[Tig] where.. neutral review RED?

Rob Lingelbach rob at colorist.org
Sun Sep 13 04:28:39 BST 2009

On Sep 12, 2009, at 8:46 PM, John Tissavary wrote:

> I do work with a TON of Red footage, have been since the very first  
> week the
> camera became available.  Here is a little of my experience and what  
> I know
> so far:

great information to have John, thanks for posting it.

> to working in a floating point environment from the 12-bit linear  
> chip data
> without having to transcode to a 10-bit file format, though working in
> 10-bit log does help with perserving the data.  Still, nice to work in
> linear when not going to film.

As a colorist, I have found working in linear to be a challenge.

there is a good overview of the situation at


It doesn't seem that there has been any progress in Redcode RAW, an  
inherently lossy format.  It is good to know however that more  
manufacturers are embracing this proprietary format, at a price.  12:1  
and 9:1.

> Grading Red footage (as with most digital cameras at this stage)  
> requires
> perhaps a bit more effort, as shadow noise can creep in from the  
> practice of
> exposing 'to the left' to perserve highlights.  With proper exposure &
> careful grading it's possible to get consistent 10-11 stops of DR  
> out of the
> Red.

The Wikipedia entry cited above has this paragraph:

"Red specifies the sensor's signal to noise ratio at greater than 66  
dB,[3] with 11.3 stops of total dynamic range.[4]However, the dynamic  
range reported from many cinematographers place the camera's dynamic  
range significantly lower, at about 8 stops. This difference has been  
attributed to the use of different mechanisms for measuring dynamic  
range. Red rates the sensor at 320 ISO."

I've done side-by-side comparisons between Arri D21 and Red One, and  
there's no comparison- D21 is extraordinarily better.  However, as  
clients have pointed out, it's more expensive.


Rob Lingelbach   TIG founder/admin
rob at colorist.org

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