Red camera file structure

Each allows you to toggle between high resolution and proxy media instantly. The proxies transcoded in the background, leaving me with plenty of processing power to get the edit started. Once they were finished, I was able to switch over to proxy mode and really dive in. If your timeline is short enough and you have a high powered computer, you can adjust the playback quality as needed while you edit.

Even so, I recommend simultaneously shooting in-camera proxies, if possible. Since commercial and corporate work generally tends to include more graphics, editing with the RAW media, or having access to it during the edit, is especially useful for collaborating with graphic designers and VFX artists because you can create full resolution exports right from your timeline.

Having access to the original media lets you perform significant color correction work. Without having to leave your NLE.

I recently edited a commercial that required extremely precise framing in order to pull off the concept. We decided that I would cut in real-time on set. Just to make sure we had our shots before moving on to the next set up. After each card dump, I immediately pulled the proxies into Premiere while the RAW media was being backed up.

I then quickly edited the shots into the timeline. The shoot and edit went off without a hitch. We were able to move on from each shot with complete confidence. Working with high resolution RED footage may be intimidating the first time. Just make sure you get your hands on some footage to test it all out.

Ready to get started? This blog relies on people like you to step in and add your voice. Send us an email: blog at frame. Terms Privacy. Explore Frame. Type your search and press enter April 30, Photo by Jakob Owens. Remember to always keep the big picture in mind when designing your RED workflows. Resolution and Aspect Ratio Bigger tends to be better in terms of resolution. Have the talk Talk to your DP before the shoot and make sure you understand what to expect from the footage.

You can use this filter for many other camera file structures too! Seems familiar? Custom resolution settings With Resolve you can customize the resolution and format settings for optimized media in the Master Settings Panel. Choosing resolution options You can choose between half and quarter resolution options under the Playback menu.

Periodic sluggishness puts a serious damper on a months-long project with a two-hour timeline. Transcode or in-camera? Saving time It may seem counterintuitive to export a second set of synced ProRes proxies, but the time saved auto-syncing is significant, and Resolve can export to the same codec and frame size incredibly fast.

Cutting on set I recently edited a commercial that required extremely precise framing in order to pull off the concept. Start Cutting! Jeremy Teicher , in theaters this spring, 6 Years dir. Hannah Fidell. See more posts from Sofi. Arriflex, long an industry standard and chosen camera of many film veterans, made an entry into the fold with the Arri Alexa series of digital cameras first introduced in Given that transitioning over to digital from traditional film is something many professionals are still getting accustomed to—particularly cinematographers—the D.

Data wranglers have also risen to prominence since the advent of the RED ONE as specialists who are entrusted to process and secure the extreme amounts of data—often on the order of terabytes and in some rare cases petabytes—generated by digital production. Wardrobe and make-up has also had to significantly step up its game as different techniques are required for the 4K age—really, shooting in super high resolutions can be a double-edged sword given that it can be unflattering to acting talent, and increased subtlety is needed on behalf of the makeup artist to make their work look natural.

Not only has the RED ONE pioneered the digital trail since its inception, but it continues to do so with constantly evolving chip sets in addition to free firmware upgrades. A demonstration of how this translates in the real world, courtesy ShootWithRed.

Ultimately, the body of a RED camera is not much bigger than the size of a professional still camera, but once adds lenses, dollies, and the rest, it can come close to the size of a traditional film camera. Setting a Precedent One of the most significant early effects of the RED cameras was how the company made shooting in RAW image format an industry standard.

Summer Camps. One minute will require about 9 GB of footage. If you start and stop your camera for another take, it will create a separate RDC folder, which will contain the R3D clips. This is the file that contains the metadata information either created in camera or in Redcine-X Pro and will always remain attached to its corresponding R3D file.

A unique compression scheme that also stores full resolution, half resolution, quarter resolution and a thumbnail image information in the same file, without needing to duplicate the data But still increases the data size by a negligible amount. Redcode is based on JPEG, though they have made their own modifications to ensure the best quality compression with their cameras.

The bit rate is variable VBR , though Red gives approximate data rate guidelines for each compression level next. Redcode is compressed, and the lowest compression setting is , which effectively means the data is compressed to one-third its original size. The highest compression level at the time of this writing is The compression level is directly related with the write capability of the media used in the camera. Tables for compression-frame rate-resolution are available in the camera manuals.

The lowest compression setting will always yield the best quality, but each production will test various compression levels to find a suitable balance between image quality and data rate. It is a lossy codec, though Red claims it is visually lossless. At the lower compression levels, Redcode is good enough for the most demanding productions.

The advantage is reduced file sizes. It is an intraframe codec. Each frame is compressed separately. There are four channels in any R3D file — one for red, one for blue and two for green. Natively, Redcode is not assigned a color space, and you have the ability to map it to the color space of your choice in Redcine-X Pro or other software.

Red claims the files are bit or bit, but as far as I know the files are bit. There is no documentation or explicit declaration of how bit is obtained.

In-camera refers to the camera settings and file information stored within the R3D file itself as part of the file format.

You can select and manipulate:. All this is stored as RMD files. The original R3D files are untouched, and this allows you to create new and separate looks later in post production, without resorting to destructive editing and file manipulation. It also means, for a true Redcode workflow, the post production software of your choice must also know how to work with RMD files.

The best software to create your own recipe is Redcine-X Pro. The reason this card is required is not because Redcode needs to be debayered, but because it needs to be decompressed.