Over-exposure leads to clipped highlights. So… don’t do either, unless you really want to.

1. Make sure your monitor/LCD’s brightness is set correctly. The RED LCD’s need 4 or 5 clicks down from full bright in most circumstances. If set too bright… it seduces you to stop down and under-expose.

2. ETTR. Expose to the right. Just under the point of clipping. That keeps you away from noise in the shadows and keeps detail in the highlights. In a dark scene you may choose to allow some specular highlights clip. See False Color or Zebras below.

Use your tools.

Quickly set approximate exposure by looking at the LCD.

Check the color bar next to the histogram (which corresponds to False Color colors and originates from RAW). Turn out the top red box. That is the equivalent to clipped. Don’t worry about the orange, yellow or other colors… they are probably supposed to be lit.

The Stop Lights next to the color bar are from the RGB path! Don’t let them fool you. Sometimes they are on and you still have detail in the highlights. We are likely to change this in a future build to represent RAW and not the RGB path. Thoughts?

Use False Color. Red means clipped and purple means super dead. I set my top left LCD button to False Color in User Prefs. If it (something in the scene) is red… it is dead (clipped). There are time when you might be OK with that, but False Color tells you exactly what is clipped. You choose instead of guess.

Use Zebras. They will tell you exactly which highlights are blowing (you need to know)… you can also set them for the shadows, they “buzz alert” when you are likely to encounter a lot of noise. You can set the top and bottom limits to each of them.

If anyone cares to add… please do.

Jim

Red Rocket:
R3D Decode, debayer and playback high quality REALTIME 4k at 30fps (or 5K at 25fps).

Will accelerate FCP, Premiere, After Effects, RED Alert!, REDCINE, REDrushes or any application using the REDCODE SDK.

PCI-Express, Output interfaces will include Quad-DVI and Quad-HD-SDI. Works with Mac, PC and Linux.

Under $5k.

Jim

They also shown the Red Primes and started booking for the lenses.

Red Pro Primes:

RED Pro Primes (RPPs)

5 lens set- $19K
(25mm T1.8, 35mm T1.8, 50mm T1.8, 85mm T1.8, 100mm T1.8)

6 lens set (adds 300mm)- $23K.

Anyone who buys a “set” gets all future RPPs at the “set price” for that lens. Not all future lenses will be the same price.

Individual lens prices are as follows:

25mm, 35mm, 50mm, 85mm and 100mm- $4250
300mm- $5975K
18-85mm T2.9 Pro Zoom- $9975K
18mm T1.8 (in rapid development)- $3800 (set price) and $4250 individual price

Other lenses are under development are a 14mm, a 21mm, and a 65mm.

FAQs- New RED Pro Prime set.

1. RPPs are “RED-centric”, which means that the light path is optimized for maximum resolution and consistent illumination, with minimum breathing for the Mysterium sensor family. Patent Pending.
2. T-stop range is 1.8-22.
3. Image diagonal- > 32mm.
4. Extra low dispersion (ELD), Super Low Dispersion (SLD) and anomalous dispersion glass for maximum chromatic aberration correction.
5. Center resolution is greater than 100 (lines/mm). Edge (5K) is greater than 63 (lines/mm). (You will see Wed. how much greater)
6. Close focus from lens front (from sensor) is:
25mm- 4″ (12″)
35mm- 4″ (12″)
50mm- 6″ (12″)
85mm- 18″ (24″)
100mm- 24″ (30″)
7. High relative illumination from center to edge of field (5K).
8. Uniform Spectral correction to accommodate any light source.
9. Internal Focus and Unit Focus designs.
10. Consistent 110mm front diameter.
11. RPPs will work with film cameras.

The image circle varies depending on focal length due, in some part, to the image mask on the front element. 5K 2.40:1 is possible through the entire zoom range. A larger format is possible past (greater than) 50mm. We are still nailing down exact specifications, but this should give you something to work with.

Jim