[Tig] where.. neutral review RED?
jt at traktionfilms.com
Sun Sep 13 05:46:03 BST 2009
In Scratch I work directly on the 12 bit RAW files, and since the Mysterium
sensor is natively linear (as are all digital cams) I find the best results
in a linear workflow as long as I'm working for a linear deliverable. But
if I'm going to film I'll work in Raw Log with print emulation LUTs. I've
never been much for working in Log when delivering to a linear format...
The D21 has a very nice log workflow, but that comes courtesy of Arri's
There has been considerable progress to Redcode, though because it's a raw
file format, the work has largely been done on the debayer algorithm and
color matrices. The camera firmware & post debayer process have improved
quite a lot from build to build, with build 20 showing the greatest leap
forward, easily getting 1 more stop in the shadows compared with earlier
builds, and a couple more compared to build 15 & prior. So much happens to
the image in the debayer process that it is impossible to consider the file
format without considering the debayer as a dynamic, adaptive, and
ultimately integral part of the resulting images.
Build 21 of the Red One firmware, which just went into beta, features 4.5k
recording (not sure yet, but I believe it's @ 2.33:1), and Redcode 46, a
higher bitrate variant. This is probably as high a bitrate as will come
from the Red One, as it's reaching the limits of it's processing power.
With Redcode 46 one can record all current formats, as well as the new 4.5k
I've compared D21 & Red footage side by side as well, and while I think the
D21 provides somewhat nicer images, I didn't see what I would categorize as
a huge difference. What was immediately apparent is how much easier it is
to grade the D21 footage... but I attribute that to Arri's matrices being
rock solid for existing grading pipelines, whereas Red's are... trickier to
put it nicely.
Red footage requires more work to get looking good in any given colorspace,
but with care it's possible to give any other digital camera a serious run
for its money.
john tissavary | colorist | hi ground
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