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Autodesk
®
Autodesk and the RED ONE™ CameraWorkow GuideEcient Workow rom Shooting toOnline into Autodesk Visual Eects,Finishing, and Grading Applications.
 
Using the camera is just the beginning o theprocess. Moving the Red digital media through thepost-production process and necessary color spaceconversions or nishing purposes is presentingacilities with new challenges.Autodesk recognizes the importance o RED digitalmedia in today’s productions, and has developedthis document to help acilities more easily andsaely navigate around the potential pitalls o an all-digital worklow and to show you how tosmoothly bring RED ONE™ Camera ootage intoAutodesk
®
Smoke
®
, Autodesk
®
Inerno
®
, Autodesk
®
 Flame
®
, Autodesk
®
Flint
®
, and Autodesk
®
Lustre
®
 by careully considering editorial and interchangedecisions, project settings, deliverable ormats, colorspace conversions, and more.This document describes an ecient RED-to-Autodesknishing products workow, and outlines important REDconcepts. This will help production and post-productionteams using Autodesk products make decisions thatgive the best possible results.Furthermore, this document presents importantobservations about the RED camera color processing,which were noted during testing with the RED ONE™camera.As the camera and the accompanying sotwareevolve, new workow options may appear. Theworkow presented here has been optimized orthe currently available sotware, and images shoton a RED ONE™ with rmware Build 16.In order to keep up to date on the latest newsin the world o RED, you are encouraged to visittheir website regularly (www.red.com).You should also browse the oicial user orum,RedUser (www.reduser.net). RED team membersare regulars on RedUser, and you will oten indwhat you are looking or by browsing the orums.
Some Important ConceptsR3D™ Files
RED ONE™ uses a proprietary RAW le ormat (RD™)that is compressed using the wavelet-based REDCODE™codec. There are two resolution settings in the camera:REDCODE™ 28 and REDCODE™ 6. These resolutionsettings represent the average data rate in MB/swhen recording at 4K using a 16:9 aspect ratio. Datais saved in the RD™ ile ormat, which can thenbe rendered-out to another ormat using a RED
®
 application or a third-party tool.The digital media can be recorded on a 20GBremovable RED DRIVE™ hard drive or on 8GB and 16GBREDFLASH™ compact ash cards. The RED DRIVE™can be mounted on a Mac
®
computer or a PC viaFireWire
®
serial bus 400, 800, or USB 2. REDFLASH™compact ash cards can be mounted on a Mac or PCwith a ast CF card reader (like Lexan
®
or SanDisk
®
 cards)—usually through FireWire 800 or USB 2.Each clip is saved in a separate older as an RD™ le. Thecamera also generates our Apple
®
QuickTime
®
proxies(see sidebar) that can be used in QuickTime-nativeapplications such as Final Cut Pro
®
(FCP).The RED ONE™ camera can record up to ourchannels o uncompressed, 24-bit, 48Khzaudio. They are saved inside the same RD™ lecontaining the corresponding image.
The introduction o the RED ONE™ digital camera has takenthe world o cinematography by storm.Its low cost and ability to output high-quality, high-resolution digitalimages have created great demand or RED ONE™ cameras.
The RED ONE™ camera is ahigh-quality, cost-eectivedigital camera rom REDDigital Cinema Corporationthat makes high-resolutiondigital cinematographyaccessible to manyproductions. The camerarecords progressively-scanned ootage in 4K, K,and 2K resolutions, in either16:9 or 2:1 aspect ratios. The RED ONE™ sports asingle 12 megapixel CMOSsensor (the Mysterium
®
 sensor) that has a grosspixel area o 4520 by 2540with an eective pixelarea o 4096 by 204. Thisis comparable to Super-5mm masked to 16:9. REDclaims that the Mysterium
®
 supports a dynamic rangeo over 11 stops. TheMysterium
®
uses a Bayerpattern to capture imagesin a native 12-bit linear RGBRAW ormat.Features are added to theRED ONE™ and bugs arexed through rmwareupdates. The currentproduction rmware, Build16, represents a milestonein the camera’s evolution.
1
QUICKTIME PROXIES
The RED ONE™ camera generates QuickTimeproxies that display the RD™ les in one o our resolutions. These proxies are pointers thatreerence the original RD™ les and do not containany media. For this reason, the proxies must residein the same older as the original RD™ le.The RED QuickTime plug-in (available only orIntel
®
processor-based Macs) enables QuickTimeapplications to directly open these proxiesor viewing and editing — no le conversionnecessary.Proxies use the ollowing nomenclature:lename_F.mov Full-resolution (ull RD™ rame size)lename_H.mov Hal-resolution (1/2 rame size)lename_M.mov Medium-resolution (1/4 rame size)lename_P.mov Proxy-resolution (1/8 rame size)
 
