How does RED One fit in the Post-production Pipeline?

• Delivery from Set - RED One's 12-bit RAW workflow is tapeless and digital.  RED One media connects to Macintosh and PC systems without special drivers and conversion tools - just like an external hard drive.
   

• Native and Transcoded Editorial - 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.
   

• Visual Effects: RED One is being used as a replacement to film for blue-/green-screen acquisition.  No film processing.  No frame jitter removal.  Just clean, 4K keys.
   

• Posting with REDCODE RAW footage
  
  RED workflow is quite easy to understand, especially if you have experience with photographic RAW image processing, or shoot film followed by telecine transfer to a non-linear video editor.
  
  RAW data has a wide dynamic range and color space, so you can freely change the white point (white balance) of the footage, adjust exposure and alter highlight and shadow tonality when in post-production. This flexibility allows the camera operator to focus on composition.
  
  The camera records unprocessed sensor data using REDCODE RAW compression to a CF card, or RED-DRIVE digital magazine. Data is then transferred from the digital media via FireWire or USB-2, to a Macintosh OSX workstation running RED ALERT! or REDCINE software, or to a Windows XP workstation running REDCIINE software.
  
  If you are using CF media, copy the clips onto the workstation’s hard drive. If you are recording to a RED-DRIVE, it can be directly mounted as an external drive using FireWire if desired which eliminates the media copy step.
  
  In film processing terms, RED ALERT! and REDCINE act as an integrated laboratory, telecine, and one light color corrector. They convert recorded REDCODE RAW data to RGB video, and provide basic one light image processing and color correction. Using REDCINE, footage can also be cropped, resized, or repositioned. These functions lessen the amount of time required for color correction or re-framing of shots after the final cut has been completed.
  
  RED ALERT! can generate QuickTime reference movies suitable for use in dailies applications, and export a sequence of 2K or 4K resolution RGB image files as TIFF or DPX files for DI use.
  
  REDCINE can also encode 4K or 2K RAW footage into a variety of uncompressed RGB and compressed 4:2:2 video formats. Provided the appropriate QuickTime codec’s are available on the host computer workstation, compressed video choices include ProRes, DNxHD, DV100 and M-JPEG QuickTime movies at 1080p or 720p resolution. For film out, multi-media or special effects applications, REDCINE may export a sequence of 2K or 4K image files in TIFF, Open EXR, DPX, JPEG, or Photoshop PSD file formats.
  
  Creating 4:2:2 at 1080p or 720p resolution QuickTime movies provides compatibility with the majority of non-linear editing systems. Depending on the QuickTime movie resolution, material may be taken directly to a broadcast delivery videotape format, or after the editorial decisions have been made, video can be conformed at full image resolution by replacing the lower resolution edit proxy (e.g. 720p at 8 bit quality) with a high resolution 4K, 2K or 1080p image file.
  
  Color grading may be performed during editing or after the final conform. The graded show is then output to delivery media: film, a DCDM (digital cinema distribution master), or HD master.
  
  The render performance of computers will vary based on CPU speed, number of cores and disk speed. Therefore the RED ONE camera RED ALERT! and REDCINE offer QuickTime reference movies at _H high 2048 x 1152, _M medium 1024 x 576, and _P proxy 512 x 288 resolutions for 4K and 4K 2:1 RAW recordings, and _H high 1024 x 576, _M medium 512 x 288 and _P proxy 256 x 144 resolutions for 2K and 2K 2:1RAW recordings.
  
  Choose the resolution that is most appropriate to your requirement for resolution or playback frame rate on your specific computer. If the footage is to be viewed at distant location – e.g. dailies - export the footage as a standalone movie using MPEG-4 or other low bit rate codec.
  
  Note: The QuickTime reference movies work by partially decoding the wavelet data, which means that the original 4K or 2K REDCODE RAW recording must be available on a drive accessible to your computer. For remote use, conversion to a standalone movie avoids this issue.

Additional Resources:

RED Support software, drivers, and information

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