RED ONE

Shooting with RED ONE

Not video, not film! RED ONE is a digital “direct to data” film camera. 2k and 4K up to 120 fps with a dynamic range that rivals a 35 mm negative. All high quality PL-mount cine lenses can be used which will give the same depth of field as traditional 35 mm cine film cameras. RED ONE is designed to be modular, several RED or third party accessories can be mounted to suit different production demands.

RED production

Shooting direct to data changes things at the shooting site. Your take is immediately available, at full 4K if necessary. Besides reviewing it, you can edit it, pregrade it, even make composites should you need to.
Since data on a CF-card or on a hard-disk is now your valuable and only original a backup should be made immediately, preferably at the shooting site. Besides backing up one can do quick dailies for viewing on DVD or over Internet. RED provides software tools for this.

RED post

Typical RED post workflow is very straight forward. RED ONE camera records the footage at Redcode RAW formatted data onto the selected RED media. Nice thing is, that this same storage media can be connected to any computer and handled as common data. It can be viewed on shooting site and it could be backed up as data even at site if needed.
As the footage comes to post two things are done immediately. First an archival data backup of all camera footage for example onto an LTO3 tape for long time storage — very important, remember, there is no negative to put in a vault! Secondly, all footage needs to be transfered to some suitable format for editor, typically a Quicktime-stream.

When the edit is locked, post gets an EDL list. Here RED post has an edge, since all footage already sits in post an online conform can be done in a split second, no film transfers, no tape transfers!
After online follows color-correction. Or in fact they can also happen at the same time, RED post is truly nonlinear. 4K framesize is made practical by high quality compression codec Redcode RAW. This wavelet codec Talvi Cinema can handle natively! In practice this means that the original footage is always kept as a source, all editing and color corrections are just metadata — so all mastering, SD, HD, Digital Cinema or film prints are always first generation. This has even a new name, finalizing! Versioning is also a breeze, just alter the metadata! All digital post production tools are available, now just in full 4K quality!

Direct to print

Today we still need 35 mm prints. The Talvi Cinema DCI-master can be sent to Nordisk Film for Cinevator realtime filmrecording. Colours have been calibrated to match as precisely as it is possible onto film. If the amount of prints needed is under 10, a Cinevator direct to print is a very affordable way to make prints without costly negative, but with digital sound and subtitles.

Digital Cinema mastering

The Talvi Cinema post production master reference is Digital Cinema spesification. We will review your production as it will be seen by audience in a DC theater, as well as in traditional film print — what you see is what you get! After approval we will encode your film into XYZ color-space according to DCI specification ready to be packaged for Digital Cinema distribution.

More on RED ONE camera

www.red.com
www.red.com/faq
www.reduser.net
RED ONE pricelist