After several months of development an all new Avid RED workflow has been released on March 5th 2009.

The new RED workflow for Avid takes a radical departure from what has been available until now.

The RED post production options can be daunting for a producer but there is good news if you are considering the Avid platform for your next RED job.

Avid RED Workflow

The new Avid RED workflow consists of two segments:

1. Offline editing
2. HD, 2k, 3k, 4k picture finishing

The offline part of the process involves the newly released Avid MetaFuze v1.2 and Media Composer. MetaFuze 1.3 video tutorial.

Avid DS V10.1.1 with direct RED import is the centerpiece of the finishing part of the RED post process. For a full discussion of native and SDK based non-native RED import please read “RED Native vs. Non-native Support.”

Avid RED Dailies and Offline Editing

RED RAW (R3D) media is an unsuitable format for offline editing. These large files are typically shot at 4k resolution. The processing complexity of R3D files can overwhelm an average offline editing system.

Until now the process of loading RED material into Media Composer consisted of employing a third party application like RedRushes or RedCine to debayer R3D files and encode them into Quicktime files.

The newly released Avid MetaFuze v1.2 can do all this and more. MetaFuze is a free application used to facilitate file based workflows in Avid environments. The new MetaFuze can read RED R3D clips while properly interpreting the RED color intent RLX files and processing 1D or 3D LUTs.

MetaFuze is used to transfer R3D files to Avid DNxHD media for use in Media Composer. Once the clips are loaded into Media Composer the offline editing process does not differ from any typical non-RED project.

The new version of MetaFuze can also create RED dailies with window timecode and aspect ratio conversion. Timely RED dailies delivery has been a challenge for many productions and MetaFuze promises to address this issue.

Avid RED Finishing

Avid DS is a picture finishing system with an extensive set of effects and digital intermediate tools.

The newly released Avid DS v10.1.1 has a significant new feature. RED files can now be directly captured or linked from within the DS. There is no need for an intermediate file format such as DPX. Preliminary tests show that the speed of R3D import in Avid DS is competitively fast.

HD, 2k, 3k of 4k conforming is straightforward and uses standard Avid AFE files to transfer sequences from Media Composer to DS. Most effects including AVX plugins transfer between Media Composer and Avid DS.

Complex sequences with many FluidMotion speed changes, video tracks and third party plugin effects transfer from Media Composer to DS via AFE file format. This ensures that Media Composer sequences are conformed and reconstructed in Avid DS to the most possible extent.

The Benefits of Avid RED Workflow

Media Composer is a favorite platform of many film and TV editors. The offline-to-finishing link between Media Composer and Avid DS has always been strong. The addition of full RED support in Avid DS now allows editors and facilities to utilize this connectivity when working on RED projects.

The streamlined RED to Media Composer project preparation with MetaFuze ensures speed and ease of use that were previously unattainable.

The role of MetaFuze in generation of RED dailies with timecode may help many productions address this essential need.

The Conclusion

All this sounds complicated? Not really. Many of the RED processes are very similar to 35mm film post production workflows.

Shooting on 35mm negative, transferring film to tape with one lite color correction, converting flex files to ALE, batch capturing the clips in Media Composer and so forth, that’s how the front end of film editing looks like.

In spite of the fact RED workflow with MetaFuze and Media Composer looks complex, it is actually simpler than these older film based processes.

If you are a producer with an investment in Avid infrastructure or your pool of editors consists of talent who prefer the tools Media Composer has to offer, the new Avid RED Workflow may be the right answer.

If your company is brand agnostic you may want to consider the offline-to-finishing benefits of a vertically integrated Avid RED workflow.

The future will undoubtedly bring changes and refinements to Avid and other RED workflows. It is a good idea to research your entire post production process before starting your project.

Igor Ridanovic is a co-founder or RED Los Angeles User Group.

You’ve shot on the RED and would like to start editing but don’t know where to begin?

The range of options and RED workflows can make your head spin. If your project’s budget doesn’t allow finishing on a high end system you may consider offline editing and finishing in Final Cut Pro.

Note: since this article was written in 2008, all major NLEs have introduced RED support and no longer require working with proxy files.  HD sized dailies are still viable approach when offline editing RED projects.

The Most Simple RED Workflow

This method uses RED camera proxy QuickTime files loaded straight to Final Cut Pro (for explanation of “RED proxies” read RED Camera Workflow Basics).

Final Cut Pro or any other Macintosh based editing software including Avid Media Composer can read RED proxy files. To make this happen you need an Intel based Macintosh and the RED QuickTime Codec.

