RED ONE

THE CAMERA    FILE-BASED WORKFLOW    TAPE-BASED WORKFLOW

    The RED ONE camera has ignited the file-based acquisition market for high quality production. Resolutions higher than HD, the ability to mount standard cinema lenses, and the film-like digital negative approach have made this one of the most popular cameras availabe today.

  • Q: What frame rate should I shoot with on the RED One?
  • A: We recommend shooting in 23.98 for the greatest flexibility in post. This will allow you to create HD and SD masters and 35 mm film. You can also record in 25p for a PAL delivery.

  • Q: At what frame rate do I record my sound?
  • A: Most clients are recording sound at either 23.98 NDF or 29.97 NDF for a 23.98 RED shoot. With the RED one you have the option of recording sound in camera. This will allow you to begin editorial in a more efficient manner.

  • Q: What resolution should I acquire my images at on the RED One?
  • A: Choosing a resolution is a creative choice that will depend on the project and style. In general we recommend the following resolutions: - 4k (1.78 or 2:1) for theatrical release.
    - Quad HD (3840x2160 1.78) for HD release.
    - 3k for off speed material 1-50 frames at 23.98.
    - 2k for off speed material 1-120 frames at 23.98

  • Q: How do you create offline media from camera original R3D media?
  • A: Our clients depend on us for efficient transcoding to DNX HD or ProRes for offline/online editorial. We offer tape and tapeless solutions for all budgets. We offer simple transcode or traditional dailies with sound syncing from external audio and color.

  • Q: Does shooting with the RED One save me money?
  • A: Acquiring images with the RED One can save you money both in production and post as your post options are scalable.

  • Q: How do I archive my digital dailies negative shot on the RED One?
  • A: We have come to trust the fact that 35mm negative will be around for 100 years but with data the tools and hardware change rapidly. The ability to access your camera original media in 10 years is a major concern. For now LTO data tape is an appropriate archival element forf camera original media. We offer standard methods of archival to tape to ensure compatiblity at other facilities, as well as future restoration of data.

  • Q: Is there a tape based workflow for RED One?
  • A: There are many ways to get your R3D media to tape. We can work with broadcast quality footage in a traditional telecine environment, giving our clients the opportunity to rely on standard trusted tools and artists. Traditional dailies ensure the images have been QC'd, sound is synced, and the appropriate editorial databases have been created. This is a great way to work if you know that you will be delivering HD masters at the end of the day.

  • Q: What is the advantage of shooting 4k if I know I will be finishing in 2k?
  • A: Depth of field, lens options, and quality. In traditional film DI we scan at resolutions up to 6k and down sample to 2k. This workflow is similar when acquiring 4k with the RED One.

  • Q: What post production tools offer native support for RED One media?
  • A: Many vendors now support REDCode natively. The codec is evolving so different builds yield different results. We have methods of dealing with builds before they are released, including new resolutions and color spaces, even if the native support for these vendors isn't yet available.

  • Q: Who handles my media on set and how do I protect my media?
  • A: A data wrangler or DMT will be responsible for moving all camera original footage to at least two 500 GB firewire 800 drives. Protecting the media goes back to the discussion of archival to LTO.

  • Q: What is the danger working tapeless?
  • A: It is completely safe to work tapeless as long as you have the appropriate support. Transcoding, archiving, and data management can be a daunting tasks and relying on a post facility is the best way to make sure your project will be completed in a cost efficient and safe manner.