REDCODE is an ultra high-resolution format used by the RED ONE camera manufactured by the RED Digital Cinema Camera Company. The REDCODE format is designed to produce digital media with resolutions sufficient for film and digital cinema distribution.

With resolutions much higher than those used in HD video, REDCODE is not strictly an HD format, although it can be transcoded and downconverted to standard HD and SD video formats.

You can use Final Cut Pro to edit the native REDCODE media. When Final Cut Pro ingests REDCODE files, it wraps the native R3D files in a QuickTime wrapper, which provides compatible applications with the ability to access the native data at whatever resolution you choose. You then edit your media in Final Cut Pro. You can also send your media to Color for grading and color correction. When you finish color correction, you can use Color to output the media as Apple ProRes files, as uncompressed HD files, or as DPX image sequences for use with other finishing software or digital intermediate workflows.

You can also use Final Cut Pro to transcode the REDCODE media to an Apple ProRes codec and then do an online or offline edit of the project.

About the RED ONE Camera

The RED ONE camera uses a 12-megapixel CMOS sensor to capture images at a number of resolutions. For Final Cut Studio workflows, 4K and 2K are recommended resolutions. For the latest information about the RED ONE camera specifications and formats, go to the RED Digital Cinema Camera Company website at http://www.red.com.

Aspect ratio
2048 x 1152 pixels
2048 x 1024 pixels
4096 x 2304 pixels
4096 x 2048 pixels

The RED ONE camera is designed to produce high-resolution media for editing and digital intermediate processing without requiring film scanning. During post-production, film is typically digitally scanned at 2K or 4K resolution to produce digital files for editing and grading. This digital stage of theatrical film production is called digital intermediate (DI). During post-production, the DI files are edited, graded, and then typically output to film.

Because the sensor in the RED ONE camera can capture images at the same frame sizes as Super 35mm film or Super 16mm film and at 2K or 4K resolution, the REDCODE image information is closely equivalent in definition to 2K or 4K digitized film footage. In effect, the RED ONE camera captures media directly to the digital intermediate stage. This provides the advantage of skipping film scanning and allows immediate previewing and post-production editing and grading, especially streamlining the production of dailies.

Using the REDCODE codec, the RED ONE camera captures 4K RAW data at up to 30 fps and captures 2K RAW data at up to 120 fps. The REDCODE color sample ratios are 4:4:4 RGB and 4:2:2 Y′CBCR with 12 bits per sample. Audio is recorded in 24-bit, four-channel uncompressed sound at a 48 KHz sample rate.

The camera records data directly to proprietary hard disk drives and CompactFlash cards. Hard disk drives can be connected directly to your computer, and CompactFlash cards can be connected to your computer using a card reader. You can then download the files to other large storage devices, such as large-capacity hard disk drives or RAID storage servers. You can access and edit the files using Final Cut Pro, or further process them using the RED ONE camera software or other DI finishing software.

Working with REDCODE Media in Final Cut Pro

Although there are several alternative workflows, depending on the final output you want, there are two main recommended workflows for working with REDCODE media in Final Cut Pro:

Important: The RED ONE camera can produce REDCODE media and QuickTime reference movies that represent the media, storing all the files together in clip folders. However, Apple doesn’t recommend using the QuickTime reference movies. The recommended workflows are to ingest and edit the native REDCODE files or to transcode the REDCODE files to an Apple ProRes codec.

The following restrictions apply when working with REDCODE media:

  • REDCODE media support is available only on Intel-based Mac computers.

  • Final Cut Pro can ingest either 4K or 2K REDCODE files, but the working resolution inside Final Cut Pro and QuickTime will be 2K. Grading and color correction in Color is not subject to this limitation. The working resolution in Color, and any output from Color, will match the native (4K or 2K) resolution.

  • You must install the latest RED QuickTime codec and software.

  • Working with RED ONE camera media requires your Mac to have Mac OS X version 10.4.11 or later.

  • To preview REDCODE media in the Log and Transfer window, you must install the RED FCP Log and Transfer plug-in, available at http://www.red.com/support.