RED File Organization

If you look at your RED hard disc you will see folders named similar to these:

A001_C001_090115.RDC
A001_C002_090115.RDC
A001_C003_090115.RDC
…

Each time you shoot and press stop RED creates a folder. Inside a folder you may find:

A001_C001_090115_001.R3D
A001_C001_090115_002.R3D
A001_C001_090115_F.MOV
A001_C001_090115_H.MOV
A001_C001_090115_M.MOV
A001_C001_090115 _P.MOV
A001_C001_090115 .RSX

The .MOV files are the proxies. Each RED RAW (.R3D) clip has four matching uniquely sized proxies. Since 2010, the camera no longer generated the proxy files, but they can be quickly created with free Redcine-X application.

“F” is the full resolution proxy, “H” is half of the original resolution, “M” is medium size and “P” stands for “proxy.” Proxy of a proxy makes little sense. Just think of the “P” size as the smallest of the four.

Pick the size that fits your project. If your intent is to finish HD in Final Cut Pro, the “P” size is too small. Use the size that’s a little bigger than your final output so you don’t sacrifice quality.

You can determine the size and other attributes of proxy files if you look up the clip information inside QuickTime player.

RED Editing in Final Cut Pro

Drag and drop all the proxies of the same size into Final Cut Pro. Do not move the proxy QuickTimes out of their original folders. They need to reside in the same location with corresponding RAW files.

Your sequence settings must reflect the size of your final output and in some cases the frame rate of the RED files. For example, if the goal is to deliver an HDCAM tape, your sequence size should be 1920×1080 and if the RED material was shot at 23.98 fps you should select 23.98PsF.

Edit your project, color correct it, title it, do what you normally do. When done you can output it to tape or to files.

Quality Matters

The quality of proxy files is not as high the quality of the original RAW files. The color settings of the proxies may yield too dark or overexposed image that can not be adjusted to your liking. On top of that, Final Cut Pro will degrade resolution of the video each time you play the sequence.

However, if you like what you’re seeing on the screen, nothing should prevent you from using the proxies for the final delivery.

Just remember that using RED proxies for the final delivery is like driving a Ferrari in a school zone. The RED can give you much more but not through the proxies.

What About Media Composer?

Macintosh version of Avid Media Composer can read RED proxies too but there is an inherent disadvantage. Since Media Composer does not use QuickTime natively all proxy files must first be imported. The importing process can be very time consuming. Since version 6, Media Composer can AMA link proxy files, as well as read R3D files directly.

Once the media is imported there will be fewer performance problems and there will be no playback resolution degradation like in Final Cut Pro.

What About Windows?

At this time the RED QuickTime codec is available for Mac OSX only. Sorry, no Windows, no Linux.

Proxy Pros

Fast turnaround
Simple Workflow

Proxy Cons

Poor Quality
Performance Problems

Igor Ridanovic is a co-founder or RED Los Angeles User Group

RED Digital Cinema has done it again. Several years ago the California based camera manufacturer faced much skepticism after they had announced the RED ONE digital film camera. The camera touted such advanced specifications that no one believed the unknown company could pull it off. In the end they pulled it off.

Specifications for RED Digital Cinema’s Epic and Scarlet, the two new camera systems have been announced this week. The projected abilities are beyond what any other manufacturer can match at this time. By any measure there should be a wave of skepticism again but no one is questioning whether or not RED Digital Cinema can pull it off this time.

Epic and Scarlet are a part of RED’s new Digital Stills and Motion Camera (DSMC) system. The two cameras are not like any cameras we have seen so far. The units are highly configurable which means that different pieces can be mixed and matched to answer specific needs of a production, rental facility or an individual photographer or cinematographer.

Yes, “photographer” is correct. Epic and Scarlet can be configured in to work as high end digital still cameras. The Epic 617 option with new Monstro sensor comes at an astounding 28k resolution (28000×9334) pixels.

Speaking of sensors and sizes, RED is introducing the all new Mysterium-X and Monstro imaging sensors which come at a range of sizes and resolutions starting at 3k and going all the way up to 28k.

The sensors are part of the camera “brain” which is a self contained module that can be configured with lens mount, remote control, power and recording options. The announced prices for RED Epic and Scarlet camera brains range from $2,500 to $55,000.

The body of the camera can literally be custom built using available options. Judging by the fact that the existing RED ONE camera has been embraced by third party manufacturers it is reasonably to expect that the available body options and accessories will not be limited to the offering announced by RED.

