Just like a 35mm film negative, on the RED camera

your goal is to capture as much data as possible. You always
shoot for a color correction to be made before editing to get
the best that you can out of the camera.

This correction goes hand in hand with transcoding because the RED camera does not produce files that can be directly edited on most systems. The same RED software and computer system handles both processes… and it is REALLY slow! (Check out our

REDRocket Speed Tests

if you don't believe us!)

Our REDRocket encoder

gives us the heavy-duty technical horsepower to handle this major speed bump - combined with a skilled

RED colorist and editor,

on location or at our studio. Our

REDRocket MacPro systems transcode

thirty times faster than non-Rocket systems, allowing our colorist to fly through an operation that normally would take days or even weeks.

And of course, when we have the system on location, the DP and Director can work closely with the colorist to get the exact look they have in mind, and approve finished footage there and then - the on location colorist may even be the program editor as well, allowing the quickest and most efficient turnaround speed possible… and the least headaches! (By the way, we never have our DIT double up as a REDRocket colorist on location - for the same reason you don't have the audio dude double up as DP - just because they stand near each other doesn't mean they can do each other's job, and colorists are a very very different breed to DITs!)