{"id":17339,"date":"2012-12-20T11:16:33","date_gmt":"2012-12-20T16:16:33","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=17339"},"modified":"2013-01-04T11:13:19","modified_gmt":"2013-01-04T16:13:19","slug":"red-epic-monochrome","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/red-epic-monochrome\/","title":{"rendered":"How to work with the RED EPIC Monochrome"},"content":{"rendered":"

Curious about the new cam from RED Digital? \u00a0In those post, we come to grips with the new monochrome only EPIC digital film camera.<\/h2>\n

David Fincher<\/a> is shooting his latest project with the RED EPIC Monochrome – a black and white only camera from RED Digital<\/strong>. I’ve not heard a lot about this camera, nor working with the footage but I thought I’d bring together some of the first interesting finds from across the web to help us all get to grips with working with the RED EPIC Monochrome.<\/p>\n

\"RED<\/p>\n

First Impressions of the EPIC Monochrome<\/h3>\n

RedShark News, the blog of the Lightworks NLE, has an interesting post with their first impressions of the camera<\/a>. This will be a three part series, including some footage, so check back in the coming weeks. I think the most interesting question is: \u00a0Why did RED make it in the first place? Who wants a $42,000 dollar camera (brain only!) that can only shoot black and white images? \u00a0Well Phil Rhodes from RedShark reckons its all because of Fincher.<\/p>\n

The short answer is that it probably isn\u2019t to most people: it will always be a niche product. But as an end in itself, there is potentially no better way to acquire\u00a0 monochrome moving images.\u00a0<\/em>The slightly more complete answer is that RED made the EPIC Monochrome\u00a0 because David Fincher asked them to (for a production they apparently aren\u2019t allowed to name).<\/em><\/p><\/blockquote>\n

RED Monochrome Post Workflow – Overheard on Twitter<\/h3>\n

I saw this conversation between London based Colorist Dan Moran and New York based Juan Salvo (of the Coloristos podcast<\/a>) discussing a workable way to bring the RED Monochrome footage into the grade<\/strong>. \u00a0Here is the conversation in full:<\/p>\n

Dan Moran<\/strong> \u200f@DanMoranColor<\/a>\u00a0–\u00a0Anyone know what software does support it? Have a big music video shot on EPIC Monochrome, I guess to Redcine X I go!<\/p>\n

Juan Salvo<\/strong> \u200f@j_salvo<\/a>\u00a0–\u00a0Think you need new redcine-x<\/p>\n

Dan Moran<\/a>\u00a0–\u00a0<\/strong>I have the new redcine x working its just painfully slow. Have to wrangle everything to dnxhd and dpx now grrrr!<\/p>\n

Juan Salvo<\/strong> <\/a>–\u00a0\u00a0btw the new redcinex doesn’t allow red rocket decoding for monochrome. It’s all CPU. So u want to use fast CPU system and\u00a0multithreaded processing in the batch export for best performance.<\/p>\n

Juan Salvo<\/a>\u00a0–\u00a0<\/strong>There’s no debayering to do anyway! B&W baby. It’s the only RED camera that actually is 5k.<\/p>\n

Robbie Carman<\/strong> \u200f@robbiecarman<\/a>\u00a0– Yeah I guess I would hope that it would allow for faster transcodes even if debayering wasn’t happening<\/p>\n

Dan Moran<\/strong>\u00a0<\/a>\u00a0–\u00a0thanks for the tip man! Was just about to rip our red rocket card out to use on a MacPro!<\/div>\n

Dan Moran<\/a>\u00a0–\u00a0<\/strong>It says 15 hours for a full quality debayer. I feel like I’ve gone back in time by like 5 years haha!<\/p>\n

Juan Salvo<\/strong> <\/a>–\u00a0\u00a0I don’t the debayer quality makes any diff. Look to see if setting to good quality effects image.<\/p>\n

Dan Moran<\/strong> <\/a>–\u00a0just set it to 1\/4 quality and its gone from 15 hours to 3 so it’s definitely effecting it somehow<\/p>\n

Juan Salvo<\/strong> \u200f<\/a>–\u00a0Are you downscaling?<\/p>\n

Dan Moran<\/strong> \u200f<\/a>–\u00a0I changed the debayer quality from full to 1\/4 and that made the big difference<\/p>\n

Juan Salvo<\/strong> \u200f<\/a>– \u00a0Did that affect resolution?<\/p>\n

Dan Moran<\/strong>\u00a0<\/a>\u00a0– No idea to be honest. We have to get the DnxHD files out asap so just rendering those to 1080 23.98 36<\/p>\n

Juan Salvo<\/strong> \u200f<\/a>– Yeah it won’t make any diff for DNxHD.<\/p>\n

Dan Moran<\/a>\u00a0– J<\/strong>ust thinking about the final grade now. So used to being able to work natively. Boo! This is why I prefer Alexa no surprises!<\/p>\n

Juan Salvo<\/a>\u00a0–\u00a0<\/strong>\u00a0Do 2.5k dpx overnight. If you were on Mac I’d recommend 16bit ProRes444. It’s working quite nicely.<\/p>\n

Jason Diamond<\/strong> \u200f@jasondiamond<\/a>\u00a0@j_salvo<\/a> @DanMoranColor<\/a> @robbiecarman<\/a> There is no debayer for monochrome epic but quality of res will pick diff res layer no?<\/p>\n

Juan Salvo<\/strong>\u00a0<\/a>\u00a0– That would be my guess. But debayer quality (premium vs good) may affect processing time.<\/p>\n

Dan Moran<\/strong> \u200f<\/a>–\u00a0I’ll definitely check it out.<\/p><\/blockquote>\n

Download REDCINE-X PRO<\/h3>\n

\"Working<\/p>\n

If you want to download the latest version of REDCINE-X PRO<\/strong> (v16), \u00a0which has been updated to support Monochrome footage, then just head here on the RED site<\/a>. As Juan Salvo points out it is only supported as software decode only.\u00a0RED CINE-X PRO is a free software download for working with RED’s R3D files. For tutorials on using REDCINE-X Pro check out some of these free tutorials from RED<\/a> and this workflow blog post from Oliver Peters<\/a>.<\/p>\n

\"\"<\/div>\n","protected":false},"excerpt":{"rendered":"

RED releases an EPIC Monochrome camera for high end film production. 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