These options currently include a handle grip, lens mounts, video viewfinders, recording modules, batteries, I/O modules and a remote control.

The small form factor of Epic and Scarlet makes them ideal for use in stereoscopic photography and RED has already announced an ergonomically deigned stereoscopic rig for use with these cameras.

The estimated street dates for various Epic and Scarlet options are from spring to winter 2009.

Igor Ridanovic is a co-founder of RED Los Angeles User Group

Updated on March 7, 2009

Avid support for RED is now available to customers.

Avid has demonstrated the much anticipated support for RED camera files at a gathering at Hollywood Roosevelt hotel on November 5th. Avid’s Michael Phillips walked a group editors through a full RED workflow from Media Composer to Avid DS.

The core of the presentation focused on the existing Avid workflow documented at Avid.com/red. Although this process is fully operational and flexible in terms of available workflow options, it depends on multiple steps through third party applications.

Towards the end of the gathering Michael presented the Avid/RED technology demo that everyone has been eagerly awaiting. The Avid support for RED is still in development and the shipping date has not been announced.

What’s New in the Avid RED workflow?

Although there are RED projects that have been fully finished using Avid tools and existing workflows  the new Avid RED workflow greatly simplifies the necessary steps. In order to understand it we need to take a brief look at how the current support for RED in Media Composer and Avid DS work.

All existing solutions revolve around bridging the Media Composer’s inability to read time code from Quicktime files. While it is possible to edit in Media Composer using the RED proxy Quicktime files (or DNxHD wrapped inside Quicktime), the difficulty lies with translating the final sequence into an Edit Decision List or other type of file that a DI workstation can understand. No time code on the input means no time code on the output.

MetaCheater or REDrushes can output Avid ALE files which contain time code and other metadata needed for offline edit.

Once the cut is locked the RED .R3D files must be converted to DPX files for conform and color timing in Avid DS. This is can be achieved through REDcine or REDline using a handful of other applications such as Crimson, CineXML, or Monkey Extract. All of them work as translators from one application to another.

In the nutshell this workflow does the job but it’s not as straightforward as finishing most other file based sources. A much simpler Avid RED workflow is currently in development. It is divided in two parts. The first part focuses on offline editing and the second part focuses on DI or tape finishing.

Avid RED Offline Editing

In preparation for RED editing in Media Composer, the RED .R3D files are converted to DNxHD MXF media using Avid MetaFuze. The process is simple and similar to the existing workflow using DPX film scans.

Avid MetaFuze MXF files take into consideration color metadata settings dialed into the camera at the time of the shoot. The color rendered into the MXF media reflects the cinematographer’s choice.

Avid MetaFuze supports LUTs for work in color managed environments and can burn in time code making it a good choice for preparation of dailies.

CPU scalability is an added advantage. Avid MetaFuze is multithreaded and supports remote CPUs. This opens the doors for distributed network rendering which will become an important part of any future RED workflow due to intense debayering computation requirements.

The Avid MetaFuze conversions can be done on a daily basis if the production requires on-set editing or can be done in one batch at the end of principal photography.

The DNxHD encoded MXF media is imported to Avid Media Composer and edited as any other film based project.

Once the picture is locked the editor can create AFE files of the locked sequences for export to Avid DS.

Avid DS RED Digital Intermediate

While Avid technology preview did not include an entire step-by-step demonstration of the new Avid DS RED importer it certainly suggested what the process may look like in the near future.

The RED conform in Avid DS will resemble the file based conform via AFE introduced in version 10. A Media Composer AFE will create clips that link to the the original RED .R3D files.

The Avid DS RED importer will allow the full range of RED based adjustments like the parameters in REDcine or REDrushes. Color temperature, ISO speed, OLPF processing, curve adjustments, etc. will all be available in the new importer along with an option to use the .RSX color metadata from REDalert.

At present time any DNxHD MXF files from Media Composer can be linked and shared in an Avid DS sequence. Although the visual quality of these files may be insufficient for final delivery, they offer a picture reference for cross checking of the conform accuracy. This functionality could be used in a RED based DI in place of a typical Quicktime picture reference.

Avid DS has the ability to export finished sequences as 10-bit log DPX files for film output or can record to SD and HD tape formats including 4:4:4 HDCAM SR.

The Advantages of Avid RED Workflow

The new Avid RED workflow will give an opportunity to editors to work in a familiar environment without having to learn the intricacies of XLM file structure, third party tools and multiple step workflows.

