Workflow

Final Cut Pro native editorial workflow

The RED ONE camera generates QuickTime reference movies that point to 4K (or 2K) full resolution REDCODE™ RAW (.R3D) files. This allows for immediate editing of camera source footage when using the latest version of Final Cut Pro.

Ensure that you have upgraded to FCP version 6.0.2, running under Mac OSX 10.4.11 (Tiger) Then download and install the REDCODE™ RAW codec from www.red.com/support (Intel based Macs only currently) Final Cut Pro 6.0.2 with the REDCODE™ RAW codec installed will support RT playback and editing provided you have sufficient hardware resources.

Transfer the entire contents of your RED-FLASH CF card or RED-DRIVE to another drive for editing (RAID storage is recommended for best performance)

Import the desired QuickTime reference movies into a new FCP project. You can use either the 2K or 1K sized reference movies. On a MacBook Pro laptop, we recommend the use of 1K size movies.

Select the ProRes HQ 1080p easy setup in FCP to render files and create an online quality, HD rendered media for finishing.

Log and Transfer functionality will be supported in the near future. This will allow advanced ingest of RED footage into FCP including transcoding to ProRes.

REDCODE
  1. Unlike alternative high-end acquisition tools, RED is the only tool that easily affords users the flexibility to choose custom finishing paths from HD tape through 4K DI.
  2. RED is the only acquisition tool that allows for both independent film desktop finishing or studio Digital INtermediate mastering from one original 4K file source.
  3. Because R3D 4K files are QuicKtime aware, RED provides the only render free offline solution for start-to-finish post production.
  4. RED's out-of-the-box thinking has hands-down created the most streamlined Digital Intermediate workflow we've ever experienced.
  5. RED's render-free QuickTime edit workflow has essentially simplified the post process for any project, never mind the fact that it is 4K!

- Michael Cioni
Digital Intermediate Supervisor
PlasterCITY Digital Post, LLC

2K or 4K DI Finish

REDCODE

Export your EDL from Final Cut Pro into Assimilate Scratch, and match the EDL to the original 4K (or 2K) REDCODE™ RAW media. Then render out DPX or TIFF files in Log, Linear or REC709 colorspace for final matchback, color grading and finish. (Choice of colorspace is dependent on final deliverables)

Use REDCINE or RED ALERT! (free software downloads available here: www.red.com/support ) to export DPX or Tiff files at 2K or 4K, and then match that media to your EDL for grading and finishing in any DI software / hardware package that supports 2K and / or 4K DPX or Tiff files.

XML linking support from Final Cut Pro projects will be supported in the near future. This feature will create "flash to flash" pull lists of each take, which can then be brought into DI finishing systems.

Avid editorial workflow

A number of pathways exist for Avid editorial as well.

REDCINE generates DNX HD QuickTime movies that can be imported into Avid systems that support the DNX codec and generate the MXF wrapped media required for Avid editorial.

Using Scratch, equipped with an NVIDIA Graphics card with HD-SDI output, or an Apple computer with FCP 6.0.2, REDCODE™ RAW codec and an AJA Kona 3 card, you can create a realtime high quality proxy layoff to HD videotape at either 1080p or 720p. Then ingest into Avid in a traditional fashion for offline editing. By using an Avid ALE file, you can track and link the tape timecode to the camera original timecode of the REDCODE™ RAW files for matchback capabilities.

Those editors familiar working with tape based or data based footage from telecine, and then prepping those files for Avid editorial using linked timecode and / or edgecode techniques to match to the time code on tape will be comfortable working with RED footage in much the same way.

REDCODE