- RED EPIC FINAL CUT PRO 7 FULL
- RED EPIC FINAL CUT PRO 7 PRO
- RED EPIC FINAL CUT PRO 7 ISO
- RED EPIC FINAL CUT PRO 7 PLUS
- RED EPIC FINAL CUT PRO 7 TV
Adjust the raw settings for all shots in the timeline. r3d files into an edited sequence corresponding to your cut in FCP. Import the XML file for each reel as a timeline into REDCINE-X PRO. This is functionally no different than rendering a high-quality, raw-adjusted RGB file from one application and then doing further corrections to it in another.
RED EPIC FINAL CUT PRO 7 PRO
By adjusting the source settings panel within Color, Resolve, Media Composer, Premiere Pro and others, you are adjusting the raw controls but, any further color adjustments (like curves and lift/gamma/gain “color wheels”) are made downstream of the internally-converted RGB image. The advantage of REDCINE-X PRO is direct access to the raw files without the abstraction layer of an SDK. This is a two-step color grading process: Step 1 in REDCINE-X PRO and Step 2 in Apple Color. Export an XML file for each of these reels.
RED EPIC FINAL CUT PRO 7 FULL
Duplicate the reels as video-only timelines, remove any effects, extend the length of shots with dissolves and restore all shots with speed changes to full length. Export audio as OMF files for your sound designer/mixer. Break the final sequence into reels of approximately ten minutes in length each. Import any double-system audio and merge the clips.
In the case of Final Cut Pro 7, simply drag the converted QuickTime files into a bin. The advantage to using REDCINE-X PRO and not the internal conversion tools of the NLE (like FCP 7’s Log and Transfer) is faster conversion, which can be done on any machine and isn’t dependent on the specific requirements of a given editing application. The quality of these dailies only needs to be sufficient for making effective editing decisions. Without it, adjust the de-Bayer resolution settings to 1/2, 1/4 or 1/8 for faster rendering. With a RED ROCKET accelerator card installed, conversion time will be about real-time. 1920×1080 or 1280×720 are the preferred sizes for lightweight editing media. r3d files into editing media, such as Avid DNxHD36 or Apple ProRes LT or ProRes Proxy. Simply accept what was shot and set up a batch to convert the. There is no need yet to change color metadata. Make sure your camera-original media is safe. When you receive media from the studio or location, start by backing up and verifying all files.
RED EPIC FINAL CUT PRO 7 TV
My intent here is to describe an easy workflow for projects mastering at 2K and HD sizes, which are destined for film festivals, TV and Blu-ray. There are many possible RED workflows, but I’ve used a variation of these steps quite successfully on a recent indie feature film – cut on Final Cut Pro 7 and graded in Apple Color.
RED EPIC FINAL CUT PRO 7 PLUS
You could convert to a high-quality format like ProRes 4444 or 10-bit uncompressed at the beginning and never touch the RED files again, but the following workflow is one designed to give you the best of all worlds – easy editing, plus grading to get the best out of the raw files. The native clips in your editing project are encumbered by the overhead of 4K compressed camera files.įor these and other reasons, I still advocate an offline-online procedure, rather than native editing, when working on complex RED projects. This is magnified when dealing with a large quantity of footage, such as a feature film or other long-form projects.
The downside to working natively, is that even with a fast machine, performance can be sluggish. You also have access to the various quality increments available to “de-Bayer” the image (data-to-RGB interpolation).
RED EPIC FINAL CUT PRO 7 ISO
Although each vendor’s implementation varies, the raw module enables control over the metadata for color temperature, tint, color space, gamma space, ISO and other settings. This permits REDCODE raw images to be converted and adjusted right inside the editing interface. r3d media (skipping any interim conversion steps) and has made an SDK (software development kit) available to NLE manufacturers. RED has been pushing the concept of working natively with the. In post, these files have to be decompressed and converted into RGB picture information, much the same as if you had shot camera raw still photography with a Nikon or Canon DSLR.
The resulting sensor data is compressed with the proprietary REDCODE codec and stored to CF cards or hard drives. The RED One, EPIC and SCARLET cameras record raw images using Bayer-pattern light filtering to the sensor. When you work with RED Digital Cinema’s cameras, part of the post production workflow is a “processing” step, not unlike the lab and transfer phase of film post.
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