The Media Composers unmatched ability to track all kinds of metadata and it’s connectivity with Avid DS via Avid’s AFE file format is a step ahead from the typical EDL based transfer between offline edit systems and DI workstations. This will allow facilities to work faster having to rebuild fewer effects and timeline tracks.

Igor Ridanovic is a co-founder of RED Los Angeles User Group

Updated April 29, 2009

Native support for REDCODE, the RED ONE camera’s RAW image format is a subject of considerable interest in the post production community.

We’ll take a look at the implications of the native and non-native RED support.

RAW image file format is a straight data dump from the camera’s imaging sensor. RED ONE camera uses a Bayer pattern color filter array. Each Photosite (pixel) in Bayer pattern is sensitive to either one of the tree primary colors. Pixels are arranged in an alternating pattern designed to optimize true color stimulus. Since each pixel represents only red, green or blue the image must be debayered before use.

While a RAW image resembles the photographic subject, it is far from being usable prior to debayering. Good quality digital still cameras are similar to RED ONE in the way RAW image is acquired and presented for post-RAW processing.

Debayering is only one of the steps in the process of converting an image from RAW to a viewable picture. Other steps may include OLPF (Optical Low Pass Filter) processing, bit depth conversion, gamma encoding, and various types of color processing. The actual steps depend on the manufacturer and are often closely guarded secrets.

Some manufacturers allow third party processing of their RAW images while others don’t. RED Digital Cinema’s REDCODE is an encrypted format closed to direct third party processing. This distinction is important in order to understand the native vs. non-native RED support.

Native RED Support

Initially Assimilate’s Scratch and ScratchCine were the only third party products with native RED support. Adobe was the second company to partner with RED Digital Cinema and gain direct access to REDCODE in Premiere and After Effects. After NAB 2009 DVS Clipster is the newest third party box with direct RED support.

Native support means that Scratch and all other “native” systems are able to work directly with the RAW data contained in .R3D files. No conversion stands between these systems and the data captured by the RED ONE camera’s imager. The data is processed with an internal debayering algorithm.

There is a very important concept to consider when it comes to RAW image processing in RED ONE. The only two controls that alter the way image is captured are the lens aperture and the frame rate. All other settings such as ISO speed, color temperature, etc. have no effect on RAW data whatsoever. They are merely suggestions to the debayering algorithm on how to process the image.

This is a counterintuitive concept to those of us who come from the world of film where the choice of tungsten or daylight film determines color rendition. CMOS imaging sensors are color temperature agnostic (not entirely true but that’s a topic for a whole another discussion).

Film stocks rated for higher ISO speeds differ in chemical formulation from lower ISO speed stocks. High speed setting in a digital camera like RED ONE can not magically make the CMOS sensor more or less sensitive to light. The sensor’s sensitivity is what it is. Higher ISO speed dialed into the camera does not make it more light sensitive. It only tells the debayering process to “push” the processing a certain amount.

A post production tool like Scratch can access this unprocessed data and it is up to it to push, pull, alter color temperature or do any other needed adjustments. The “native” comes from the fact that the image is accessed by the DI system in its native RAW form. Theoretically, this full access can allow a RED native tool a wider range of adjustment than possible when RAW images are converted to an intermediate step as in a non-native process.

Non-native (Direct) RED Support

Almost all DI manufacturers offer non-native RED support in their products since NAB 2009. These manufactures prefer to refer to the implementation as “native RED support” although the process is entirely different from the true native approach as described above.

The non-native direct RED support renders remarkably high image quality and when processed properly by the colorist there is no loss of image data.

This process does not have direct access to the REDCODE RAW material. Images are debayered through RED Digital Cinema supplied SDK (Software Development Kit) and converted to another image format for storage and color manipulation by the host digital intermediate system.

For example, Digital Vision’s Film Master processes all images to 10-bit or higher DPX log or TIFF file format prior to color processing. All RED specific processing such as color temperature, ISO speed, etc. is completed during this initial step. Once the DPX files are created all these color decisions are hard wired into the files. An .R3D file can be reimported with updated settings at any time.

Practical Differences

There is an advantage to having a direct access to RAW data as in Scratch because of inherent benefits of color processing during debayering stage. Significant color changes during debayering typically produce fewer artifacts.

One drawback of non-native direct RED support through the SDK is that it is difficult to achieve real time playback speed due to the SDK debayering step.

The real world difference between the native and non-native direct RED support is non-existent or minimal in most practical situations but there is a potential for faster operation in native environments when heavy color changes need to be performed during client supervised sessions.

Igor Ridanovic is a co-founder of RED Los Angeles User Group