When everything matters and vision or process can’t be compromised, creators around the globe choose RED to unlock their creativity, produce unbelievable content, and get the job done no matter what.

Watch More
Learn More

REDCODE MATTERS

REDCODE RAW IS THE REVOLUTIONARY WAVELET BASED COMPRESSION CODEC THAT UNLOCKS UNBELIEVABLE IMAGE CAPTURE POTENTIAL AND CREATIVE FLEXIBILITY. ALLOWING CREATORS TO CAPTURE ANYTHING FROM 4K TO 8K RAW WITH MANAGEABLE FILE SIZES AND VISUALLY LOSSLESS IMAGE FIDELITY.
Watch Full Video

UNMATCHED DATA RATES

REDCODE ALLOWS YOU TO BALANCE YOUR R3D FILES SO THAT 8K RAW IS ACTUALLY SMALLER THAN 4K PRORES 4444. ALL WHILE MAINTAINING THE FLEXIBILITY OF A RAW WORKFLOW WITH 4 TIMES THE COMPARABLE RESOLUTION AND MORE RECORDING TIME THAN THE COMPETITION.

RECORDING TIME: MINUTES PER 1TB MINI-MAG*

HELIUM/MONSTRO 8K
REDCODE RAW 10:1 compression at 130MB/s = 126 MINUTES of recording time
Apple ProRes 4444 4K
at 135MB/s = 121 MINUTES of recording time
HELIUM/MONSTRO 8K
REDCODE RAW 8:1 compression at 162MB/s = 101 MINUTES of recording time
HELIUM/MONSTRO 8K
REDCODE RAW 5:1 compression at 259MB/s = 63 MINUTES of recording time
ARRI ALEXA MINI 3.4K
ARRIRAW at 271 MB/s = 60 MINUTES of recording time
ARRI ALEXA LF 4.5K
ARRIRAW at 501 MB/s = 32 MINUTES of recording time
Apple ProRes 8K
at 566 MB/s = 29 MINUTES of recording time

*COMPARISONS ARE FULL FORMAT @24FPS WITH 1TB OR EQUIVALENT MEDIA (RED: 960GB MINI-MAG)

The Real Raw

The first cinematic raw. The best cinematic raw. With 16-bit color depth and 16+ stops of dynamic range, REDCODE RAW provides the flexibility to adjust ISO in post, render true color, avoid banding and ultimately unlock the full potential of your imagery.
Watch Full Video

Erik Knutson, DP

UNPARALLELED CINEMATIC IMAGERY

EPIC IMAGE QUALITY AND ENDLESS CREATIVE FLEXIBILITY. THE REDCODE RAW CODEC COMBINED WITH RED’S ENHANCED IMAGE PROCESSING PIPELINE (IPP2) DELIVERS THE CREATIVE AMMUNITION THAT WORLD-CLASS CREATORS DEMAND.

GREENLEAF

“I started with a Panavision DXL2 Film LUT and after testing modified it for the HELIUM sensor...I felt I got the best skin tones. Many African-American cast members said they had never looked so good."

James Chressanthis, ASC, GSC

A Hidden Life

“On A HIDDEN LIFE, we often faced high contrast environment, especially since we were shooting most of the film with available light. The IPP2 workflow and color pipeline have been very helpful in retaining the maximum latitude while being able to specifically control and preview different highlight roll-offs."

Cinematographer Jörg Widmer

ACHIEVE THE LOOK

HARNESSING THE POWER OF REDCODE AND CAPTURING 16-BIT RAW WITH UNMATCHED DYNAMIC RANGE GIVES CREATORS A LIMITLESS PALETTE TO ACHIEVE ANY LOOK. THESE LUTS (PLUS 20 MORE) WERE DEVELOPED IN COLLABORATION WITH COLORIST ERIC WEIDT (MINDHUNTER; GONE GIRL).

ENTIRE RED LUT PACK AVAILABLE FOR DOWNLOAD SOON

ÉCHAPPÉ
Beth Napoli, DP
Log3G10Final Color Grade

ST4

Cinematic split tone look with teal shadows and warm highlights

MUAVE

Modern day fashion grade with violet shadows and saturated blues

Narcissus

Vintage 2-strip style beauty look

BW

Classic high-contrast monochrome look that mimics black and white film

ST4

Cinematic split tone look with teal shadows and warm highlights

MUAVE

Modern day fashion grade with violet shadows and saturated blues

Narcissus

Vintage 2-strip style beauty look

BW

Classic high-contrast monochrome look that mimics black and white film

HIGH DYNAMIC RANGE

ALWAYS CAPTURE ENOUGH DYNAMIC RANGE TO SUPPORT HDR DELIVERY WITHOUT ANY ADDITIONAL SETTINGS OR HARDWARE

Ben Masters, DP
  1. Log3G10
  2. Highlight Detail
  3. Shadow Detail
  4. Final Grade

“Continuity of light and lenses were critical for this film because of the long documentary format. I captured the imAges (sic) in REDCODE raw and that turned out to be an excellent choice. The production started out on older versions of the RED color science, but I was able to unify the images when it came time to grade, by applying the new IPP2 color even to the footage I shot five years ago. The R3D RAW container was a great concept in 2007, as it is today. Capturing with this system allowed me a great deal of flexibility in post, and many of the images I shot five years ago look better now because of the new color science.”

DIRECTOR: David Battistella

RED TECH: REDCODE

REDCODE is our wavelet based compression that makes capturing anything from 4K to 8K RAW files and typically visually losses imagery manageable for anyone.

Click to play

RED TECH: NVIDIA

Real-time high-resolution workflow is now a reality for creators at every level. RED’s latest advancements in work R3D SDK and the accompanying REDCINE-X PRO software allow for 8K real-time playback and up to 10X faster transcoding.

Click to play