The RED Tab

When native RED QuickTime media is sent to or imported into Color, a RED tab appears in the Primary In room, next to the Basic and Advanced tabs. There is no corresponding RED tab in the Primary Out room.

Figure. RED tab.

Important: This tab only appears if you’ve installed the appropriate RED supporting software for Final Cut Studio.

The RED camera writes raw, linear light image data to the R3D files that are recorded. The controls found in the RED camera’s Audio/Video menus in no way alter the way the image data is written within each R3D file. Instead, whatever settings were chosen at the time are stored within each recorded clip as metadata (similar to a LUT) that determines how these media files are displayed by compatible software. This metadata can be overridden during the Log and Transfer process in Final Cut Pro.

For clips that were imported with native color metadata, the RED tab provides access to the clip Color, Color Temp, and View metadata originally written by the RED camera. However, this metadata can also be overwritten during ingest using a custom color processing option in the Log and Transfer window. These parameters are provided so that you can begin grading each clip in the state at which it was originally monitored during the shoot, or at which it was ingested using the Final Cut Pro Log and Transfer window.

Figure. RED parameters.

Note: Although there is functional overlap between the controls found in this tab and those found elsewhere in Color, the Kelvin and Tint controls are specially calibrated to provide the most photometrically accurate white balance adjustments for RED QuickTime media.

  • Enabled: Turns all of the parameters found within the RED tab on or off. Turning Enabled off suspends the effect of these parameters on the final rendered image in Color.
  • Saturation: This parameter is available in the RED camera’s Color submenu, and adjusts the color intensity of the image. The overall range is 0 (monochome) through 5.0 (extremely high), where 1 is unity.
  • Kelvin: This value is set by options in the RED camera’s Color Temp menu, along with Tint. This setting is designed to compensate for the “warmth” of the available lighting to keep white elements of the scene looking neutral. Low Kelvin values will compensate for “warmer” lighting (such as tungsten), while higher Kelvin values compensate for “cool” lighting (such as noon-day sun or overcast days). Two user-selectable options set Kelvin to predetermined values: Tungsten (3,200K), and Daylight (5,600K). The Auto WB option automatically chooses a custom value for this parameter based on analysis of a white card, while Manual WB lets the operator choose any value. The correction made by this parameter is designed to work specifically with RED linear light image data to provide the most photometrically correct result.
  • Tint: This value is adjustable within the RED camera’s Color Temp menu, along with Kelvin. Tint is designed as an additional white balance compensation for light sources with a green or magenta component, such as fluorescent or sodium vapor bulbs. The correction made by this parameter is designed to work specifically with RED linear light image data to provide the most photometrically correct result.
  • Exposure: Available in the RED camera’s Color menu. Increases and lowers image lightness in increments calibrated to ƒ-stops. When raising the signal up to 100 or lowering it down to 0, the image is clipped at the boundaries of broadcast legality. The overall range is –7 to +7, where 0 is unity.
  • Red, Green, and Blue Gain: Available in the RED camera’s Gain submenu. Allows individual adjustment of each color channel. Adjusting any of these gain parameters boosts or lowers the maximum value of the corresponding color channel and scales the midtones while pinning the bottom of the channel to 0 percent. Lowering does the opposite. The overall range is 0 to 10, where 1 is unity.
  • Contrast: Available in the RED camera’s Color menu. Raising the contrast boosts the highlights and lowers the shadows, while leaving the midtones centered around 50 percent unaffected. As the video signal reaches the boundaries of 100 and 0 percent, it’s compressed rather than clipped. The overall range is –1 to +1, where 0 is unity.
  • Brightness: Available in the RED camera’s Color menu. Raises and lowers image lightness. When raising the signal close to 100 or lowering it down to 0, the image is compressed rather than clipped. The overall range is –10 to +10, where 0 is unity.