4K London are London's leading RED specialists. We were one of the first in the UK to receive our camera and have been testing constantly since then to find the camera and post settings that provide the highest quality images possible for the camera.

We have also established rock-solid workflow practices, both on-set and in post-production to give our clients a trouble-free RED experience.

4K London can offer you the following services.

Digital Imaging Technician (DIT)

When you rent a RED One camera, you will need to hire a DIT through 4K London. We supply this service so your shoot will run smoothly and you get the most out of your RED One camera hire. Our on-set DIT will supervise the safe storage and multiple backing up of your rushes and can also advise on monitoring and playback, camera menu settings, recording options and exposure.

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Edit Suite Hire

We can provide dry or wet hire edit suites in our soho facilities. These suites will be fully set-up to handle RED footage. We recommend using Final Cut Pro as you can edit the REDCODE files natively. The REDCODE files will need to be transcoded before they can be used in an AVID.

Edit Suite Set-up

If you want to edit RED footage at your own edit facility, 4K London can provide assistance with setting your suite up correctly, installing the correct codecs and plug-ins, so you are ready to start editing RED footage.

Rushes transcoding

To begin editing on an AVID suite, the REDCODE files that come from the RED camera will need to be transcoded to an AVID-friendly codec before use.

Although Final Cut Pro can handle REDCODE footage natively, if you are using FCP on old hardware, you might want to transcode your footage to an offline codec with a lower data rate.

4K London offer a full range of transcoding services to suit your requirements. Please contact us for more details.

Mastering output

When you are ready to on-line, you will need to perform a high quality RAW to RGB conversion. 4K London have done extensive testing to discover the best conversion settings for your final images. We will take your project file or edl, generate a pull list, and then perform the RAW conversion for delivery to your grading or finishing suite.

We can output to a variety of formats and codecs including 2k and 4k dpx for finishing on Baselight, Flame, Quantel eQ etc. for film-outs or DCI packages, or REC709 quicktimes for TV deliverables.