Analysis of RED ONE Digital Cinema Camera and RED Workflow
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LiU-ITN-TEK-A--09/019--SE Analysis of RED ONE Digital Cinema Camera and RED Workflow Taraneh Foroughi Mobarakeh 2009-03-06 Department of Science and Technology Institutionen för teknik och naturvetenskap Linköping University Linköpings Universitet SE-601 74 Norrköping, Sweden 601 74 Norrköping LiU-ITN-TEK-A--09/019--SE Analysis of RED ONE Digital Cinema Camera and RED Workflow Examensarbete utfört i medieteknik vid Tekniska Högskolan vid Linköpings universitet Taraneh Foroughi Mobarakeh Handledare Fredrik Averpil Handledare John Johansson Examinator Dag Haugum Norrköping 2009-03-06 Upphovsrätt Detta dokument hålls tillgängligt på Internet – eller dess framtida ersättare – under en längre tid från publiceringsdatum under förutsättning att inga extra- ordinära omständigheter uppstår. Tillgång till dokumentet innebär tillstånd för var och en att läsa, ladda ner, skriva ut enstaka kopior för enskilt bruk och att använda det oförändrat för ickekommersiell forskning och för undervisning. 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For additional information about the Linköping University Electronic Press and its procedures for publication and for assurance of document integrity, please refer to its WWW home page: http://www.ep.liu.se/ © Taraneh Foroughi Mobarakeh Abstract RED Digital Cinema is a rather new company that has developed a camera that has shaken the world of the film industry, the RED One camera. RED One is a digital cinema camera with the characteristics of a 35mm film camera. With a custom made 12 megapixel CMOS sensor it offers images with a filmic look that cannot be achieved with many other digital cinema cameras. With a new camera comes a new set of media files to work with, which brings new software applications supporting them. RED Digital Cinema has developed several appli- cations of their own, but there are also a few other software supporting RED. However, as of today the way of working with the RED media files together with these software applications are yet in progress. During the short amount of time that RED One has existed, many questions has risen about what workflow is the best to use. This thesis presents a theoretical background of the RED camera and some software applications supporting RED media files. The main objective is to analyze RED material as well as existing workflows and find the optimal option. i Acknowledgments I would like to thank Fredrik Averpil and John Johansson, my supervisors at Filmgate and Bobby Works. Great appreciations to Håkan Blomdahl, Andreas Hylander, Tor-Björn Olsson (Filmgate) and Andreas Folkesson (Bobby Works) for their help and feedback. Thanks to Michael Petersen at Camera Center for letting me play with their RED camera. Thanks to my academic supervisor Dag Haugum and my opponent for their opinions and feedback on the report. Finally, I would like to thank my family and friends for always being there. iii Contents 1 Introduction 3 1.1 Problem Description . .3 1.2 Thesis Objectives . .3 1.3 Outline of Report . .4 1.4 Reader Prerequisites . .4 2 Background 5 2.1 History . .5 2.2 RED Digital Cinema . .5 2.3 Previous Work . .6 3 RED One 9 3.1 Camera Overview . .9 3.2 Mysterium . 10 3.2.1 Bayer Filter and Debayering . 12 3.2.2 Full and Windowed Area . 13 3.3 REDCODE . 13 3.4 RED Camera Files (.R3D) . 14 3.5 Color Space and Gamma . 16 3.6 Camera Comparisons . 16 3.6.1 RED vs. Film . 17 3.6.2 RED vs. Digital . 17 3.6.3 Investing in RED One . 18 4 Applications 19 4.1 Overview . 19 4.2 RED Alert! . 19 4.3 REDCINE . 20 4.4 REDline and REDrushes . 