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RED Epic Dragon, Raven and Komodo

Posted: Mon Feb 25, 2013 2:24 pm
by jstenner
Excellent first look for newbies introduction:

Our equipment with links to operation manual and downloads:
RED Epic Dragon:

RED Raven 4.5K:

RED Komodo:

A good first stop for general learning info:

If you're familiar with photography, this is a good intro:
Stills Photographer Intro to Video

An excellent overview of the features of the camera:
Phil Holland's Red Quick Reference Guide

Phil Holland's excellent set of tools:

RED + FCPX Workflow

Posted: Mon Nov 11, 2013 4:58 pm
by jstenner
Project Prep – How to properly bring in your RED footage and build your project in FCP X.
We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 1

Editing Tips for FCPX
We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 2

Finishing your RED movie using Final Cut Pro X, Redcine-X, and DaVinci Resolve
We Make Movies (Better): A Final Cut Pro X/RED feature film workflow, Part 3


Posted: Fri Apr 11, 2014 5:50 am
by jstenner

Now don't obsess about all the info below. You should know about the relationships between the various parameters, but the GREAT thing about the Red Digital Still & Motion Camera (DSMC) is that you are capturing RAW sensor data. As long as you expose the sensor within the "goal posts" (see below), most of the settings are just metadata (data about data) applied to the raw sensor information. In other words, you can refine these parameters in post-production. The RAW sensor data contains the entire gamut of possibilities available to the sensor, and in post you can tune the image to look exactly as intended. You still need to decide about ISO, aperture, and shutter speed to get whatever affect you're after, but you can tune these after the fact.

Use Red's handy Cinephotography Tools - Recording Time interface to calculate how long you can shoot:

How to decide what filter to use: ... ners-guide

Filtration Summary: If your goal is to shoot footage with a sense of depth-of-field (DOF) in outdoor, sunny situations, you'll need a neutral-density filter with the Red. Each .3 of ND is equal to 1 f-stop. If you don't used ND outdoors you will be limited to small apertures like F22 (ie, max DOF). As a point of information, each camera behaves differently with respect to the ND filter design. For Red, we need a filter that also includes IR filtration to avoid green color casts. The quality of the glass is also extremely important so the image isn't softened. You CAN stack filters in the Matte Box (ie, .3 + 1.2 = 1.5) but it's best not to do that if you can avoid it to preserve maximum image quality. What you're trying to do is to shoot at a low ISO so you have as little noise as possible, with a shutter that's as open as possible without overexposure. That will give you the ability to have control over the DOF in your shot. ... tial/page2
Phil Holland's Notes on Filtration

Black Shading Calibration (needs to be done regularly based on ambient temperature and shutter speed changes).
Here's a good overview about what is happening when you black shade: ... alibration

Here's a good overview about how to do it: ... mp-Experts
A good introduction to frame-rates:

Ultimate Beginners Guide to Exposure: ... -exposure/

Using a light meter to set exposure:


Red's CINEPHOTOGRAPHY Tools. This is an excellent set of online tools to calculate crop/record time/dof/exposure, etc:

EXPOSURE WITH RED CAMERAS: IN-CAMERA HISTOGRAM TOOLS *this is the "goal post" mentioned above ... sure-tools

Lesson: use Setting>Display>Tools>Exposure to set Exposure Mode to overlay false color over your view. Red is overexposed, Purple is underexposed! ... ebra-tools

ISO - It's different with Red Cameras

Shutter Speed vs. Shutter Angle: ... it-love-it
Don't shoot with a shutter angle greater that 180 degrees unless your intent is VERY smeary video.
So, 180 degrees for each of the popular frame-rates (180 = 1/2) looks like this:
24fps = 1/48, 25fps = 1/50, 30fps = 1/60, 60fps = 1/120, 120fps = 1/240 and so on…
In other words, don't shoot at 1/24 @ 24fps or you'll have waaaay too much motion blur. The sensor will be exposed for too long (greater than 180), smearing the video.

Here's Red's excellent overview of how shutter angle relates to contemporary technologies:


Posted: Fri Apr 11, 2014 5:51 am
by jstenner

You'll want to use the Kino Flo. Here's a video showing how to set it up:


Posted: Fri Apr 11, 2014 5:52 am
by jstenner

First, you need to understand that there are multiple ways to do anything. But, in general, there are two basic workflows. One involves transcoding captured files to another format that can be edited in realtime in the video editing interface (we'll assume Final Cut X, here). The second involves working in the native or RAW format produced by the camera. You choice depends on the hardware capabilities of the machine on which you're working. At this point you can pretty much work directly with RAW files without problem in FCPX and Premiere.

