While it’s not really necessary for an editor to understand the full range of these camera settings, it’s important to have an idea of what your footage will look like straight out of the camera.Ĭolor space and gamma space are typically chosen by the Director of Photography (DP). Regardless, you can use the same process to design your RED workflows for 4K, 8K, or any resolutions in between.

So unless you plan to go crazy with creating your own coverage in the edit, 8K is likely overkill. Most TVs, monitors, and projectors still max-out at a 4K resolution. Shooting in 4K or 5K rather than 2K can allow you to blow up a medium shot to create a close up in the edit, but the benefits from bumping your frame size up to 6K or 8K for a standard narrative or commercial project likely won’t outweigh the drag on edit speed and performance. But because of the current limitations of technology, there’s a point of diminishing returns. Resolution and Aspect Ratioīigger tends to be better in terms of resolution. Once you understand the moving parts of working with high-resolution RED footage, consider how changing one detail might affect another. Remember to always keep the big picture in mind when designing your RED workflows. But it’s your project that will dictate the optimal method for speed and flexibility. What to Know About RED Cameras Before the Edit Whether your project is a feature film, short film, or commercial. In this article, you’ll learn how to design the optimal RED 4K workflows.

And this means knowing how to handle the material in the edit is a must for success in post. Adjusting shot framing or creating coverage that wasn’t recorded on set can save a scene from the cutting room floor.īut shooting at high resolutions can create large and processor-intensive media files. Shooting at a 4K or higher resolution can be a life-saver in the edit. Before you dive into this article on RED workflows, you might want to check out this article on Shooting Raw.

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