The RED ONE camera system is a digital acquisition tool for motion pictures. It has a 12 megapixel CMOS sensor that records data to compact flash cards or an on-board hard drive. It can record up to 120fps in certain resolutions. The image quality and latitude is similar to that of 35mm motion picture film stocks. The camera uses a PL mount so cine lenses can be used to achieve identical depth of field to that of super 35mm.

2K and 4K simply represent resolution sizes. 2K has approximately the equivalent resolution of super 16mm film and 4K has approximately the equivalent resolution of super 35mm film. RED 2K has 2048 pixels by 1024 pixels and 4K has 4520 pixels by 2540 pixels. 4K is 400% larger than 2K. You can fit four 2K frames into one 4K frame. 35mm film has an approximate maximum resolving power of about 5000 lines of resolution when converted to a digital scale.

No you do not. In fact, it is cost prohibitive to request full res files of the rushes. This would be the same as an editor using DPX or CINEON files to edit. It would take up far too much space and CPU power to edit this way. REDLAB takes the R3D file with timecode and prepares an offline version for the editor. This can be tape based or digital data. Common editor requests for file types are PRORES HD and SD as well as DVCPRO HD. REDLAB can prepare Avid compatible files for use in offline and online Avid editing.

You can color correct your offline tapes or your compressed quicktime files. You would now essentially be performing a tape to tape transfer and not utilizing all the color information and latitude available on the original R3D files. If you color correct the offline files you are most likely grading an 8bit file which holds 256 shades of gray. The R3D file holds 12 bits of color information or 4096 shades of gray. Color correcting your offline files may offer you 1-2 stops of latitude with very little shadow detail. Color correcting the R3D file has a dynamic rage of 66db or almost 12 stops allowing you to see well into the darkest areas of your shot. It has been said that the RED ONE camera holds more latitude that 5218 motion picture film.

The camera does create a set of proxy files automatically. These files are of lower quality than a properly processed R3D file. When proxy files are screened on large TV's you can see jagged edges in the image as well as banding in gradated areas such as skies. The color space of the proxy files is only 8bit so it is unsuitable for effects work and may not meet broadcaster specifications.

Approximately 400MB/sec for a 4K uncompressed file. Approximately 100MB/sec for a 2K uncompressed file.

We think it is. Contact Us for a workflow demo to see for yourself.

No. Although we back up your DATA in several places including LTO data tape, unless we are requested to keep the data we will delete all data should the client not wish to pay to back it up for longer than the projects working duration. We will NOT delete any data without direct communication between ourselves and the production company and or the editing company. In most cases LTO data tapes are purchased by the production company and used for original camera data archiving. An LTO 3A tape baked up by REDLAB costs $250 and holds 400GB. This is about equal to 2 hrs of shooting.