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Can the RED One Digital
Cinema Camera deliver your aesthetic?
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Shooting with RED One
- RED One's 12 megapixel, Super 35 MysteriumTM sensor
records up to 4K (4096x2340) - over four times that of
1080p ENG-style cameras. Most film-acquired projects
are scanned at 2K for post-production.
The RED One has been technically measured at 11-1/3 stops.
Independent, real-world measurements have placed it at
around 9 stops. Your own tests will reveal how you
wish to rate it. In brief, protect
your highlights and fill your shadows to keep them within
your tested latitude and above the noise floor (if that is
your aesthetic.) Light meters and your eye always
serve you well. The camera's histograms, zebras,
false-color exposure display, and spot meter are also
excellent evaluation tools. Off-camera scopes are also
useful.
Be wary of making critical exposure and
color decisions solely with the live output of the RED One.
These displays are derived from a rough-and-ready decode of
the RAW data coming off the sensor. As such, color
reproduction can be off under certain circumstances.
Be sure to perform tests in pre-production and reviews on
set with a DIT/colorist and a calibrated workstation for
absolute assurance. That said, you will find RED One
to be very forgiving and, as you get to know its
capabilities and constraints, will find yourself shooting
with fewer reviews.
RED ONE image shot
with prototype camera
4K Milk Frame Grab (4MB
jpg)
4K Milk Girls Frame Grab (4MB
jpg)
RED ONE "Frankie"
bench prototype produces 11-1/3 stops of dynamic range
Independent measurements rate the camera between 8 and 9 stops
above the noise floor.
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A Companion to Film
- Acquiring with film? Consider RED One for your VFX
shots. With all of its color/grading "looks" relegated
to post, RED One footage can match any film stock.
With it's 4K resolution (3.2K measured independently) RED
One delivers super clean blue-/green-screen keys. Film
requires scanning and frame stabilization to prepare it for
the VFX team. RED One footage is ready for VFX right
off the camera.
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Over-sampling: 4K
down-sampled to 2K or HD produces more natural, smooth detail than
other cameras' sharpening algorithms.
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Designed for the Set
Swappable lens mounts - PL, Nikon, Canon, super 35,
super 16, B4
Standard film camera optics and accessories - 19mm & 15mm
lightweight
Look-around, just like an optical viewfinder
10-pound body and modular accessories can quickly
be configured and rigged for any situation - steadicam,
handheld, hothead, underwater housing, helicopter mount...
Records to on-board media including compact-flash
cards (4-12 minutes) and RAID hard drive (2-3 hours.) No tethers.
No cables.
Four channels of 24-bit, 48kHz
audio
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Post Production -
RED One's 12-bit RAW workflow is tapeless and digital.
No film stock.
The companion REDCine software delivers simple one-light
correction/grading on or off the set. DPX and other
output formats feed more robust color correction suites.
RED One RAW data currently works natively in Final Cut Pro
and Scratch. AVID, Adobe Premiere, Sony Vegas,
Cineform, and other vendors are poised to add native RED RAW
workflows once the development kit is released.
Quicktime proxies allow lower-rez, off-line editorial that
may be conformed back to REDCine for full-rez rendering to
other file formats.
RED RAW data may be converted to Quicktime, DPX, TIFF,
Cineon, etc. with the companion REDAlert and REDCine
software.
Review sample
workflows.
To learn more about RED One
features, workflow, rates, and availability, contact:
Michael Morlan at 512.791.4121
or email
Additional Resources:
Informal
RED One FAQ - February 2008
Sample RED One
footage at REDRelay
Studio Daily reviews RED One beta camera -
November 2007
RED
One Workflow for "3 Days Gone" feature - February 2008
Interviews - Steven
Soderbergh, Crash, Doug Liman, Michael Cioni, Pierre De
Lespinois, and Tony Richmond talk about RED One
Features
on RED One - The Informant, The Argentine, Jumper, Guerilla,
Game
AFT
Projects on RED One - commercials and narratives |
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