RED ONE™ and Timecode
The RED ONE™ camera records each clip with twotimecode tracks: Time o Day (TOD) and Edge Code.When shooting, choose one o these settings orthe primary timecode because some applicationscannot read both timecode tracks. The timecode youchoose is set in the TimeCode menu o the cameraand shows up on the camera’s external displays. Thecamera’s displayed timecode is also the one used inthe QuickTime proxies that the camera generates.TOD will use the real time o day or can be jam-synced via the camera’s Genlock port. A clip willhave continuous timecode rom start to nish, butthe next clip will have a non-continuous start time.This is similar to FreeRun mode on broadcast cameras.Edge Code starts at 1:00:00:00 and is continuousor each clip on a given magazine. When a dierentmagazine is loaded into the camera Edge Coderesets to 1:00:00:00, so close attention should bepaid to media management, as several clips willhave the same timecode. This is similar to REC Runmode on broadcast cameras.Each digital magazine is given a reel number, rom001 to 999, which is important to the optimalworkow we will be discussing. The reel numbermust, o course, be careully monitored during datatranser. QuickTime proxies use the RD™ lenameas the reel number in FCP, which helps whenrelinking QuickTime les to the right RD™ le.
Format
Autodesk applications will accept 4K, K, and 2K projects.
Time code
Select TOD as the primary timecode track. Timecodegenerated by the RED ONE™ camera is non-drop rame.
Reel numbers
Make sure that the Incremental Reel option ischecked and properly congured so that each reelhas a unique name. Set the reel number to 001 atthe start o every new project.
Other camera settings
Use the deault exposure and color temperature settings.The RED ONE™ converts RAW image data tovarious color spaces in order to support previewingon set, however, unmodied RAW data is recordedto storage. Standard settings on the camera are ISO20 and a 5000K color temperature. These settingsare stored as metadata and serve as a starting pointor later color space and ormat conversion usingthe RED sotware tools, or or post-production workusing Smoke, Flame, or Lustre.
Backup your digital media
Optionally back up your iles to separate physicalmedia, keeping the same older hierarchy as themagazine. It’s much easier to keep track o yourmedia by placing each day’s magazines in a separateolder. Consider keeping several copies o your data(preerably in separate physical locations).
A Highly-Ecient Oine-to-Online Workow
Working with very high resolution digital images,on disparate systems, and transcoding betweendierent codecs can be very processor intensive.Several worklows exist to get your RED ONE™originals into your oline and online editingsystem, but in order to perorm creative workinteractively, these worklows require that REDRAW™ RD™ iles be converted into the nativeile ormat o the non-linear editor. In order touse uncompressed RGB image iles in Autodeskapplications, the RD™ iles need to be convertedto DPX. DPX is a widely accepted ile ormat andcan be used in many types o applications, romgraphics/design to oline editing (QuickTimeconversion or QuickTime reerence iles) throughto inishing (Autodesk Smoke, Autodesk Flame,Autodesk Lustre) and inal delivery (print toilm or video). Because o the nature o Bayerencoded iles, the conversion to DPX iles can bea time-consuming process.This recommended workow incorporates the REDQuickTime proxies or ofine editing in Final Cut Pro(FCP). From FCP, the conversion step involves CrimsonWorkow to export a series o DPX sequences, whichyou can then import into Smoke, Flame, or Lustre.
Shooting With RED ONE™
Beore shooting with the RED ONE™ camera usethe ollowing settings:
2
System Requirements
RED ootage shot on a RED ONE™ camera using Build 16 or
•
laterA ast Mac, such as an 8-core MacPro with 8 GB o RAM and a
•
ast storage arrayFinal Cut Pro 6.0.2 or later
•
QuickTime 7.5 or later
•
RED QuickTime Codec (see
•
Appendix A
or details)Crimson
•
of 00

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