RED's wavelet-based RAW codec producing .R3D files with three compression ratios (28:1, 36:1, HQ), enabling post-production ISO and white balance adjustment.
Technical Details
REDCODE utilizes wavelet-based compression and stores image data in .R3D files. Data rates vary depending on resolution and compression ratio: 4K RED ONE at 5:1 compression generates approximately 28 MB/s, while 8K WEAPON at the same compression reaches 225 MB/s. The format supports frame rates from 1 to 300 fps (camera dependent) and operates with the RED Color Science color space (REDWideGamutRGB). Three main variants exist: REDCODE 28 (lowest quality, highest compression), REDCODE 36 (standard), and REDCODE HQ (highest quality, lowest compression).
History & Development
RED Digital Cinema introduced REDCODE in 2007 with the RED ONE camera, developed by company founder Jim Jannard and his team. In 2012, REDCODE RAW 2.0 followed with improved compression and extended metadata. Version 3.0 (2016) brought HDR support and optimized workflow integration. In 2019, REDCODE IPP2 (Image Processing Pipeline 2) expanded the color science with improved skin tones and extended color spaces for HDR displays.
Practical Application in Film
Peter Jackson shot "The Hobbit" entirely in REDCODE 5K in 2012, and David Fincher used RED EPIC for "Gone Girl" (2014) in 6K REDCODE. The typical workflow begins with capturing in high resolution, followed by proxy creation for editing and final conform of the RAW files during grading. REDCODE allows for post-capture adjustments of ISO, white balance, and resolution without quality loss. Disadvantages include high storage requirements and the need for powerful hardware for real-time playback.
Comparison & Alternatives
Unlike ProRes or DNxHD, REDCODE is a pure RAW format without debayering. Competitors like ARRI RAW or Canon Cinema RAW Light use different compression algorithms – ARRI opts for less aggressive compression, while Canon focuses on GPU-optimized processing. Blackmagic RAW (2018) offers similar flexibility with lower hardware requirements. REDCODE is suitable for high-end productions with extensive color grading, whereas compressed formats are more practical for fast turnaround times or limited post-production resources.