REDCODE RAW (.R3D) is RED Digital Cinema's proprietary wavelet-compressed RAW camera codec.
REDCODE RAW is the proprietary RAW recording format of RED Digital Cinema Camera Company. Footage is saved as files with the extension .R3D. Unlike fully processed video material, this captures the unprocessed sensor data (Bayer mosaic), allowing image parameters such as ISO/sensitivity and white balance to be set in post-production, remaining creatively decoupled on set.
REDCODE is a lossy format: there is no lossless variant. The compression is wavelet-based (Discrete Wavelet Transform) and intraframe – each individual frame is compressed independently, without dependency on preceding or subsequent frames. RED describes the process as visually lossless; technically, however, it is always lossy.
The compression strength is indicated as a ratio (e.g., REDCODE 8:1). A lower ratio (around 2:1) means higher image quality and larger files, while a higher ratio (around 22:1) means lower quality and more compact files. The available levels depend on the sensor/camera model.
| Sensor | Available Range | Default |
|---|---|---|
| MYSTERIUM-X | 3:1 to 18:1 | 8:1 |
| RED DRAGON | 2:1 to 22:1 | 8:1 |
The effective data rate results from the compression ratio in conjunction with resolution, aspect ratio, frame rate, and settings such as Anamorphic or HDRX – it is automatically recalculated when these parameters change. An R3D file contains not only the compressed RAW data but also sensor characterization, extensive metadata, and RED's Color Science, which is intended to ensure consistent results from sensor to screen.
In practice, the desired compression ratio is set before shooting as a compromise between image quality and data rate (and thus recording time per storage medium). Larger productions often consciously choose not to use the lowest possible compression to reduce storage requirements without accepting visible quality degradation. Since R3D works intraframe, footage can be trimmed and processed in tools like REDCINE-X PRO or DaVinci Resolve without the RAW data needing to be recompressed. For lighting and grip, it is relevant that the format allows for a large exposure latitude and subsequent adjustment of ISO and white balance – lighting and color temperature can therefore still be corrected in grading, but do not replace clean illumination on set.
Ich nutze REDCODE primär für die nachträgliche Belichtungskorrektur – kann problemlos zwei Blenden unterbelichten und in der Post anheben ohne Rauschen. Die 16-Bit-Tiefe gibt mir enorme Flexibilität beim Grading, besonders in den Hauttönen, auch wenn ich den ARRI-Look bei Gesichtern nach wie vor bevorzuge.
REDCODE ermöglicht mir spontane Entscheidungen am Set, da ich Farbtemperatur und Belichtung später noch anpassen kann – das reduziert Setupzeiten erheblich. Für VFX-intensive Szenen ist die hohe Auflösung und Farbgenauigkeit unverzichtbar, auch wenn ich für intime Dialogszenen oft zu wärmeren Formaten wechsle.
Die Speicherkosten sind kalkulierbar – eine 512GB REDmag reicht für etwa 2 Stunden 6K-Material bei mittlerer Kompression. Kritisch sind die Post-Kosten: REDCODE erfordert leistungsstarke Workstations und verlängert die Renderzeiten um 30-40% gegenüber ProRes, spart aber durch weniger Drehtage oft mehr ein als es kostet.
1. Was beschreibt „REDCODE RAW" am besten?
2. Zu welchem Department gehört „REDCODE RAW"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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