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(Page 2 of 4 pages for this article < 1 2 3 4 >) Thursday, July 03, 2008RED Build 16: A Camera Whose Time Has Come
REDSPACE, REC 709 and RAW: GOOD NEWS AND BAD NEWS Build 16 introduces RedSpace, a new color space for the RED camera. From what I’m led to believe by those who appear smarter than myself, RedSpace is a brighter and more saturated version of the REC 709 setting already installed in the camera. My past efforts at using the REC 709 color space have been disappointing, mostly because the gamma curve makes the midtones too dark. As a result the monitor just doesn’t look right, which is why we’ve been told for so long to treat the RED ONE “just like film”: because you couldn’t really see what it was doing, so you’d just have to trust your meter. That’s fine for a film stock, but I’ve not worked with many HD cameras that react to a meter the same way twice. RedSpace is a definite improvement. The gamma curve has been brought up a bit so midtones look normal. Observation of the gray values on a waveform monitor showed that they appear to track properly both by eye and on the waveform monitor, just the way a real camera would. It appears that a waveform monitor could prove usable when viewing RedSpace. The problem with both RedSpace and REC 709 comes when exposing an 18% gray card using a light meter set at EI 320: the histogram shows the middle gray value falling noticeably to the left of center, technically too low to be truly 18% gray. The histogram seems to be affected by the gamma curve built in to both REC 709 and RedSpace. The only way I can use a light meter (reflected) to accurately place 18% gray in the middle of the histogram is to rate the camera at EI 160. The same thing seems to happen in RAW mode. RAW purports to show exactly what is happening to the sensor, devoid of gamma curves and knee compression. We saw knee compression on both REC 709 and RedSpace, and both REC 709 and RedSpace are affected by changing the EI of the camera. RAW is not. You can spin the EI setting all over the place in RAW mode and you won’t see any difference at all. I like that. A lot. Because it shows me what’s REALLY going on. Once again, though, middle gray comes up significantly left of where it should on the histograms. We’ve been told that the EI sweet spot is 320, but if we go by the histogram the camera is a stop slower. If someone from RED would like to email me with an explanation of this phenomena I’d be happy to post it. Or it could be posted in the comments for this article.
Good news and bad news about the histograms on the next page:
Cameras • Production • (Page 2 of 4 pages for this article < 1 2 3 4 >) 
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