Following an extensive q&a session with Ted Schilowitz, Mike Curtis has posted yet another detailed interview with a member of the Red Digital Cinema team. This one is with pixel-magician Graeme Nattress, and focuses on compression and codec options as well as post production. Once again, required reading for the Red faithful.

They kick it off with a quick rundown of Redcode, the wavelet compression codec that Graeme has apparently been devoting much of his time to:

“Redcode is a compression scheme designed especially for the RED camera. It’s a wavelet based compression that works in 10bit or 12bit (the camera is 12bit natively) and with RGB or RAW data. When you’re using 10bit mode, you have the choice of either a standard Log curve, or a REC 709 gamma curve, so that you’re immediately compatible with whatever NLE or DI program you’re using.”

They cover more specifics on what framerates and resolutions are available when recording to specific media types, and spend some time discussing REDCINE, the software app that can apply basic corrections to Red One images and export them in any one of a myriad of formats. A quick note on the REDCINE application…it makes full use of CPU + GPU and also offers/will offer a “draft mode” for quick and dirty format conversion tests. Another interesting feature will be “RPL”, or the Red Pull List…a tool to ingest XML/EDL files and assist with automating the online/offline process. More details on the RPL tool from Stuart English @ DVXuser. The app will ship with the cameras and will also be available as a standalone purchase (price not yet determined).

Tons of additional details towards the end of Mike’s article; frame-ramping, more info on recording options and formats, and a word of warning about checking the Red Format Options Chart before assuming you can record the format of your choice…to your media of choice. For example, RAW S35mm (uber-big 2540p) can only be recorded using the “RAW Data Port”, which may require 3rd party hardware when the camera ships. In contrast, 4K RAW can be captured at that data faucet or to some REDCODE option (Flash mag or other onboard media, etc). It’s not terribly confusing, just take a few minutes to understand that chart and what limitations you can expect.