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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

RED CODE

Ah HA! .......we would ALL like to know what is redcode--how was it made? how many ions were added vs crystals--the competition would love to know this eh?...but in simplistic terms i think it is just the secret sauce that will be explained generically as a type of compression codec that was sprinkled in the RED / EPIC and that's it.....secret of RED no?
 
but is that the quality?? for example am reading that the epic comes with a preset of 1/8 red code? should i change it or what??? which one is better or higher quality???
 
REDCODE is our proprietary compressed RAW format (thanks to Graeme). It is capable of variable compression ratios. The lower the ratio (3:1) the less compression there is and the higher the quality. Conversly, the higher the ratio (20:1) the more possible artifacts you might see.

With an EPIC, most have found 5:1 or 6:1 to be the perfect balance between image quality and data rates. Most all of the largest budget features are being shot with either 5:1 or 6:1.

Now... as your frame rates go up, technically the camera can still shoot low compression ratios. But... the media cannot yet handle the higher data rates. So if you select 5K 2.40:1 at 120fps, you will be forced to shoot REDCODE 12:1 due to the limitation of the SSDs. As time goes on that will change (as does everything).

Jim
 
Hoe does one choose between 12-bit and 16-bit recording?

I could not find this in the Epic Manual. Perhaps I am mistaken about this feature.

Is the Epic-X natively a 16-bit camera, or is it just in Redcine-X that you can output
16-bit files?
 
With the right distribution of bits you can squeeze it very well into 12 bit. 16 bit is only needed if the image is stored linear – and it's wasting space, since humans don't perceive light that way.

Natively, BTW, RED is not a digital camera at all: all sensors are analog devices measuring incoming light. Measured values are converted into digital numbers by an A/D-converter after that. I don't know if RED mentioned the width of that conversion somewhere, but rest assured: with good distribution of the values even 10 bit can hold a lot of DR, and with 12 bit you can make the beautiful images generated by a RED which we can now see on many cine screens all over the planet!
 
Here's a nice summary of data-rates that I made.
I hope I got it right, Mr Jannard.



Click the image twice to see it clearly at 100%.
 
Last edited:
Deanan,
That would make the max setting (5120x2700 x 16bit x 96fps / 7) output a whopping 361.6MB/s.
Are you sure? What kind of single SSD can handle that?
 
Eric Z said:
Deanan,
That would make the max setting (5120x2700 x 16bit x 96fps / 7) output a whopping 361.6MB/s.
Are you sure? What kind of single SSD can handle that?
Click to expand...

You can record 5k FF @ 96 fps but at higher RC. However, I'm not sure what your criteria
is for the chart.
 
"5k FF @ 96 fps but at higher RC?"
What is the RedCode minimal compression at this setting?
Is it 10:1?
 
REDCODE is a small miracle.

It is a wavelet based compression algorithm that records 5K, 4K, 3K, and 2K RAW IMAGE DATA (called an R3D File) to a recording medium that fits into the palm of your hand. It allows for quick review and playback from this media as well

Before this RED invention you needed something the size of a refrigerator attached to a camera to record 4K material.

REDCODE, as recorded by the RED ONE M & MX and the RED EPIC camera is an enabling technology that allows filmmakers to record 35mm FILM quality images in a RAW image format with very inexpensive tools.

David
 
David Battistella said:
REDCODE is a small miracle.

It is a wavelet based compression algorithm that records 5K, 4K, 3K, and 2K RAW IMAGE DATA (called an R3D File) to a recording medium that fits into the palm of your hand. It allows for quick review and playback from this media as well

Before this RED invention you needed something the size of a refrigerator attached to a camera to record 4K material.

REDCODE, as recorded by the RED ONE M & MX and the RED EPIC camera is an enabling technology that allows filmmakers to record 35mm FILM quality images in a RAW image format with very inexpensive tools.

David
Click to expand...

I honestly would not be surprised at all if we see REDCode licensed in a majority of > 2K/3K camera systems...
 
David Battistella said:
Before this RED invention you needed something the size of a refrigerator attached to a camera to record 4K material.
Click to expand...

Look at the cost of media still needed for Alexa if you don't want to record in ProRes – and it's not even 4K.

Why should RED license their jewels? REDCode and very good de-Bayering are the core of their cameras!
 
4K RAW on a CF card is still incredible to me. I'll take it even at RC 28, the quality is fantastic and services a lot of uses.

I'm a tiny bit nostagic for CF.

I like form factor, cost, and changing mags often.
It seems like CF technology hit a data rate/ reliability wall though.

David
 
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