21 4.5 Other Applications Supporting RED . 22 4.5.1 SCRATCH . 22 4.5.2 Crimson Workflow . 23 4.5.3 Final Cut Pro . 23 5 Workflow 25 5.1 Workflow Overview . 25 5.2 On Set . 25 5.2.1 Handling RED Footage on Set . 27 5.3 Editorial . 27 5.3.1 Log and Transfer . 28 5.3.2 Editing with RED QuickTime reference files . 28 5.4 Conform . 29 v vi Contents 5.4.1 Conform with SCRATCH . 29 5.4.2 Conform with Crimson Workflow . 30 5.4.3 Formats . 31 5.5 Visual Effects and Green Screen . 32 5.6 Grading . 33 5.6.1 RED LUTs . 34 5.7 Final Project and Archiving . 34 6 Discussion 37 6.1 Conclusions . 37 6.1.1 Gathering Information . 37 6.1.2 Test Environment . 38 6.1.3 Results . 38 6.2 Future Work . 39 Bibliography 41 A REDline Parameters 43 B Exporting Image Processing Presets from RED Alert! 46 C Instructions for Crimson Workflow 47 D Green Screen Images 49 List of Figures 3.1 RED ONE . .9 3.2 Mysterium Sensor . 10 3.3 Relevant RED Formats . 11 3.4 Bayer Filter . 12 3.5 Bilinear Interpolation . 13 3.6 Relation between 2K and 4K . 14 3.7 RED Folder Structure . 15 3.8 Depth of Field in Image . 17 4.1 RED Alert! Interface . 20 4.2 REDCINE Interface . 20 4.3 SCRATCH Interface . 22 5.1 Workflow Overview . 26 5.2 SCRATCH Chart . 29 5.3 Crimson Workflow Chart . 30 5.4 RED LUTs . 35 B.1 RED Alert! Interface . 46 C.1 Crimson Workflow Match Settings . 47 D.1 Green Screen Image . 49 D.2 Green Screen Green Channel . 50 D.3 Green Screen Red Channel . 51 D.4 Green Screen Blue Channel . 52 List of Tables 3.1 RED Resolutions . 13 3.2 Maximum Frame Rates . 14 3.3 QuickTime . 16 4.1 REDCINE Key features . 21 5.1 System Requirements . 27 5.2 Output Formats . 31 2 Contents List of Abbreviations 2K A horizontal pixel dimension of 2,048 pixels 3D Three dimensional 3K A horizontal pixel dimension of 3,072 pixels 4K A horizontal pixel dimension of 4,096 pixels 4.5K A horizontal pixel dimension of 4,520 pixels CCD Charge-Coupled Devices CFA Color Filter Array CMOS Complementary Metal Oxide Semiconductor CW Crimson Workflow DI Digital Intermediate DOF Depth of Field EDL Edit Decision List fps Frames per second GUI Graphical User Interface HD High Definition L&T Log and Transfer Log Logarithmic LUT Look-Up Table QT QuickTime RA RED Alert! RC REDCINE RC28 REDCODE 28 RC36 REDCODE 36 VFX Visual Effects XML Extendable Markup Language Chapter 1 Introduction The purpose of this chapter is to introduce the reader to the thesis and what it is about. It will start off by presenting the problem description followed by thesis objectives. Moreover, the outline of the report is illustrated where the structure of the report is explained. Finally a few prerequisite recommendations for the reader are stated in the last part. 1.1 Problem Description The movie industry has existed in a long time and the film camera has been ruling it when it comes to cinematography and features. In past years different versions of digital cinema cameras have been introduced, but none of these have been able to match the image quality of the film camera. A film camera also has a Depth of Field (DOF) where the image is shown as it is perceived by the human eye when the focus is in the background or foreground. A digital camera does not have that effect, instead an image becomes flat whether the focus is in the front or in the back if a special adapter is not in use. Recently a new digital film camera called RED One has been developed and it is said to be a digital version of a film camera. This camera has all the benefits of an ordinary digital camera and the benefit of resolution and depth of field of a film camera. It has given a whole new perspective to the film industry. Many have embraced.