RED ONE camera workflow with Quantel A Quantel White Paper By Mark Horton
The RED ONE camera has had a major impact on our industry, providing a cost effective, high quality solution to Digital Cinematography. What this document outlines are current (November 2008) Red workflows that are offered by Quantel workstations. This is a fast changing topic. Red, Quantel and other third party vendors mentioned here are all engaged in ongoing developments, so any new information or changes will be posted on the Quantel usergroup.
The RED ONE camera shoots to a CMOS sensor (4250×2540) with an effective pixel area of 4096×2304 (4K shot at 16:9) or 4096×2048 (4K shot at 2:1). Footage is captured at 12Bit linear RGB and saved as compressed raw data to allow maximum flexibility in the post production environment. Each rush is stored as a single file with a .r3d extension along with Quicktime reference files to supply reduced resolution media to the offline suites.
Quantel has implemented a new workflow for RED ONE cameras that removes the need to convert to DPX, therefore minimizing the need to use up time and disc space with intermediate conversion processes. This makes the job of online faster and simpler.
The Quantel workflow also gives high quality results whether a project will be finished at 4K, 2K or HD.
The RED importer is available in Version 4.0 rev5 software for eQ, iQ, Pablo and Sid and the RED conform tools will be available in a later V4.0 revision provisionally scheduled for December 08. RED support is free of charge to V4 customers.
Shooting and Offline
When shooting with the RED ONE there are parameters that can be setup in camera. These range from colour temperature, ISO setting to colour space and gamma curve. None of these actually affect the media, they become the default settings to be used when importing and act as an indication of what the Director of Photography (DoP) intends. One thing to also note is that the camera records 2 different timecodes: “Absolute” code (time of day) and “Edge” code (which starts from a fixed point for each magazine e.g. 10:00:00:00).
Every new magazine also increments the “Reel Number” as this is important to the offline/online process. When shooting begins a “Preferred” timecode needs to be chosen.
Every button on/off on the camera creates an .r3d file and 4 Quicktime reference files. These Quicktime files reference the original media, and so need to remain in the same folder. They are “F”ull resolution, “H”alf resolution, “M”edium resolution and “P”roxy resolution.
Moving to the online process, these files can be used as an offline source, using the Quicktime plugin from RED (only currently available for Mac) in (for example) Final Cut Pro. Other offline workflows may require a conversion process in either REDrushes or REDCINE before the offline can take place. Remember at the offline stage it is important to use the “Preferred” timecode source.
In Final Cut Pro the offline EDL can be exported via Automatic Duck as an aaf ready to be onlined on a Quantel system. Currently other online finishing systems may require the xml, EDL or aaf file to be used as a “pull” list to extract the high res media from the .r3d files. This is usually done in REDAlert, REDLine, REDRushes or REDCINE. For example, some systems will use an xml file in the Crimson application to convert the .r3d files to a sequence of dpx files that can later be imported and then assembled. This is a very time consuming process that requires 2 steps – extracting the media and then conforming.
Wouldn’t it be easier and quicker if all the input conversions for size, colour and conform could all be done as single process? Well now they can.
Importing .r3d Files with Quantel
Partial import with preview
Quantel previews and imports native .r3d files either in their entirety or as a partial selection as shown. The user can navigate via the clip window and mark in and out points to determine the section to be imported. Page: 12Next Page