The RED Alert beta software in action. | The Software
The RED software facilitates this with a process that’s really quick and easy to use. A full 8 GB/four-minute Compact Flash card (the only recording option now available) downloads in less than three minutes. With the aid of a required Mac with Intel processors, it’s then opened up in RED Alert, a condensed version of the full REDCINE software, which lets you view and do a rough grade on the image with controls similar to Photoshop, including contrast, brightness, saturation and hue; you can change gamma curve. You can then almost instantly create various sized QuickTime viewing copies, ranging from low-res DV and HD to 2K (although full 2K files will have trouble playing back at their full frame rate on your laptop). You might be looking at only 10 to 12 fps, but it’s still a great way to quickly see what your image is capable of. I should note here that these QuickTimes are really only look-up files that need to reference the RAW data, and will require a more time-consuming render in order to create files for export to your NLE for editing. However, they’re a terrific way for a cinematographer to establish his look and virtually time his own "dailies." |
The beauty is that when it comes time to conform, the 4K images have never been altered and retain the complete dynamic range and creative options of the camera original, or "negative." So, yes, I’m a big fan of the images produced and the available workflow options, but I wouldn’t be a beta tester if I didn’t find a few annoying things to report.
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T3 Zoom Lens + Rails
Mathers fit his camera with RED’s 18-50mm T3 Zoom lens ($6,500). RED RAIL components are available individually or as part of the Base Production Pack ($1,250). | A Work in Progress
I was fairly warned by Jannard when I picked up my camera: "It’s not done, and may never be done." I was actually prepared for far worse and really have no big complaints. I was even given a $2,500 credit for any inconvenience. The truth is, it often feels like I’m a beta tester when buying any new gear, but it’s refreshing that RED acknowledges this and is willing to compensate us for our trouble. The problems have been minor, and the fixes have been coming quickly via firmware updates sent over the Internet. We simply copy the files onto the same Compact Flash cards we use for recording, then select upgrade. Having already performed several of these upgrades, I can tell you that it’s really very easy and seamless. |
Control Panel
The "dumb side" opposite the camera operator reveals the MiniBNC and MiniXLR connectors. Also note the HDMI and Dual Link HD/SDI outputs. |
At this time, however, the camera still lacks any audio recording capability, and only one viewing output can be enabled at a time (in other words, if the camera operator is using a viewfinder, there’s no monitor output available for the director or DP. There’s also no playback, but I have to believe it is coming, since there are VTR-like controls built into the camera body.
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Bottoms Up
The dual maker’s marks under the camera say, "Designed, Engineered, and Tested in Orange County, CA, USA" and "Made in Singapore". |
With a background in film, the learning curve has been pretty short for me. It’s nice to be able to use the same lenses and depth of field I’m used to using when shooting 35mm. However, my guess is that the many filmmakers intending to move up from DV may have a little more challenging period of adjustment. With its shallow depth of field, and no auto focus or exposure mode, it may not be appropriate for the "run-and-gun" approach they might be used to.
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Although relatively inexpensive, the RED is a professional tool requiring a competent crew (i.e., a good focus puller) and quality support gear for best results. Jim Jannard has put the means to create very high-quality motion picture images within the grasp of almost any filmmaker, but this tool will need to be properly used to realize its full potential.
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