In 2017, RED developed a new workflow called IPP2 (Red Image Processing Pipeline v2). It is a much improved color workflow that makes a huge difference in the final image. It's also more streamlined than the previous way of grading footage. It makes many of the older tutorials obsolete in specific ways so be careful that you're looking at new info for tips/answers, etc. Watch this to get started with IPP2:

You'll start your workflow with Redcine-X Pro which can be downloaded for free from RED. It is already installed on the lab computers:

Here's a nice cheatsheet by Phil Holland:

Here's the master info for RED Dragon: ... ata-Sheets

It's always important to be aware of the various aspect ratios of your footage, but especially important if you are compositing 3D/CG since you will be moving data from application to application. Phil Holland has an excellent tool that allows you to select the specific RED camera and display framerates, resolutions, aspect ratios, etc:

You will edit your footage after initial grading using FCPX, Premiere, or whatever floats your boat.

Here's the basic starting point for understanding RED Workflow using FCPX or Premiere:

Before editing in Final Cut X be sure to install the Red Apple Workflow Installer (Plugin) here. The lab should already have the latest version installed: ... -cut-pro-x

Here's a good overview. It doesn't really address IPP2, but it's still a worthwhile read:

If you want to use 3D LUT (lookup transforms) to do basic color adjustments that emulate particular film stocks or effects, there are a number of free and expensive options available. Here's a selection of 35 free LUTs: ... ng-videos/
Phil Holland has an excellent set.


Posted: Fri Apr 11, 2014 6:09 am
by jstenner
I'll try to keep this updated as we acquire new equipment. If you see something missing, let me know.

Tokina AF 11-16 f/2.8 AT-X Pro DX
Canon EF 24mm f/1.4 USM L
Canon EF 50mm f/1.2 USM L
Canon EF 100mm f/2.8 USM macro
Sigma 8mm F3.5 EX DG Circular Fisheye
Sigma 18-35mm F1.8 DC HSM
Sigma 150-600mm F5-6.3 DG OS HSM Sport Telephoto
Duclos Rokinon Cine DS Speed Set
This set give us 4 matched high speed T1.5 (therefore low light capable) CINEMA lenses at 24mm, 35mm, 50mm and 85mm

Our main tripod is a Manfrotto 509HD

The PRIMARY thing with ANY tripod, is DON'T FORCE IT. You will damage the tripod if you force it to pan or tilt against the locks/stops.
Know where the locks are located for pan and tilt and USE them! ALWAYS lock the tripod unless you are actively aiming the camera.
The best way to drop the RED is to forget to lock it properly.

Before shooting you'll want to know how to setup the Manfrotto 509HD fluid head tripod properly.
Here's a link to a video that describes the various features:

The list below comes from this thread @ ... otto-509HD
  • How to get your tripod ready:
    1. turn the counterbalance and tilt drag to their minimum setting
    2. make sure your head is horizontally balanced (using the bubble level)
    3. position your camera setup in to the head until the safety pin engages (at this point it can not slide out)
    4. while gently holding onto the top (camera) handle move the setup back and forth until it does not tilt in either direction when you let go
    5. press and hold the red ABR button between the two LED's for few seconds - at this point you have "recorded" the correct balance position
    6. go ahead and first set the correct counterbalance setting in relation to how heavy your rig is
    7. then adjust the tilt drag to your desired level
    8. finally adjust the pan drag to your desired level
    9. Voila! Until you change the configuration of your rig - you are now ready to work...

    How to use the ABR:
    10. when you remove the camera and then place it back on the head (without changing it's configuration) - press gently the same red ABR button for a split second and release
    11. the LED's will blink in the direction you need to move your rig in order to return to the previously recorded balanced position
    12. move your rig back and forth until both LED's light up solid green - you are now back at the balanced position
The RED Dragon is attached to the tripod using the Red Quick Release system.
It is IMPERATIVE you use this properly or you risk the camera falling to the floor and breaking$$$$
Here is a quick demo of how it works:

If you plan to use the Kessler Crane Pocket Jib Pro, here's a QuickStart:

If you plan to use the Kessler Cineslider, here's the project page with videos:

If you plan to use the Kessler Dolly, here's an overview:

We also have a Kessler Second Shooter Plus Motion Control System:

Red Mag Reader Connections

Posted: Mon Oct 10, 2016 2:38 pm
by mchristo
Make sure the connections match this picture when connecting the reader. Be sure the power switch is turned ON and try to be gentle with the cables.


Re: RED Epic Dragon AND RED Raven

Posted: Sun Jan 09, 2022 1:34 pm
by jstenner
Red Komodo WiFi monitoring:

How to configure -> ... -Interface