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RED DSMC OPERATION GUIDE

955-0020_V5.1, REV-D

mode, dynamic range can be extended to approximately 18 stops.

IMAGE PROCESSING

The digital image received from the sensor is formatted as a pixel defect corrected (but in all other aspects

unprocessed) 16-bit per pixel RAW data frame.
Each RAW frame or sequence of RAW frames in a clip is compressed using proprietary wavelet based RED-

CODE

RAW compression, then stored to a digital media magazine such as the REDMAG

™

1.8” SSD.

When recorded, the RAW data is independent of any RGB domain color processing such as ISO, White Balance

or other RGB color space adjustments made by the camera operator. These parameters are saved with the

RAW data as reference metadata; that is, color is not burned into the recorded RAW data.
This recording technique permits RGB color processing choices to be deferred to post-production or to be ad-

justed in the field to help a director visualize alternative color treatments, without affecting the recorded RAW

data’s image quality or dynamic range.
The camera’s monitoring path converts RAW sensor data to a white balanced 12-bit depth 1920 x 1080 pixel

RGB 4:4:4 video signal. This signal may be modified using ISO, White Balance or other RGB color space ad-

justments as desired, and is then scaled and gamma-corrected to provide VIEWFINDER, HD-SDI, and HDMI

monitor outputs at 10-bit depth in 4:2:2 YCC or 8-bit depth in 4:4:4 RGB.
Frame guides and other camera data may be added as desired to one or more of the outputs.

NOTE:

The REDCINE-X

PRO software can create and export .RMD “Look” files which may then be imported as

camera monitor path color processing presets. This information is stored as reference metadata, so that this

color processing choice can be the default value used in post-production. For more information about Look

files, go to

“Looks” on page 105

HDRX

HDRx is an option for extending dynamic range up to 6 stops over the base dynamic range offered by the cam-

era. When enabled, HDRx simultaneously shoots two images of identical resolution and frame rate—a normally

exposed primary track (A-track), and an underexposed secondary track (X-track) whose exposure value reflects

the additional stops of highlight protection desired.
For example, if you select an HDR value of +2 and your primary track exposure is 1/48 sec, the secondary

track exposure will be 2 stops under, or 1/192 sec. The ISO and aperture remain the same for both exposures.
During acquisition and recording, the two tracks are “motion-conjoined”, meaning there is no gap in time be-

tween the two exposures. This is very important to note because if these were traditional alternating exposures,

there would be a time gap between the two tracks that would show up as an undesirable motion artifact. Both

tracks (A and X) are stored in a single .R3D

file.

Since there are two exposures in HDRx mode, the camera is recording double the amount of frames each sec-

ond. For example, when shooting at 24 FPS, the camera is recording two 24 FPS tracks, which is the data rate

equivalent of 48 FPS; however, after combining the A and X tracks in post-production, you will see only one 24

FPS blended image sequence.
HDRx provides multiple options for exploitation in post-production.

Blend the two tracks in post tools like REDCINE-X PRO or any other application that supports the SDK to

create Magic Motion

™

. This blending of the two tracks comes with a slider so that you can decide just how